Northern Lights and Mountain Landscapes Photography Workshop in the Yukon

 

March 29th, 2014

We'll welcome you at the airport and transfer you to the hotel in downtown Whitehorse and we will get you checked in.

March 30th, 2014

Over breakfast we will go over the itinerary over a group setting. There, we will present a slide show and give you tips on photographing in the environments that we are about to shoot in.

After lunch we will head out into rural Yukon and show you the mountain ranges, pristine lakes and make frequent stops along the way to let you enjoy the sights through your lens.

At 8.30 PM we depart for our first of many Aurora hunts. Hot drinks and snacks are provided

Breakfast and dinner included

March 31st, 2014

After lunch we will depart for Kluane National Park for landscape photographic opportunities of the Yukon Mountains and lakes. On the way we stop regularly to allow you the opportunity to take photos of the beautiful landscape. Once we reach Kluane we can go for a short hike. Dinner will be in Haines Junction. After dinner we will position ourselves for a sunset photo opportunity before we drive to our nightly Aurora viewing location.

The 22 000 square kilometre Kluane National Park is set like a jewel in the southwestern corner of the Yukon between northeastern British Columbia and the tidewaters of the Alaskan panhandle. Much of the park's 129 kilometre northern boundary is made up of the Alaska Highway and the Haines Road. The Alsek River, known for its big water rapids created by the tremendous volume of water it drains from the St. Elias Mountains, is so swift it appears that native people have entirely avoided using it for travel or trade routes.

Lunch and Dinner included

April 1st, 2014

Sleep in or a morning at your leisure and go for one of your own day trips. We will group together for lunch and spend a few hours going through your images. After an early dinner we will grab our camera gear for another night with the Aurora Borealis. Again, if the lights are dancing, we will stay out taking photos for as long as the group wants.

Lunch and dinner included

April 2nd, 2014

Sleep in because we may have been out to the wee hours of the morning shooting northern lights. After lunch we will head west for a journey down the Alaskan highway. Through the mountain ranges we will venture and make frequent stops at lakes such as Squanga lake and Little Teslin Lake as we search for the perfect mountain vista, moose and other resident wildlife.

After an early dinner we will grab our camera gear one last time for our last night with the Aurora Borealis. We will depart at 8:30pm and have you back at your hotel by 1:30am so you can get some sleep and catch one of two flights home the next day.

Lunch and dinner included

April 3rd, 2014

We will transfer to the airport for your flight home. There are two flight options. A 6:00am flight and a 12:50pm flight bound for Vancouver.

Price of Workshop:

$2487USD for a maximum of 5 people
Single Supplement is $250
Airport pickup and drop

Included:

Airport pick-up and drop-off
Accommodation
Lunch and Dinner on day 2, 3, 4 and 5
Daily transportation via an 8 passenger Suburban or equivalent. Hot drinks and snacks during aurora viewing nights.

Not Included

Alcoholic beverages
International flights
Items of personal nature
Items not listed as included

Deposit Required:

$500USD
Balance due before January 15th, 2014.  

Contact me at kevin@photographers-lounge.com  

 

Canadian Photography Workshop Series

I have had the pleasure of travelling to some fantastic places... Africa, France, Mongolia, Eastern Europe, South America... and no matter where I go, and who I meet, I always get asked about Canada, my home.

I guess its the expansive nature of our country. The draw of the Rocky Mountains, the expansive prairies, the eclectic economic center of Ontario and Quebec, and the iconic eastern provinces on the Atlantic Ocean... and definately not to be left out, our territories to the north, and their allure of untamed lands and wildlife...

Over the past year I have been mulling an idea that would bring International Photographers to Canada. A friend of mine, Tim Vollmer, brings photographers from around the world to Iceland and hosts amazing trips that can be found nowhere else on earth...

Canada also has that diverse and unique offering, and frankly, I think better opportunities than Iceland, (sorry Tim... LOL)

So in July of 2013, North of 49 Photography was launched. North of 49 refers to the latitude line of our border with the USA. So all workshops and tours that this new company will conduct, will be north of the 49th latitude line.

Our Canadian instructors and guides have knowledge of the lands and the wildlife that we will be photographing to ensure that you have the best experience possible. These Canadian instructors and guides will also support the International Photographers that visit Canada with their friends and clients. So, you get two professional photographers to help you when you come to Canada. This offers a great ratio and increases your learning time.

Currently we have a variety of workshops and tours that focus on the very photogenic Pacific coast in Tofino, British Columbia, a few workshops centred around thousands of migratory bald eagles, Northwest Territories for landscape and Northern Lights, and as well, a workshop up in Algonquin Park and the Kawartha region of Ontario.

All of these workshops can be found at www.northof49photography.com

In the coming months we will also be adding a few polar bear workshops in Nunavut and an east coast lighthouse workshop along the Atlantic coastline.

I hope you will bookmark the site and refer back to it often. We will be constantly updating the workshops and the blog will be filling up with all the information you will ever need on Canada, its people, its regions and where we will be travelling to.

I wanted to thank you all for your support with the Photographers Lounge. That company will continue to operate our International Workshops and local one day workshops under www.photographerslounge.ca

Thanks,

Kev

Photography Workshop Options

BALD EAGLES IN BC

This photo workshop is centered on a convergence of thousands of bald eagles in the Fraser Valley and Lower Mainland of British Columbia. Your instructor(s) for this workshop will guide you to the best locations for photographing the eagles in the Fraser Valley that is surrounded by the Cascade Mountain range, including a private boat tour up the river within meters of the eagles. You will be provide detailed instruction on how to capture your perfect landscape photo and eagle shots by your instructors .

Dates: November 30 - December 4, 2013

Price; $2950

See more details: http://northof49photography.com/bald-eagle-worskhop-with-tim-vollmer

ICELAND

The winter of 2014 is supposed to be a spectacular year for viewing northern lights. In February I will be headed to one of the best places on earth to view the northern lights, Iceland.

Dates: February 5th to February 10th

Price: $3895

See more details: http://www.photographers-lounge.com/international-workshops/2014-workshops/iceland-winter-wonderland

TANZANIA

And back we go again to Tanzania to bear witness to the great wildebeest migration through the Serengeti. Please join me as we head back to Ngorongoro Crater and the Serengeti plains to photograph some of earths most amazing landscapes and animals in their natural habitat.

Dates:  April 28th to May 7th

Price: $4780

See more details: http://www.photographers-lounge.com/international-workshops/2014-workshops/tanzania-photo-safari

NEWFOUNDLAND

This ten day workshop will see us visiting northern Newfoundland and Labrador during the beginning of summer. That magical time when whales migrate north through iceberg alley as the crystal palaces float south.

Dates: June 1st to June 10th

Price: $4250

See more details: http://northof49photography.com/newfoundland-and-labrador

I hope you consider joining us on one of our workshops or photo tours. There are many more in the last half of 2014 that have been recently announced. You can check out those workshops and photo tours on www.photographerslounge.ca and www.northof49photography.com

TOFINO

Have you ever been to the extreme west coast of Canada? The unique location where you can enjoy the sights of a rainforest one day and be photographing black bears, bald eagles and whales the next... then switch things up and turn inland to photograph snow covered mountains?

Join Kevin and Ellen on another "North of 49 Photography" photo workshop to this unique land. August is a magical time of year in Tofino; "fog"ust as it is referred to creates spectacular images along the expansive shoreline in the morning hours, animals like black bears, sea lions and yes, even whales are a frequent part of the day’s activities in the Tofino area.

Dates: August 10 to 17, 2014
Price: $1295USD

See more details here: http://northof49photography.com/tofino-workshop-with-ellen-anon

NORTHWEST TERRITORIES

Over the course of the five days & nights at the lodge, your leaders will cover topics on macro-photography, long exposure night photography, bird and wildlife photography. This area offers a wide variety of plants, many of which will be brightly colored in September and lay upon the landscape like a blanket.  This is also a great time of year to capture northern lights (aurora borealis), migratory wildlife & birds, including possible bear sightings, fox, tundra swans, eagles, owls and falcons.     

Dates: September 20 to 27, 2014

Price: $5500USD

See more details: http://www.rodbarbee.com/workshops/140920-northwest-territories

I hope you consider joining me and my fellow workshop leaders,

Kevin

Learning exposure compensation to help get better photos with your digital camera

Exposure compensation is function that allows you, the photographer, the ability to fine tune exposure to compensate for situations where your camera's metering system does a poor job.

This would be something that you would want to use to make adjustments for contrasting light when highlight detail would otherwise be lost, or when photographing snowy landscapes or other tricky scenes. This photo that accompanies this post is a good example of a real life situation.. the crashing water was extremely bright, and the kayaker had a helmet on that casts a very dark shadow across his face. I had to use my exposure compensation to ensure that I did not either blow out the water, or make his face black. It took a few photos to get the right setting, but it was worth the effort.

Cameras are programmed to just aim for the middle of the grey scale… A camera exposes for the middle luminance value of the scene (middle grey, 12-18% reflectance or 50% luminance), and your cameras different metering modes are just different ways of placing this mid value by weighting where the camera meters from.

EV Compensation helps to fix this by telling the camera to expose at a higher or lower setting than it thinks is right. For very bright settings (like the snow or beach), set an EV value as a positive number (+1/3, +1 etc). For very dark scenes, choose a negative EV number.

Now, I know what you’re thinking – that doesn’t make sense! If the subject is very bright, don’t I need to set a lower EV (negative number) to make sure the image is exposed correctly?

Well, no. It’s the opposite. It helps to think of what the resulting image will look like. In the snow, where there are lots of bright areas, the camera will choose a mid point in the bright area, so the snow will look gray in the resulting image. To fix that and make the snow white (as it should be), we need to brighten the image. Thus we need to increase the exposure and use a positive number.

You would need to consider using exposure compensation in the following situations:

Landscape photography in bright, sunny conditions - Landscapes are usually shot at wider angles (zoomed out) and often includes bright skies and dark shadows. Your camera's estimate of the mid value in such contrasty situations can often result in important highlight details being be lost in the sky because of that orange ball of bright light, aka the sun. To remedy this, you would darken the image slightly by reducing exposure, usually by two or 3 stops. This will lighten the shadows and bring those awesome colours back in the sky that drew you to the image in the first place.

Snowy scenes - Snowy scenes are unusually white, and your camera will think this is supposed to be more towards mid grey. Without an adjustment your white fluffy snow comes out this pale blue… sound familiar? To remedy this, you would lighten the image by increasing exposure by 1 or 1 1/3rd EV.

Most cameras will have an EV display (in the viewfinder or on-screen). The zero in the centre is where no EV compensation is applied; to the left we have -EV and to the right we have +EV, with 1/3rd EV steps between.

Depending on your camera and display settings, the EV display may only show when in use, or when compensation has been applied.

In Aperture Priority, Shutter Priority or Programmed Auto

Locate your camera's EV button (marked EV or +/- ), hold it down and scroll the relevant command wheel either +right or -left depending whether you wish to increase or reduce exposure (lighten or darken the image). As you scroll, the marker will move to the corresponding value on the scaled display, or the value will simply update on the single type display.

Remember to set the EV back to zero once you've finished taking exposure compensated shots.

Manual Exposure

In fully manual, you set the shutter speed and aperture values, and the EV display tells you how much this may differ from what the camera's metering suggests. The EV button isn't used, but the effect on exposure is the same.

The advantage with manually applied exposure is that you don't have to remember to reset compensation. You do, however, have to set exposure yourself for each shot.

Newfoundland and Labrador Workshop - whales, icebergs, lighthouses, Gros Morne Natonal Park and more

 

 

We begin our time together as we live the life of a lighthouse keeper overlooking “Iceberg Alley”.

Hear the Killer Whales’ call echoing off massive icebergs in our own private cove and hopefully awaken to the sounds of the Humpbacks calling you across vast stretches of the North Atlantic. From this location we will explore the rugged landscape made famous in “The Shipping News”, the Pulitzer prize-winning novel and Kevin Spacey movie.

Imagine the feel the salt spray in your face as you journey out to remote Quirpon Island amidst the dolphins and whales. As you land in the cove, imagine you are returning home to the sod huts, thousands of years old, which lay undisturbed here. Forge a link with ancient humans as you stand in the remains of their huts overlooking the cove and picture the tiny beach coming to like as it was eons ago.

This is your home for the next few days. It lies atop the cliffs at the northern tip of this deserted island. The contrast of the rugged beauty of the island and the cosy luxury of Quirpon Lighthouse Inn will bring back your childhood feelings of laying by the fire as a storm raged outside. Imperceptibly your priorities in life will shift as you become part of the primal connection between humans and the remote reaches of the sea.

You are now in the best spot on earth to visit with whales and icebergs. At dawn, be certain to introduce yourself to your only neighbours – the whales migrating past your doorstep. An abandoned fishing village near the lighthouse is your hiking destination today. Learn of the tragic but romantic mass murder and suicide that inevitably lead to its demise.

View the “vast cathedrals of ice”. On sunny days they appear lit from inside. On dull days other senses take over as they seem to grow in size. Their chilling effect spreads to your mind and you feel a timeless empathy for sailors who have dreaded these giants for millennia.

Europeans first arrived in North America 500 years before Columbus. These Vikings settled in the UNESCO World Heritage Site of L’anse aux Meadows. As you visit, one question will fill your mind- Why here? Be sure to ask resident Vikings who work here today. Join them in their huts and sample cuisine from ten centuries ago.

From here we will sail to Labrador where a 12 year old child was lovingly laid to rest in North America’s oldest grave – 8,000 years ago. Visit Basque whaling site where a boat from the 1500’s raised from the frigid waters shows how little technology has changed in 500 years. A photogenic location at any time of day and your photos, chronicle history very few ever visit.

Heading south along the Viking Trail you might experience time travel visiting isolated fishing villages which have hosted civilizations for thousands of years, capturing lighthouses during golden hours and at the Port au Choix National Historic Site, learn how little we differ from our ancient forbearers. Take time to linger and photograph the memorable sights along the seaside… because you will be busy spotting the thousands of moose and caribou in Gros Morne National Park amidst some of the most breathtaking scenery the east coast of Canada has to offer.

If you think the shoreline to this point has been spectacular, wait until your boat tour of Western Brook Pond in Gros Morne. This landlocked fjord was left as a slash in the cliffs when the last ice age ended. 2000 vertical faces slowly come together as your journey on the purest lake in the world. This voyage is guaranteed to give you memories to savour back in the real world. Afterwards, stretch your legs on a valley of ancient earth’s mantle that has made this park a UNESCO World Heritage Site. The landscape evokes images of the moon more than the earth, but this geological wonder has its own charms. You will enjoy it from sun up to sun down through the lens.

Before our trip together ends, you can have the choice of completing our odyssey with a taste of other experiences unique to out corner of the globe. Kayak with the bergs and whales or hike into a falls for another photography walk to capture the golden light landscapes and local wildlife.

Dates of Workshop:  June 1, 2014 to June 10, 2014

Price of Workshop:  $3890USD is your price ($4250 on my website) – shared accommodation

Photographic Leader(s):  Kevin Pepper

Maximum Number of attendees: max 5, min 4 (2 spots already taken)

Deposit to secure space in workshop:  $750USD

What is Included: 9 nights’ shared accommodation (including 4 at Quirpon Lighthouse Inn). 6 breakfasts, 2 lunches, daily snacks, juice and water, 5 suppers (including 1 dinner theatre). Western Brook Pond boat tour. Ferry to Labrador. All park and site passes. Transportation. Minimum of three editing sessions

What is not included: anything not mentioned as included, items of personal nature, travel insurance.

 

Here is the link on my website. http://northof49photography.com/newfoundland-and-labrador

 

More details on the locations

We will be staying in a reclaimed lighthouse, Quirpon lighthouse on a private island, and in some hotels.

We will be spending time whale watching, photographing icebergs, photographing lighthouses on the northern shores of Newfoundland and Labrador and spending a fair bit of time in Gros Morne National Park on the North West coast of Newfoundland.

We will also head over to Labrador to see the original settlement of Vikings in North America, do some shoots along the seaside and visit some of the oldest fishing villages in Eastern Canada.

You will be shooting seascapes, lighthouses, old fishing villages, hopefully some of the tens of thousands of caribou and moose in Gros Morne (if we can see them), some migratory birds, landscapes, whales and icebergs

 

 

 

 

The Sunny 16 Rule for Photography

 

The Sunny 16 Rule is a way to meter for correct exposure during daylight without using the camera’s meter.

The basic rule of thumb is that if you have a clear, sunny day and your aperture is at f/16, whatever ISO you are using, your shutter speed will be the reciprocal value of that ISO value

So for example, if your ISO is 200 at f/16, then your shutter speed will be 1/200 seconds. If your ISO is 100, then your shutter speed will be 1/100 seconds.

The Sunny 16 Rule is a good way to check if your camera is spot on with exposure or does it consistently under or over expose. Some cameras have a tendency to slightly under expose, and this is a good way to test your camera.

Additionally, unlike the camera metering system, the Sunny 16 Rule is based on incident light instead of reflected light, which means that it’s based on the brightness of the light only, and not how the light that is being reflected off the subject and into the camera.

Go ahead… try it and see how your camera performs…

Species Spotlight - Snowy Owl

 

The Snowy Owl (Bubo scandiacus) is a large owl of the typical owl family Strigidae. Until recently, it was regarded as the sole member of a distinct genus, but data now shows that it is very closely related to the horned owls.

This yellow-eyed, black-beaked white bird is easily recognizable. It is 52–71 centimetres (20–28 in) long, with a 125–150 centimetres (49–59 in) wingspan. Also, these birds can weigh anywhere from 1.6 to 3 kilograms (3.5 to 6.6 lb). It is one of the largest species of owl and, in North America, is on average the heaviest owl species. The adult male is virtually pure white, but females and young birds have some dark scalloping; the young are heavily barred, and dark spotting may even predominate. Its thick plumage, heavily feathered taloned feet, and colouration render the Snowy Owl well-adapted for life north of the Arctic Circle.

Snowy Owl calls are varied, but the alarm call is a barking, almost quacking krek-krek; the female also has a softer mewling pyee-pyee or prek-prek. The song is a deep repeated gahw. They may also clap their beak in response to threats or annoyances. While called clapping, it is believed this sound may actually be a clicking of the tongue, not the beak.

Young owl on the tundra at Barrow Alaska. Snowy Owls lose their black feathers with age, though particular females retain some.

The Snowy Owl is typically found in the northern circumpolar region, where it makes its summer home north of latitude 60 degrees north. However, it is a particularly nomadic bird, and because population fluctuations in its prey species can force it to relocate, it has been known to breed at more southerly latitudes.

This species of owl nests on the ground, building a scrape on top of a mound or boulder. A site with

good visibility such as the top of mound with ready access to hunting areas, and a lack of snow is chosen. Gravel bars and abandoned eagle nests may be used. The female scrapes a small hollow before laying the eggs. Breeding occurs in May to June, and depending on the amount of prey available, clutch sizes range from 5 to 14 eggs, which are laid singly, approximately every other day over the course of several days. Hatching takes place approximately five weeks after laying, and the pure white young are cared for by both parents. Although the young hatch asynchronously, with the largest in the brood sometimes 10 to 15 times as heavy as the smallest, there is little sibling conflict and no evidence of siblicide. Both the male and the female defend the nest and their young from predators, sometimes by distraction displays. Males may mate with two females which may nest about a kilometre apart.[3] Some individuals stay on the breeding grounds while others migrate.

Snowy Owls nest in the Arctic tundra of the northermost stretches of Alaska, Canada, and Eurasia. They winter south through Canada and northern Eurasia, with irruptions occurring further south in some years. Snowy Owls are attracted to open areas like coastal dunes and prairies that appear somewhat similar to tundra. They have been reported as far south as the American states of Texas, Georgia, the American Gulf states, southernmost Russia, and northern China.

In January 2009, a Snowy Owl appeared in Spring Hill, Tennessee, the first reported sighting in the state since 1987. More notable is the huge mass southern migration in the winter of 2011/2012, when thousands of Snowy Owls were spotted in various locations across the United States.

This powerful bird relies primarily on lemmings and other small rodents for food during the breeding season, but at times of low prey density, or during the ptarmigan nesting period, they may switch to favoring juvenile ptarmigan. They are opportunistic hunters and prey species may vary considerably, especially in winter. They feed on a wide variety of small mammals such as meadow voles and deer mice, but will take advantage of larger prey, frequently following traplines to find food. Some of the larger mammal prey includes hares, muskrats, marmots, squirrels, rabbits, raccoons, prairie dogs, rats, moles, and smaller birds entrapped furbearers. Birds preyed upon include ptarmigan, other ducks, geese, shorebirds, pheasants, grouse, coots, grebes, gulls, songbirds, and even other raptors, including other owl species. Most of the owls' hunting is done in the "sit and wait" style; prey may be captured on the ground, in the air or fish may be snatched off the surface of bodies of water using their sharp talons. Each bird must capture roughly 7 to 12 mice per day to meet its food requirement and can eat more than 1,600 lemmings per year.

Snowy Owls, like many other birds, swallow their small prey whole. Strong stomach juices digest the flesh, while the indigestible bones, teeth, fur, and feathers are compacted into oval pellets that the bird regurgitates 18 to 24 hours after feeding. Regurgitation often takes place at regular perches, where dozens of pellets may be found. Biologists frequently examine these pellets to determine the quantity and types of prey the birds have eaten. When large prey are eaten in small pieces, pellets will not be produced.

Though Snowy Owls have few predators, the adults are very watchful and are equipped to defend against any kind of threat towards them or their offspring. During the nesting season, the owls regularly defend their nests against arctic foxes, corvids and swift-flying jaegers; as well as dogs, gray wolves and avian predators. Males defend the nest by standing guard nearby while the female incubates the eggs and broods the young. Both sexes attack approaching predators, dive-bombing them and engaging in distraction displays to draw the predator away from a nest. They also compete directly for lemmings and other prey with several predators, including Rough-legged Hawks, Golden Eagles, Peregrine Falcons, Gyrfalcons, jaegers, Glaucous Gulls, Short-eared Owls, Great Horned Owls, Eurasian Eagle Owls, Common Ravens, wolves, arctic foxes, and ermine. They are normally dominant over other raptors although may (sometimes fatally) lose in conflicts to large raptors such as other Bubo owls, Golden Eagles and the smaller but much faster Peregrine Falcons. Some species nesting near Snowy Owl nests, such as the Snow Goose, seem to benefit from the incidental protection of snowy owls that drive competing predators out of the area.

Info courtesy of Wikipedia

Mongolia... here we come...

In just a few weeks, 7 of us will be travelling across Mongolia, eventually ending up at the Naadam Festival.

The biggest festival of the Mongolian year is the Naadam Festival celebrated in Mongolia nationwide on July 11-13. Naadam is properly know as “Eryn gurvan naadam”, after the three manly games of wrestling, horse racing, and archery making up the core activities of the National Festival.

Mongolians love to dress in their best traditional costumes and riding on their most beautiful horses during Naadam.

Wrestling

Mongolian wrestling has no weight divisions, so mostly the biggest wrestlers are often the best. The wrestlers are divided into 2 sides and it begins with zasuul honoring the glorious titled wrestlers to each other by their unique sounded speech and while wrestlers do short eagle dance by putting hand at the shoulder of the zasuul.  Wrestler wears gutul heavy big boots, shuudag tight unflattering pants and zodog open-fronted and long sleeved small vest across the shoulders. Winners are bestowed glorious titles depending on how many rounds they win. There are nachin (falcon) – 5 rounds; khartsaga (hawk) – 6 rounds; zaan (elephant) – 7 rounds; garid (the Garuda) – 8 rounds and arslan (lion) – given to the winner of the tournament. When an arslan wins 2 years in a row he becomes an avarga, or titan. One renowned wrestler was given the most prestigious and lengthy title of the ‘Eye-Pleasing Nationally Famous Mighty and Invincible Giant’. All titles signify strength and are given during the national festival Naadam. There is a variety of wrestling methods and some elders say there are hundreds of them. Mongolians are really excellent at wrestling, riding and archery.

Horse racing

Mongolians loved horse racing for over 21 centuries. In modern times, horse racing is mainly held during Naadam Festival and Lunar New Year. Riders are kids from age five to 12. There are six categories of horse racing, depending on the age of the horses; shudlen a two-year-old horse will race for 15km while six-year-old azarga and ikh nas horses race for up to 30km. There is no special track but just open countryside. Before a race, the riders sing an ancient song –Gyngoo for the horses wishing for strength and speed and audience all decked out in traditional finery. Some riders prefer saddle and some not. The winner is declared tumnii ekh, or ‘leader of 10 thousand’ and the five winning horses are admired and the riders drink some special airag and sprinkles on the horse’s back. After the races, praise-singer extols the best riders and their horses and 5 winning horses and theirs owners would be talked about in reverence by the crowd.

Archery

Five lines engraved on an ancient Mongolian target immortalizing the phenomenal record of Yesuhei- baatar, saying that his arrow hit the target at a distance of 536 meters. The bow is an ancient invention dating back to the Mesolithic Period. Ancient Mongolians contributed to design of the bow as a combat weapon. Today, Mongolians use less complicated form of archery than in the ancient times; targeting at cork cylinders braided together with leather straps. It is four meters in line and 50cm high. The target is placed on the ground at a distance of 75 meters for men and 60 meters for women. In the past, Mongolians used three types of bows; “big hand” (165-170cm),”average hand” (160cm), “small hand' (150cm). Today Mongolians mostly use the average hand bow, which requires a force of 22 to 38kg to draw.

Arrows are made of pine wood and feather fins allowing it to reach distance of 900 meters. Naadam archery also attracts individual archers as well as team of 8-12 persons. Male archer shoots forty arrows at each target. Traditionally dressed judges stand by the targets raising their hands in the air to indicate the quality of the shot with uukhai sound but surprisingly never get injured. They praise the best shot in a traditional drawing recitative voice.

Then, in October of 2014, Jim Zuckerman and I are headed to partake in the Golden Eagle Festival.

The Golden Eagle Festival

In western Mongolia, deep within the Altai mountain range, an ancient tradition of hunting with Golden Eagles is still alive. The Kazakhs of Mongolia train their eagles to hunt for rabbits and foxes. Once a year, hunters from all over Bayan-Olgii province gather to celebrate this traditional skill and compete against each other challenges that show off the abilities of both birds and their trainers. Prizes are awarded for the fastest eagle, the best traditional Kazakh dress, and more. Various folklore performances are given during the festival. We take you to participate in this regional festival and also to visit with Kazakh families, join the hunters on hunting trips, and see different sights in Bayan Olgii province, home of the Kazakh minority in Mongolia .

The New Sigma 120-300 f2.8 DG HSM OS Travels to Mongolia



Sigma 120-300 F2.8 DG HSM OS

Starting in 2013 all newly produced interchangeable lenses from Sigma will be designed for, and organised into one of three product categories: Contemporary, Art and Sports. Each line has a clearly defined concept to guide photographers towards the specific lenses for their photographic interests.

The concept of these three categories are as follows:

Contemporary – These lenses incorporate the very latest technology and keep size and weight to a minimum, without compromising their advanced optical performance or utility. High-performance, versatile, compact and superbly portable, these lenses will be largely comprised of standard zooms, telephoto zooms and high-magnification zooms for an array of photography, including landscape and travel photography, and casual portraiture.

Art – These lenses are developed with an emphasis on artistic touch and are designed to meet the expectations of users who value a creative, dramatic outcome. Along with landscapes, portraits, still-life, close-up and casual snaps, these lenses are perfect for the kind of photography that unleashes the inner artist. Ideal for studio photography, they offer just as much of an expressive scope when capturing architecture, starry skies, underwater shots and many other scenes. This category will be comprised of many focal lengths and designs, such as large-aperture prime lenses, wide-angle lenses, ultra wide-angle lenses, and macro and fisheye lenses.

Sports - With their high-level optical performance and expressive power, these lenses can capture fast-moving subjects, even at distance. This line also offers a variety of functions to aid the photographer in challenging conditions and scenarios. Besides sports photography, the lenses are also ideal for nature shots featuring birds, wild animals and other creatures, and for the capture of aircraft, trains, race cars and more. The Sports line is also unique in that users can adjust the lenses’ focus speeds and the focus limiters via a button on the lens. The Sports category will be comprised of telephoto lenses, telephoto zoom lenses, super telephoto lenses, super telephoto zoom lenses, and more.

Since my new Sigma 120-300 F2.8 DG HSM OS will be showing up any day I figured I would discuss this new telephoto zoom lens.

Here is what the company says about this lens:

The Sigma 120-300 F2.8 DG HSM OS is the first lens introduced into the Sports category for Sigma’s Global Vision. Designed for full frame cameras but can work with APS-C sized sensors as well, the 120-300 F2.8 has a large aperture and versatile focal length, ideal for a wide range of photography. Though placed in the Sports category, the 120-300 F2.8 is also great for nature, automotive, wildlife, and everything in between. Equipped with state of the art technology such as a Hyper Sonic Motor (HSM), an Optical Stabilizer (OS) and Inner Focusing and Zooming, the 120-300 F2.8 ensures sharp and beautiful images. The HSM allows for a quiet, fast, and accurate autofocusing while the OS compensates for camera shake while shooting by hand. Two FLD glass elements, which have performance equal to fluorite, are incorporated with one SLD element to reduce color aberration at the highest degree. The Sports category offers not only a higher level of customization through the Sigma USB dock, but also has a dust and splash proof design.

The following are the new features that Sigma is promoting about the lens.
 

Enhanced Usability - This lens features durability that stands up to challenging photographic situations and hard use demands along with the intuitive and enjoyable usability that photographers need. Since the lens uses Sigma's inner focus and inner zoom technologies, adjusting the focus and zoom rings does not change the length of the lens, resulting in excellent hold for the selected ring positions. Since the front of the lens does not move, the lens is compatible with a circular polarizer. In every way, Sigma has designed the lens for exceptional usability. The zoom ring is textured to allow fingers to find the correct position easily. Designed for seamless integration with the rest of the lens, the four control switches feature carefully placed lettering and buttons and specially shaped screws. The lens hood has also been completely redesigned, even down to the screws that connect it to the lens, and the newly designed tripod collar provides for connection to a camera strap.

A New Design - All lenses in Sigma's new Sports line come with a hood with a high-quality rubberized connector and feature a newly designed lens cap and AF/MF switch, and are designed for intuitive use and superior functionality. Inside, HSM (hypersonic motor) delivers high AF speed and extremely quiet performance. An enhanced algorithm offers even smoother automatic focusing. Full-time manual focus override is another key feature that leaves the artistic touches in the photographer's hands. The brass mount combines high precision with rugged construction. Its treated surfaces and enhanced strength contribute to the exceptional durability of the lens.

Resistance to dust and water - This lens is ready for all the tough situations that pros encounter. The mount connection area, manual focus ring, customization switch and other controls, switch panels and cover connection areas are all designed to be dust and water-resistant. The zoom and focus rings are also designed for exceptional usability in real-world circumstances.

Image quality of a fixed focal length lens - Offering excellent image expression and a low F-number, the large-aperture 300 mm F2.8 lens is a favourite piece of equipment among professional photographers. While taking this spec to the next level with powerful zoom capability, Sigma has also used two lens elements made of fluorite-equivalent FLD (“F” Low Dispersion) glass and one element made of SLD (Special Low Dispersion) glass, which help minimize chromatic aberration and provide image quality that rivals that of a fixed-focus lens.

F2.8 brightness throughout the entire zoom range - This lens incorporates two FLD (“F” Low Dispersion) glass elements, which have performance equal to fluorite, and one SLD (Special Low Dispersion) glass element to minimize chromatic aberration. Since it also minimizes sagittal coma flare and coma at the edges of the image, it is able to rival a fixed-focus lens in image quality.

Exclusive low-dispersion glass - The degree to which light is refracted by glass depends on the light's wavelength. This fact causes different colors of light to focus at slightly different points. The result is chromatic aberration, the color fringing that is particularly noticeable in telephoto lenses. Most chromatic aberration can be removed by combining a high-refractivity convex lens element with a low-refractivity concave element. Yet residual chromatic aberration known as “secondary spectrum” may still remain. To minimize this secondary spectrum, which can be a serious issue with conventional lenses, Sigma lenses feature up to three types of exclusive low-dispersion glass offering superior performance: ELD (Extraordinary Low Dispersion), SLD (Special Low Dispersion) and FLD (“F” Low Dispersion). In particular, FLD glass offers ultra-low dispersion in combination with high transmittance and the anomalous dispersion characteristics of fluorite. Meticulous deployment of these types of exclusive low-dispersion glass and optimization of power distribution gives Sigma lenses superlative image rendition undiminished by residual chromatic aberration.

The new A1 – MTF Measuring System - There are three requirements for outstanding lenses: fine design, precise manufacturing and inspection that ensures compliance with all specifications. Sigma lenses are born of well-thought-out design concepts and sophisticated, advanced Japanese manufacturing technology; the final clincher is our lens performance evaluation. We used to measure lens performance using conventional sensors. However, we've now developed our own A1* proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Applying this system, we check each lens in our new lines at our Aizu factory, our sole production site. Even previously undetectable high-frequency details are now within the scope of our quality control inspections, allowing us to deliver consistently high lens performance. Our MTF system has the capability to test lenses for full-size 20+ megapixel 35mm digital SLR cameras.

46-megapixel Foveon direct image sensor - The 46 effective megapixel (4,800 × 3,200 × 3 layers) and 44 recording megapixel (4,704 × 3,136 × 3 layers) 23.5 × 15.7mm APS-C X3 direct image sensor captures all primary RGB colors at each and every pixel location, ensuring the capture of full and complete color. Using three silicon-embedded layers of photo detectors, stacked vertically to take advantage of silicon's ability to absorb red, green and blue light at different respective depths, it efficiently reproduces color more accurately, and offers sharper resolution, pixel for pixel, than any conventional image sensor. Since color moiré is not generated, the use of a low-pass filter is not required, meaning light and color, generated by the 46-megapixel APS-C X3 direct image sensor is captured with a three-dimensional feel.

Ultra-high precision and quality - all made in Japan - All Sigma's manufacturing–right down to molds and parts–is carried out under an integrated production system, entirely in Japan. We are now one of the very few manufacturers whose products are solely "made in Japan." We like to think our products are somehow imbued with the essence of our homeland, blessed as it is with clean air and water, and focused, hard-working people. We pride ourselves on the authentic quality of Sigma products, born of a marriage between highly attuned expertise and intelligent, advanced technology. Our sophisticated products have satisfied professionals and lovers of photography all over the world, because our manufacturing is based on genuine craftsmanship, underpinned by the passion and pride of our experts.

New Software and USB dock - For our new product lines, we have developed exclusive SIGMA Optimization Pro software that allows the user to update the lens firmware and adjust focus position and other parameters. The user will be able to connect the lens to a computer with a special USB DOCK and use easy-to-operate on-screen controls to create personal lens specifications. For Sports lenses, the focus limiter will also be customisable.

Lens Specifications –

Optical construction:	23 elements in 18 groups in 1x SLD+ 2xFLD elements
Number of aperture blades:	9 (circular)
min. focus distance:	1.50-2.50m (max. magnification ratio 1:8.1 @ 200mm)
Dimensions:	114x289mm
Weight:	2950g
Filter size:	105mm (non-rotating)
Hood:	barrel-shaped, bayonet mount, supplied
Other features:	detachable tripod mount, compatible to the Sigma AF 1.4x and 2x APO tele converters, Super Multi Layer (SML) coating

When you read about the lens, all this looks great on paper, Sigma seems to be listening to photographers and making the adjustments to an already superior line-up of lenses.

I have now read about half a dozen reviews, most of them quite positive… So when Sigma asked me if I wanted to shoot with this lens, I jumped at it. I decided I wanted to take it for its first good workout in a real world environment… It is making the trek with me to Mongolia for the latest workshop at the Photographers Lounge.

During that workshop I will be posting images taken with the 120-300mm f2.8... I will be giving it a workout shooting the Naadam Festival, some birding photography and will see how it performs taking landscape and photos of the old monasteries...

Check back as I will be posting images here and on facebook between July 7th and 14th... then when I get home I will write up a summary of my first thought on this lens.

*update* All photos have been now posted on my facebook page https://www.facebook.com/kpeplounge and http://www.kpepphotography.com/Travel/Mongolia/30514346_r7dgfH#!i=2631949662&k=QfCFLFv

 

 

 

 

Making the right choice on your Photo Safari to Tanzania - Ten tips based on my experience

 

Africa is unique experience, one that should be experienced by everyone at least once in their life. I am blessed to have the opportunity to take groups to East Africa and watch their faces as they experience the sights and sounds of the Serengeti for the first time.

Watching the facial expressions when we come upon a herd of a few hundred thousand wildebeest, or seeing a family of Cheetah frolicking in the grass is what makes it all worth while for me...

From my last workshop in April of 2013 I am now left with memories that will last a lifetime, not just photos, but I will always remember the look on the face of a friend, Gary Simmons, as we sat in our luxury tent and listened to an elephant stomp and make loud vocalisations like it was on top of us... as if on cue when we started laughing, a large snap and crash occurred. The elephant had knocked over a tree not too far from our room. It was an experience that Gary will always remember... and frankly so will I...

The joy of being on a safari can only be achieved if your tour company and guide(s) are looking after the little things... and that's what I want to address in this blog post. Making sure your guide has thought about the little things to make your experience everything you expected... and, I hope to help you be better prepared.

 

1) How many people per safari vehicle?

This is a biggie for a photography workshop / tour... You spend significant time in a safari vehicle and this is where you will be taking 80% of your photos from.

 

Sometimes the amount of people per vehicle is overlooked. The vehicles, if your tour company has extended Land Rovers or Toyotas, has three rows behind the driver with a pop up roof. The ideal situation is 3 people per vehicle so that you have unobstructed views from both sides of the vehicle in your own row.

 

There is nothing worse than being on the left side of the vehicle and a lion pride is on the right side of the vehicle... and even worse, another body is beside you getting the great shots while you struggle to find room to shoot.

 

2) How often do you move lodges?

A safari, while a fantastic experience for any photographer, can be a busy trip. Lodges are scattered throughout the Ngorongoro Conservation Area and the Serengeti and the animals will move to follow the migration. Some are stationary, but many follow the migration.

 

Before you book, check how many times you move. Sometimes it is unsettling if you are constantly moving to different lodges. While its nice to see different areas of the parks, it can be tiring and you can feel like you are living out of a suitcase and always thinking ahead about the next move and not focusing on the sights and sounds you should be enjoying today.

 

A good tour company and guide will know where the animals are throughout the year and will put you in the right lodges to maximise your time there.

 

Hey, you may want to see more areas and do not care if you are moving every couple of days, and that's OK... just make sure you are aware.

 

But keep in mind, a lodge that is 25 miles away from another lodge is not like driving 25 miles in North America. The roads are dirt roads and 25 miles will take you an hour or two with not that many stops to take photos.

 

3) Transportation to and from Arusha to get to the game viewing.

Check to see how you will be getting to the Crater or the Serengeti. Usually you will drive out from Arusha with a stop in Arusha the fist night, a second stop closer to Ngorongoro Conservation area after a day of game viewing, then a final drive out to the Serengeti the next day.

 

I have seen some people drive straight from the airport and that can take half a day or more to get out to the Serengeti with straight driving. That is the last thing you want to do after your International flights.

 

My suggestion is to drive one way, fly the other way. There are a few airports right in the Serengeti that are close to the lodges that you will be staying at.

 

Check to see how you are driven to and from the game viewing areas.

 

4) Food and Drinks.

Most companies will accommodate you for any food requirements. My tours can accommodate vegetarians, Muslims and Kosher requirements. Some lodges will have set menus, others will give you options... so enquire before you go to make sure your meals are satisfactory.

 

Water, this is important. Check that lodges use bottled water for drinking and ask how they get their water for showers. And, what precautions they use to make safe.... I hate to bring up the negatives of being on safari, but be safe, and ask.

 

I have never gotten sick when I have been in Africa, but when I was travelling there before I lead workshops, I asked the questions before I sent.

 

5) Your African Guide.

The guides are all generally great. But make sure you are using a credited company that has been through some kind of schooling. You are literally putting your experience into the hands of a stranger. If they are not knowledgeable, sorry, but your trip could be ruined.

 

I use guides that have been trained, have significant guiding experience and know the little things that will add to your safari experience.

 

Now that I have found a few guides that have experience taking photographers around I am going to keep using them. They do the little things that make all the difference in the world. Positioning the vehicle so the sun is behind you... driving to the places they know the animals are at so we are there in optimal light and most importantly, know the characteristics of the animals so that they can alert you of any movement that you will want to photograph.

 

6) Before you travel... will your guide(s) prepare you for your safari.

There are anomalies and lessons that one can only learn by being in the environment. What gear do you really need, how many batteries should you take, how often will you be able to charge, is there Internet and phone coverage. Will they prepare you for what the voltage in Africa and how to safely use your North American or European electronics.

 

Then there are inoculations and travelling with camera gear... some cases are great for travelling with, and others are great for being there... which is best for you? Your guide or PRO photographer should be preparing you for your travel... why stress, ask the right questions and make sure you are prepared.

 

In regards to being medically prepared... what shots do you need, when do you get the shots, and how much are they? A tour company and guide will be able to get you this information well in advance of travel so you can have piece of mind.

One anomaly for example... If you fly straight to Tanzania it is not mandatory that you get Yellow Fever shots at the time that I wrote this blog... but if you fly through Kenya, or go to Kenya on your safari before entering Tanzania, you need a Yellow Fever shot... I would hate to see you show up at the border of Tanzania and not have that Yellow Fever shot because you didn't know you needed it.

 

7) Your PRO photographer guide... are they a shooter or a teacher?

I admit, as a photographer its easy to get carried away and shooting... and yes, even the PRO photographer guide will be taking photos while you are there... but the good pro photographer/teacher will remember why they are there... they are there for you. Without you, they wouldn't be there...

 

A good workshop will have teaching time in the vehicle and time set aside to do editing teaching. A good PRO photographer will prepare you before and during the workshop to make sure you are ready to get the shots. But they will also take the time during harsh light mid day, or after dinner to go through your images to give you some feedback.

 

Ask the question before you go... will you get one on one teaching? Will they teach you new styles of shooting that you may have never tried? Ask to see their images from Africa... this is your bucket list trip... you deserve to be lead by the best leader you can afford.

8) How much money do you need to take with you on your safari?
I would take $600 to $750USD with you for a week or week and a half safari. Your meals will be included and when out in the vehicle you should have your refreshments in a cooler, and included in your price. The only things you will have to buy are souvenirs for your family and friends and possibly your alcoholic drinks and soft drinks at the lodges.

But you will also need $50USD or $100USD once you land for a VISA. It will all depend on what country you are coming from . Your VISA payment needs to be in cash... so make sure it is handy when you get to customs in Tanzania.

You will also need lots of $1 bills. That is the standard tip amount and its always good to show up in Tanzania with $20 or $30 in $1 bills. Some lodges have a tip box that you tip before you leave, but some lodges do not have that tip box.

You may not believe in tipping, but that is how the workers really make their money... its up to you, but if you do want to tip, its better to be prepared.

9) Layovers while travelling to and from Africa.
Depending on where you are coming from there are different routes that will get you to Tanzania. You can fly through Amsterdam, London, Istanbul, Paris, Ethiopia and other various cities. From North America the most common routes are through Europe...

Next year for example... I will be headed back to run my next workshop in the Serengeti... I will probably fly through Amsterdam and take a day to go photograph the Tulips in Amsterdam during the April timeframe... for a couple hundred dollars, the experience is worth it while you are there.

Before you book, talk to your travel agent and see what your options are going to, or headed back from Africa.

10) Taking time to enjoy the experience
While we are all going on a photo safari to take photos... do not forget to sit back and enjoy the sights and sounds of Africa. Years from now when photos are forgotten, memories will still be there in your mind... Take lots of mental photos and keep those memories with you forever.

11) Price... my workshop is under $5000... as you compare workshops you will see that my price is far better than many other African Photo Safari's out there. I do not place high fees on my workshop and I work with the people on the ground to negotiate excellent accommodation for good prices.

Here are some photos we took on our last safari. Click Here
 

I also ask that you check out my next photography workshop in Tanzania. That workshop can be found here...

http://www.photographers-lounge.com/international-workshops/2014-workshops/tanzania-photo-safari/