Arthur Morris / Birds as Art
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BIRDS AS ART ON-LINE Bulletin #78 May 1, 2002
PHOTOFOCUS MAG-A-ZINE
A CHANCE TO FIELD TEST
THE CANON 400MM F.4 DOE LENS
NEW FREE ONLINE DICTIONARY OF PHOTOGRAPHY
BAA KUDOs
PHOTOFOCUS MAG-A-ZINE
A CHANCE TO FIELD TEST THE CANON
400MM F/4 DOE LENS
Thanks to the generosity of Brutus
Östling, who came all the way from Sweden to attend this
past weekend's St. Augustine Alligator Farm IPT, I had a
chance to use the Canon 400mm f/4 IS DOE (Diffractive
Optical Elements) lens extensively for 2 days.
I was most thrilled with this new
offering, which features lightweight optical elements and
reduced size, as a handheld lens. I can see one in
the future hanging on a strap from my right shoulder with an
Elan 7 mounted on it...
I began working with the lens mounted
on a Wimberley head atop the Gitzo Carbon Fiber 1325
tripod. With the swing arm set up on the left side of the
Wimberley head (as I have always recommended), it was
difficult to loosen and tighten the tripod collar because
the swing arm blocked the tripod collar knob. After the
first morning, I switched to a Linhoff Prophy series
ballhead. While most folks would probably find this
combination a pleasure to deal with, I am so used to the
ease of handling provided by the regular Wimberley head that
I was frustrated by the constant need to control the lens to
prevent ballhead flop and to the general all around
difficulty of handling this setup. (Note: this is
not a knock on the lens itself.) Next, I
went back to the regular Wimberely head with the swing arm
mounted on the right. I found
this most awkward as I have been using the Wimberley with
the swing arm on the left side for
many, many years. After a while, however, I became pretty
adept at handling the lens. (it is possible that the
Sidekick may be the ideal head for this lens...)
On the first morning I really put the
lens to the test, using Fuji Velvia pushed one stop in low
light (almost always with the Canon 2X II TC). I regret
not having some Provia F 100 (pushed two stops) in my 1v
when I had a chance on a spectacular Little Blue Heron
performing some courtship displays that I had not seen
either in life or on film. My shutter speed was only
1/25th of a second... I am hoping that with IS and
the compact size of my "800mm lens" I will get at least a
few acceptably sharp images. In reality, this may be simply
pipe-dreaming.
In the afternoons, I experimented hand
holding the lens--with the tripod collar removed it weighs
just 3.9 pounds. It was a pleasure to be able to use Velvia
pushed one stop and get fast shutter speeds with the f/4
aperture. Flight shooting was a dream as the lens acquired
focus in an instant. (The wider the aperture, the faster
initial focus acquisition.) I had many excellent chances to
photograph birds in flight and in action, and made some
portraits as well.
The 10 rolls that I exposed with this
setup are at the lab, but it is unlikely that I will be able
to share any of them with you until I return from our
warbler trip on May 15. I am anxious to see them.
NEW FREE ONLINE DICTIONARY OF
PHOTOGRAPHY
A new, free online dictionary of photography was introduced
on April 30, 2002. You can visit at
http://photonotes.org/
Here is part of the press release: "Vancouver, BC,
Canada. Photographers wanting to learn more about the rich
and detailed vocabulary of photography - both traditional
chemical photography and digital photography - have a new
free online resource to turn to. The PhotoNotes.org
Dictionary of Film and Digital Photography is the Internet's
most complete online glossary of still photography.
Over 1400 terms and 90,000 words of definitions; all
available in an easily searched, cross-referenced Web site.
Most print dictionaries of photography date back at least 20
years and don't cover the latest developments in automated
camera systems. The PhotoNotes.org dictionary, by contrast,
includes all the buzzwords, jargon, acronyms and common
camera symbols seen on
cameras today. Newcomers to photography can learn the basics
and some of the history of early chemical photography. And
experienced photographers can keep up with the newest
digital technologies.
The PhotoNotes.org dictionary was written by N. K. Guy, a
Vancouver writer and designer."
When I visited the PhotoNotes.org dictionary for the
first time, I found it interesting, accurate, and
highly informative. And the definitions themselves contained
links to many fabulous web sites that contained
additional information. I have been photographing for
nearly 20 years now, and only recently came across the term
"bokeh." I sort of understood it, but wanted to know more.
I found it in the PhotoNotes.org dictionary and was amazed
by the wealth of information awaiting me there. Now,
I truly know what boken is and how to find out if a given
lens has good or bad bokeh!
BAA
KUDOS
While
I know in my heart that I work very hard on all of
our publications and especially on my IPTs, it is extremely
rewarding to receive so many unsolicited thank you letters.
Thanks to those below, and to all who have shared taken the
time to write to us here at BIRDS AS ART.
From
Charley Huntley: "Recently, I purchased "The
Art of Bird Photography" and found it
incredible! I am enjoying studying it thoroughly! Many years
ago when I began my study of photography and in particular
large format, I spent a week with Ansel Adams in a workshop
in Carmel, CA. This was one of the greatest privileges I
have ever had. I must say that as far as I am concerned,
having known Ansel and his aims and objectives and work
methods, you are to
bird photography what Ansel is to black and white landscape
imaging. This is especially true with respect to your prime
goal of not setting out with a view to selling an image but
rather making a photographic statement as you visualize it."
From
Carlos Pimenta: "I used to use spot meter all the time with
birds; it was difficult AND time consuming to get right
exposure. After reading and studying the "Pocket
Field Guide to Evaluative Metering Systems" for
just two days, I went out and shot 10 rolls of Provia and
got the right exposure on 98% of my images.. I have found
it a breeze to use Artie's exposure techniques, and never in
my life will use spot metering again. The amount of
exposure info that exists in that little guide is
phenomenal. It's as if Artie revealed a lifetime of secrets
in a $20 guide!
From
Chris Dekle: "I just got back off the road long enough to
finally drop you an email to tell you how much I enjoyed
your SW Florida IPT. I really
didn't expect what I got! Your fans billed you as a great
teacher who spent more time being sure that they learned
than shooting for their portfolio. Well, let me tell you,
that was only half true; you really exceeded all
expectations for the trip. You are a concerned and able
teacher.
I learned a lot about shooting birds that would have taken
me years to figure out... if I could ever have done it at
all. I learned some great field techniques and ways to
think about shooting award winners. Your insights on
equipment and metering for fast action so that you can
concentrate on the subject was also off the scale... it was
really great. I got a lot of shots that were right-on in
difficult situations - which is important. But, what is
really invaluable is to know how to think about learning
more about how my Nikon matrix meter sees things and making
appropriate compensation for differing situations. That
insight on meter analysis and compensation was worth the
entire price of the trip.
I was amazed at the people on the tour too. I met some
really interesting world travelers and have taken the advice
of one, Hal, and booked an African tour with someone he
regularly uses.
Art, you are an interesting guy. Thanks again, it was a
great trip!"
From
Jim Gluckin. M.D.: "First of all, thank you very much for
the incredibly enjoyable five-day experience with you on the
SW Florida IPT. I don't think I
have ever worked any harder at something, while at the same
time being sleep deprived :-). I feel that I learned a
great deal from you. I also came away from the workshop
with a firm understanding of the major criteria which you
need to apply to evaluate an image, and produce images
that are pleasing and at the same time arresting. The
critiquing sessions that you gave were very simply...
invaluable.
Your system for determining the correct exposure was far
better than anything I had ever tried in the past. It
works! It was a pleasure to be able to look at the subject,
quickly evaluate the background, and then simply dial in the
correct compensation and continue shooting.
After going through the large number of images that I took
during the five days, I have about 60 pictures which are
suitable for framing and hanging in the office! Thank you
very much for the instruction, the pointers, the critiquing,
and the very enjoyable five days! I hope to join you on
another tour next year, at a different location."
From Mike Petulla, "I just wanted to tell you how much I
enjoyed the February 9 SW Florida
IPT. I learned a lot about exposure and flash
exposure that I never knew. I was impressed by the way you
able to adapt to the weather conditions and get the group to
interesting locations with excellent subjects. I especially
enjoyed the set up instructions and the info on using the
Wimberley head for scenics. I liked the small group setting.
I feel it's a wonderful way to teach as you were able to
spread yourself out amongst us and answer all our questions.
Your assistant Ellen is very knowledgeable and, I feel, an
excellent complement to your style of teaching.
I feel I have learned many valuable lessons in the three
days, so much so that I have signed up for the November 30 -
December 2 2002 Bosque IPT.
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