Mongolia ~ virtually untouched and waiting for you to experience it through your lens.

After the breakdown of communist regimes in Eastern Europe in late 1989, Mongolia had its Democratic Revolution in early 1990. This then led to a multi-party democratic system, a brand new constitution in 1992, followed by the transition to a market economy. A Democratic nation in Asia was born…

Democracy has given foreign investors enough confidence to stick with Mongolia during the hard times in the last 20 years. Attractive investment laws have lured some huge investors from the mining world but despite their progression, Mongolia still faces enormous economic and social challenges and remains one of the poorest countries in Asia.

Since the fall of communism, Mongolia has done just about everything in its power to open itself up to the world to show that what is truly unique about this gem of Asia. It is not often you can visit a country where ancient traditions survive and the unbridled nature is still mostly intact and extremely accessible.

Tourism, along with mining and cashmere, have become a key feature of the economy. Unfortunately the poor infrastructure and short travel season have kept vacation revenues small. But a growing network of ger camps that cater to travellers seeking ecotourism adventures is growing and gives hope for tourism dollars.

Without the presence of private property to restrict a traveller’s movement, Mongolia is a perfect destination for photographers, horse trekking, long-distance cycling and hiking, and especially for camping out under a sprawling mass of stars. With such minimal light pollution, one feels like they can reach out and touch stars that, until a visit here, they never knew existed.

Most travellers come for Naadam, the two-day summer sports festival that brought me there earlier this month. The Naadam festival is held in the Mongolian capital Ulaanbaatar during the National Holiday from July 11 – 13. Naadam begins with an elaborate ceremony featuring dancers, athletes, horse riders, and musicians dressed in traditional ware. After the ceremony, the competitions begin.

Naadam is believed to have existed for centuries in one fashion or another. Its origin in the activities, such as military parades and sporting competitions such as archery, horse riding and wrestling originated in the beginning of the 13th century when the Yuan Dynasty was established.

As early as 1206, Genghis Khan held big gatherings on the grassland in order to inspect his army and to maintain and allocate the properties. The chief leaders of all the tribes were assembled, and the gatherings were held as a sign of solidarity and hope for an abundant harvest.

I brought a group here to spend 8 days in Mongolia. We are currently visiting numerous areas in the countryside and thoroughly enjoying the sights and the people before we head back to enjoy the Naadam festival. With special passes to allow us down on the floor where the athletes are, we are sure to capture some spectacular images.

But Mongolia’s unique charm will always lie in the countryside where, rather than being a spectator to the wrestling, you may find yourself in a vast expansive land, void of travellers, in the awe of an untouched landscape. One cannot help but feel humbled!

Outside the villages nomad families still roam and their relentless sense of hospitality can at times be nothing short of overwhelming. And it is genuine… and as uncomfortable as it may make some people, the generosity and decent human spirit is refreshing for someone like me that has travelled to many parts of this world.

Think of Mongolia as an Ice Cream Sunday made up of everything you want a photographic adventure… “Mix together the vast landscapes of one of the greatest deserts on earth with the dramatic gorges and sparkling fresh water lakes of Khövsgöl, apply the topping of the snow-capped mountains of Bayan-Olgi and sprinkle the ger tents and nomads with the odd cry of a Golden Eagle and you have a recipe that you will not ever forget. “

I am sorry you couldn’t make it this July for the 2013 Naadam festival… but I am headed back in 2014. Jim Zuckerman and I will be leading a group of photographer’s on a workshop to witness the Golden Eagle Festival and the Gobi Desert… Please join us on our Photography Workshop on September 30, 2014. To learn more please click here.

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

 

 

 

 

In 2014 I am headed to the best spot in the world to view the Northern Lights... Iceland

This coming winter is said to be the best time for a decade to see the Aurora Borealis, or ‘northern lights’... so I am headed to the best spot in the world to view the Northern Lights, Iceland.

 

Why? The event will be caused by the Solar Maximum - a period when the sun's magnetic field on the solar equator rotates at a slightly faster pace than at the solar poles. The solar cycle takes an average of around 11 years to go from one solar maximum to the next - varying between 9 to 14 years for any given solar cycle.

The last Solar Maximum was in 2000 and NASA scientists have predicted that this winter will be the greatest since 1958, where the aurora stunned the people of Mexico by making an appearance on three occasions. Scientists have stated that the 'Northern' lights could at least be visible as far south as Rome.

Possibly the most accessible, affordable place where you’ve got a good chance of seeing the lights is Iceland. Lying on the edge of the Arctic Circle, Iceland is only a three-hour flight from London and an hour shorter than a trip to England for those in North America.

It is possible to see the lights from Reykjavik itself, or head to the infamous Eyjafjajokull volcano to see them in a particularly dramatic setting. While you’re there, take a dip in the Blue Lagoon geothermal spa, an hour from Reykjavik.

Clothing: be sure you’re dressed for the occasion. This is not a party you’ll want to attend in a mini-skirt.  For winter aurora photography you want to dress warm… and warm from head to toe. For the hands, you’ll want gloves thick enough to keep you warm, but thin enough to allow you to operate your camera. Personally I prefer to forgo gloves and keep my hands in warm pockets between shots. Most of the time it works fine. If you’re averse to occasional frostbite, try a different approach.

Batteries: The temperatures of the far north take an enormous toll on battery life. My camera batteries last around 1,200 actuations in normal conditions, but in the arctic winter have become exhausted after as few as 50 frames. The conventional cold weather advice is to keep your battery warm by storing it in a jacket pocket while not in use. I recommend bringing multiple batteries and a charger, and rotating the batteries through the charging station when they’re not in use. If your aurora photography will take you far from the nearest well-stocked camera store, consider also bringing backups.

Tripods: Carbon fiber tripods are just wonderful. They’re light, and in cold weather can be carried without chilling your hands as much as metal would. In frigid temperatures, however, both the carbon fiber legs and the adhesive used to connect then to your tripod base can become brittle. Exerting substantial pressure on your tripod, particularly when its legs are buried in deep snow, can easily result in the amputation of a leg. If you’d prefer not to find yourself hundreds of miles from civilization, with only a 'two legged tripod' for support, be particularly cautious when planting your gear in deep snow.

Cameras and lenses: As noted above, weather-sealing is preferable. In part, this is to help prevent condensation from forming inside your equipment, when you move from a cold environment (e.g., shooting outside) to a much warmer space (e.g., into a heated car). Particularly for non-weather-sealed equipment, including most medium format cameras and lenses, it is essential that the cold-to-warm transition be made gradually. It only takes one misstep to generate trip-ending amounts of condensation inside your lenses or sensor. To help slow the transition, I transfer my equipment to a camera bag that has also been outside, and only after sealing the bag do I move the bag and its contents into a warmer space. The camera is then allowed to heat up, slowly and safely, within the bag. For even better protection, consider placing your equipment in an airtight enclosure, such as a Ziploc bag, during the thawing process.

But Iceland, while conjuring up images of frozen water dripping from your nose, is not as cold as one would think.

I am headed there in February of 2014. The weather in February is characterized by essentially constant daily high temperatures, with daily highs around 3°C throughout the month, exceeding 7°C or dropping below -3°C only one day in ten.

Over the course of February, the length of the day is very rapidly increasing. From the start to the end of the month, the length of the day increases by 3:04 hours, implying an average day-over-day increase of 6.3 minutes.

The shortest day of the month is February 1 with 7:03 hours of daylight; the longest day is February 29 with 10:07 hours of daylight. The earliest sunrise is at 8:36am on February 29; the latest sunset is at 6:44pm on February 29; the latest sunrise is at 10:10am on February 1; the earliest sunset is at 5:14pm on February 1.

Here is our itinerary for our workshop in February 2014…

February 5th - Arrival Keflavik airport

At  Keflavík, Tim and Kevin, will meet the group. We leave the airport and drive through the lava fields to our guesthouse in Reykjavík.
Dinner and overnight in Reykjavík

February 6th - Reykjavík Höfn Vatnajökull glacier

We start the morning by taking a one hour flight to Höfn, a small fishing village in the southeast of Iceland. The contrast in the nature of the Southeast is breathtaking, with spectacular black beaches and dominating white glacier Vatnajökull. Serenity, energy and forces of nature combine to make the region of Vatnajökull a never-to-be-forgotten experience. We will spend the day exploring the region and if we are fortunate, we will see the Northern lights dancing above the glacier.
Dinner and overnight in Smyrlabjörg guesthouse.

February 7th - Vatnajökull glacier – Jökulsárlón lagoon – Skaftafell

Today we will visit many of Vatnajökull’s outlets and outwash areas and the Jökulsárlón, a famous glacial lagoon full of icebergs, an unforgettable experience. The glacial scenery continues with a visit to the stunning Skaftafell, Iceland’s second largest national park were the landscape has been formed in thousands of years by different influences of fire and water (volcanic eruptions and the glaciers). Again the night skies present the possibility of northern lights.
Dinner and overnight at Icelandair Hótel Kirkjubæjarklaustur.

February 8th - Vík – Geysir – Gullfoss

We leave Klaustur and drive towards the coast to the basalt caves of Reynisfjara were we take a small walk on the black beach and have a view towards Dyrhólaey. We drive to the small but high waterfall Seljalandsfoss and walk the path behind it. On we drive to the world famous Geysir region, where hot springs are in abundance, such as the famous great Geysir which has given name to hot springs all over the world. We will see one of the most active geysers in the area, Strokkur, spouting up to 30 meters. From Geysir we drive to Gullfoss the Golden waterfall, one of the most impressive waterfalls in Europe. Here you can see thousands of tons of icy water thunder majestically down in a double-fall into a deep gorge. Again the night skies present the possibility of northern lights.
Dinner and overnight at Hótel Geysir.

February 9th - Pingvellir – Reykjanes peninsula

We leave the Geysir area and drive to Þingvellir national park. Þingvellir is a remarkable geological site, and the most historic place on the island, where the world’s oldest democratic parliament was founded in 930. We continue to the Nesjavellir geothermal area and on to the lava fields of Reykjanes peninsula.

More then half of the peninsula is covered with lava flows and you will see lava cones and craters of different sizes and shapes. We will walk where the mid Atlantic ridge rises from the ocean and head for the lighthouse on the westernmost tip of the peninsula. We continue to the small fishing village Grindavík and end in the Blue Lagoon, a unique man-made pool of geothermal water (37-39°C) in the middle of a moss-covered lava field. The Blue Lagoon is a combination of many factors, the most important being the origin of the geothermal seawater from 2.000 meters beneath the surface.

Dinner and overnight in Reykjavík.

February 10th - Departure from Keflavík airport

Transfer to Keflavik airport.

Included:

Transfer from/to airport upon arrival and departure
3 nights in a hotel in the country
2 nights in a hotel in Reykjavik
Full board from dinner on day one to breakfast on day 6
Flight from Reykjavík to Höfn
Boat trip on the Jökulsárlón glacial lagoon
Entrance to the Blue Lagoon and towel
Expert photographer guidance (Tim Vollmer/Kevin Pepper)

For more information, please visit http://www.photographers-lounge.com/international-workshops/2014-workshops/iceland-winter-wonderland/

I hope you can join us

Kev

Etiquette when working with a model

The first thing you need to do is find a model… where do you find a model without paying huge fees to a modelling agency? Kijiji, Craigslist or talk to other photographers in your area that use a model already.  I recently found a fantastic model that I will use time and time again on Kijiji. She had an ad on there saying she was looking for a professional model. If you live near me (Ontario, Canada) and you want a model that is absolutely "fantastic" contact Morgan (photo above) on her facebook page.

When you contact the model be specific about what your needs are. Remember, you do not know them and they do not know you. Lay out your requirements in detail so that they can make an informed decision on whether they want to model for you. It may sound like overkill, but you may want to do a boudoir photography shoot and they be uncomfortable with semi nudity or nudity.

The model release… this is as much about covering your butt as it is about the model protecting their reputation. Make sure the details are put in writing. What you will pay them, are you taking photos to build your portfolio in exchange for giving them images? Make sure that everyone enters into the situation understanding what both parties expectations are.

The environment for the shoot. You should make sure that you explain the environment to the model before the actual shoot. Where will the shoot take place, who will be at the shoot, is it private, in public etc… A word of advice. Have an assistant there for the shoot. It is always better to have someone there with you when working with a model… I may even go as far as suggesting you bring your girlfriend or wife if you are shooting a female model, or bring your husband or boyfriend if you are a female shooting a male model.

Working with the model. Never EVER take liberties when touching a model. Always ask for permission before you touch a model. “Can I move your hand?”, “Can I position your head the way I want?”

If you are working with a model for the first time this will help you gain repore and in the end get you the images you want… maximize the time you have the model for.

When the shoot is done make sure you follow through with what you promised. Models know other models and word will spread fast that you do not follow up on your promises…

I hope that gives you some useful information when shooting models… as for technique, well that is another post… LOL

Thanks for reading,

Kev

Costumes, Props and Accessories for your Studio Photography

Something that is often overlooked and you might not think to include is placing props into a photo… take this photo above… if I just shot Morgan standing there it would have been just another photo. But taking that black shower curtain and draping it over her head added a new dimension and gave the photo a voice… that photo now has emotion and evokes a sense of peace.

So consider scouring through your house and consider picking up a bunch of props. If you take portrait photos for clients in your studio, having props there make the situation a less boring process for many people and having silly stuff for them to dress up and play with can be a great way to loosen everyone up and inject a little fun into the situation. Even if the ultimate goal of the shoot is a serious portrait, starting off with some funny props encourages your subjects to relax, become comfortable with you and be themselves.

You’ll also want to consider some more practical props as well. Such as a few pieces of stylish furniture you can quickly move in and out of the scene. Anything you can do to break the typical mould of studio photography will help your photography stand out.

If you are just shooting for your portfolio and for the experience of taking photos… take a trip down to the local costume shop… they have an abundance of costumes and cheap accessories you can pick up to enhance your photos. I am doing that next week. I will be picking up a replica dress from the movie, "The Seven Year Itch" and photographing a model with a fan placed beneath her so we get the blown dress look. While the photos are for a client, I also intend to have a little fun and try some new ideas.

Check back tomorrow when we address the main subject of your studio set up… lighting. There are a variety of lighting options, each coming with a different price tag and allowing you the creative control that will separate your images form the average photographer.

Please check out our lighting workshops that we hold 8 times a year. http://www.photographers-lounge.com/canadian-workshops/lighting-workshop-series/

Studio Backdrops and Backdrop Stands for Your Home Photography Studio

Backdrops are an important part of any photo that one is taking of a model or product. You want the focal point to be the model, not the clutter of a background... uneven colors, objects, bright lights. etc...

Any good studio has a few backdrops to take photos against. It’s probably a good idea to avoid Wal-Mart type photographic backdrops and instead opt for something simpler. Solid colors work, as well as something with a small amount of texture.

Backdrops commonly come in a variety of different materials and textures including muslin (cotton), canvas, vinyl, or just plain old paper. The cheapest versions are obviously the paper backdrops and typically start around $30.

If you want to go a little more professional, you can typically expect to spend $100-$150 on a tougher and more interesting material backdrop. Photoflex carries a variety of backdrops that you can see here.

You can get a decent backdrop kit complete with stands and carrying case from Photoflex for around $269. It’s called the “Photoflex First Studio BackDrop Support Kit”

Of course, to start off you could take the poor man route and grab a bed sheet or some butcher paper and build a stand out of PVC pipe, but I tend to lean to a manufactured set-up. They are easy to use, will not fall apart like an ad-hoc set up and will hold a multitude of back drops… plus they are collapsible and portable. (Remember what I said in the last post about storage and space in your studio in the home?)

Come back tomorrow when we are talking about softboxes, umbrellas and other lighting accessories.

10 days of Lighting Tips and Tricks

For the next 10 days I am going to be re-posting some great tips and tricks on various subjects pertaining to lighting, shooting styles and setting up a home studio...

Yes, some will be a bit more technical, but most of my blogs will be short, informative and full of great information that will inspire you to grab some light sources, create emotion with some shadows and just have some fun...

Happy shooting everyone!!!

Kev

Species Spotlight - Kori Bustard

Kori Bustard in the middle of a mating call.

The Kori Bustard is cryptically colored, being mostly grey and brown in color, finely patterned with black and white coloring. The ventral plumage is more boldly colored, with white, black and buff. The crest on its head is blackish in coloration, with less black on the female's crest. A black collar at the base of the hind-neck extends onto the sides of the breast. The feathers around the neck are loose, giving the appearance of a thick neck. The belly is white and the tail has broad bands of brownish-gray and white coloration. The head is large and the yellow legs are relatively long. Females are similar in plumage but are much smaller, often weighing 2-3 times less than the male. The juvenile is similar in appearance to the female, but are browner with more spotting on the mantle.

The male Kori Bustard is 120 to 150 cm (3.9 to 4.9 ft), stands 71–120 cm (2.33–3.9 ft) tall and have a wingspan about 230 to 275 cm (7.5 to 9.02 ft). On average, male birds weigh between 10.9–16 kg (24–35 lb), averaging 13.5 kg (30 lb) but exceptional birds may weigh up to 20 kg (44 lb). Reports of outsized specimens weighing 23 kg (51 lb), 34 kg (75 lb) and even 40 kg (88 lb) have been reported, but none of these giant sizes have been verified and some may be from unreliable sources. Among bustards, only male Great Bustards achieve similarly high weights, making the male Kori and Great not only the two largest bustards, but also arguably the heaviest living flying animals. The female Kori Bustard weighs an average of 4.8 to 6.1 kg (11 to 13 lb), with a range of 4.3 to 6.6 kg (9.5 to 15 lb). Female length is from 80 to 120 cm (2.6 to 3.9 ft) and they usually stand less than 60 cm (2.0 ft) tall and have a wingspan of less than 220 cm (7.2 ft). The wing chord can measure from 58.5 to 83 cm (23.0 to 33 in), the tail measures from 30–45 cm (12–18 in), the culmen from 7 to 12.5 cm (2.8 to 4.9 in) and the tarsus from 16 to 24.5 cm (6.3 to 9.6 in). Body size is generally greater in the populations of southern Africa and body mass can vary based upon rain conditions.

Behavior

Kori Bustards spend most of their time on the ground, though can forage occasionally in low bushes and trees. Being a large and heavy bird, it avoids flying if possible. This bustard is a watchful and wary bird. Their behavior varies however, and they are usually very shy, running or crouching at the first sign of danger; at other times they can be completely fearless of humans. This large bird has a loud, booming mating call which is often uttered just before dawn and can be heard from far away. Locally, they are regularly found with bee-eaters riding on their backs as they stride through the grass. The bee-eaters make the most of their walking perch by hawking insects from the bustard's back that are disturbed by

The male's mating call a deep, resonant woum-woum-woum-woum (Ginn et al. 1989) or oom-oom-oom (Sinclair & Ryan 2003) or wum, wum, wum, wum, wummm . This call ends with the bill snapping which is only audible at close range. They also utter a ca-caa-ca, repeated several times for up to 10 minutes. This call carries long distances. Outside of the breeding display, Kori Bustards are often silent. A high alarm call, generally uttered by females, is sometimes heard. They utter a deep vum on takeoff.

Information from Wikipedia

Food that you eat on an african safari

 

One question that I often get from clients booking their African safari with the Photographer’s Lounge is what is the food going to be like on Safari?

The food is fresh and tasty. Our chefs will cook you some amazing meals with basic equipment. think hot and fresh breads + beef and veggie mishkaki [barbeque] using a coal grill + organic salad plucked from the garden right around the corner.

All food is well prepared. Our well trained camp chef and crew will come up with gourmet meals in the middle of the bush. They really want you to enjoy their culinary experience.

We can also easily accommodate any vegetarian requirements and any Halal requests.

On Safari you normally start off your day with a wake-up call. You can start really early should you have chosen to go on a sunrise morning game drive or morning walking Safari like you can do most days. On these days, our breakfasts are prepared and stored in a lunch box so we can eat at our leisure from a location out in the conservation areas… we eat amongst the roaming herds of animals and enjoy the sights with our fresh brewed coffee, tea and food.

If you choose to stay back in the morning, You will sit on your lovely patio and have your cookie or biscuits as we say and sip your hot cuppa tea or coffee listening to the sounds of the wild and watching the sun rise. A perfect morning on Safari!

A good breakfast to start off the day full of adventures. You are going to have an array of options. Cereals, variety of juices, eggs with warm bread sometimes cooked in the bush for a bush breakfast, bacon and potatoes and more.  Nothing like having the most important meal of the day with a great view in the Serengeti.

Game driving is tough! Our vehicles carry water, soft drinks, juice and snacks which you can enjoy during your game drive. In some areas, you can stop, set a table and enjoy your snack with the animals close by. Don’t worry. Our guides will choose an open area away from the thick bushes. Prepare to enjoy your mid-morning or afternoon snack.

For lunch, again we have our lunches premade if we are out on safari… The food is fresh, kept in a refrigerator in the vehicle and we place out a picnic table to serve you your lunches from different areas while we are out on safari.

Dinner time is always the best time. Together we sit back, discuss the events of the day over a chilled glass of wine or the drink of choice. We chatting with other Safari goers or share a meal with the camp manager and share stories that go beyond the parks you are visiting.  Bush dinners are also available for those who want a private dinner or just want to sit under the stars. Bon appetite!

Then tomorrow, the wonderful cycle begins again.

Please join us in April of 2014 when we return to the Serengeti and Ngorongoro Conservation area. See the details here... http://www.photographers-lounge.com/international-workshops/2014-workshops/tanzania-photo-safari/

East Africa Species Spotlight - Vervet Monkey

 

This small, black-faced monkey is common in East Africa as it adapts easily to many environments and is widely distributed.

Physical Characteristics

The different types of vervets vary in color, but generally the body is a greenish-olive or silvery-gray. The face, ears, hands, feet and tip of the tail are black, but a conspicuous white band on the forehead blends in with the short whiskers. The males are slightly larger than the females and easily recognized by their turquoise blue scrota.

The vervet is classified as a medium-sized to large monkey-males weigh up to 17 pounds. Its tail is usually held up, with the tip curving downward. Its arms and legs are approximately the same length.

Habitat

In East Africa these monkeys can live in mountain areas up to about 13,000 feet, but they do not inhabit rain forests or deserts. Their preferred habitat is acacia woodland along streams, rivers and lakes. They are diurnal, sleeping and eating in trees from which they seldom venture.

Behavior

Complex but stable social groups (also called troops) of 10 to 50 individuals mainly consist of adult females and their immature offspring. Males move freely in and out of these groups. Within the troop, each adult female is the center of a small family network. Females who have reached puberty generally stay in the troop.

Grooming is important in a monkey's life. Vervets (as well as most other primates) spend several hours a day removing parasites, dirt or other material from one another's fur. In the primates' hierarchy, dominant individuals get the most grooming. The hierarchical system also controls feeding, mating, fighting, friendships and even survival.

Diet

Leaves and young shoots are most important in the diet, but bark, flowers, fruit, bulbs, roots and grass seeds are also consumed. The mainly vegetarian diet is supplemented with insects, grubs, eggs, baby birds and sometimes rodents and hares. Vervets rarely drink water.

Caring for the Young

Infant vervet monkeys are suckled for about 4 months. When they become adept at feeding themselves solid food, the weaning process begins, although it may not be completed until the vervet is 1 year old.

Close social bonds with female relatives begin to develop in infancy, relationships thought to endure throughout life. Infants are of great interest to the other monkeys in the troop; subadult females do everything possible to be allowed to groom or hold a new infant.

After a birth, the mother licks the infant clean, bites off the umbilical cord and eats the afterbirth. The newborn has black hair and a pink face; it will be 3 or 4 months before it acquires adult coloration.

The infant spends the first week of life clinging to its mother's stomach. After about the third week, it begins to move about by itself and attempts to play with other young monkeys. Vervet mothers are proprietary in the treatment of their babies, and some will not allow young or even other adult females to hold or carry them. Others gladly leave their infants in charge of any interested female. Researchers report that usually a female's close family members will have the most unrestricted access to the babies. As the infants grow, they play not only with monkeys but with other young animals. Young vervets chase one another, wrestle, tumble and play "king-of-the-castle," taking turns pushing each other off a high perch.

Predators

Vervets rarely venture further than about 500 yards from the trees, since they are vulnerable to a variety of predators, including leopards, caracals, servals, baboons, large eagles, crocodiles and pythons. Though they usually confine contact calls to chirping and chittering, vervets scream and squeal when in danger.

Did you know?

Vervet monkeys living near areas inhabited by people can become pests, stealing food and other items and raiding crops. Good climbers, jumpers and swimmers, they often elude capture.

In sexual and dominance displays vervet monkeys run the gamut from shaking branches and jumping around to making a hard 'kek-kek-kek' sound to mark their territories.

 

This is just one of hundreds of species we see on our Tanzanian Photo Safaris... Join us in April 2014 for our next Serengeti safari workshop. http://www.photographers-lounge.com/international-workshops/2014-workshops/tanzania-photo-safari/

 

2014 Photography Workshop Schedule

My 2013 Photography Workshops are almost all sold out... there are only spots remaining on my workshop with Deb Sandidge in Northern Ontario and my workshop with Len Silvester in Venezuela in October

I have been refining my 2014 photography workshop schedule over the last 45 days and wanted to get the information out so you could arrange your holidays and plan your 2014 travel. I thank you all for your patience and I hope to see you out on one of our workshops in 2014

February 2014 - Iceland
We will be headed back to Iceland, but this time to focus on icebergs and the northern lights as they dance over our heads.

April 2014 - Tanzania
Its our annual trip to the Serengeti and Ngorongoro Conservation Area in Tanzania. We stay in and around the Wildebeest migration just after the calving season and follow the predators as they follow the migration.

July 2014 - Provence and Paris
This is a semi-private workshop with only space for four photographers. Right now there are only two spots left as we spend half a week photographing lavender and the Camargue horses before we head north to capture the city of lights and love.

Details to be announced on my website in May 2013.

August 2014 - Tofino, British Columbia
Tofino is on the west coast of Vancouver Island. We are headed there in that magical time when the seasons change and the sea fog creates a special environment that all photographers will never forget. This year we are headed to Tofino with Ellen Anon.

September 2014 - Paris, France
This will be my 8th time in Paris and I never get tired of walking through the streets and capturing the essence of the Parisian sights and sounds. This year we are visiting Paris after the crowds die down and the fall colors begin to peak through in the parks. I hope you can join Denise Ippolito and Deborah Sandidge as I spend two weeks in Paris in 2014.

October 2014 - Mongolia
Golden Eagles, traditional dress, mountains, Jim Zuckerman and the Gobi desert... a great recipe for a fantastic workshop in Mongolia. This is going to be my return visit to Mongolia as I have a workshop that is set to go in July of 2013 to see the Naadam Festival.

November 2014 - Bald Eagle Workshops Columbia
I lived in this area and I shake my head that I ever left... its a photographers playground. We will be running workshops during the Bald Eagle migration as they flock to feed on the migratory salmon in the Fraser Valley.

Date Unknown - Venezuela
This will be another return trip to Venezuela as we visit Lake Maracaibo and the Andes Mountains. We will be focusing in on the wildlife, birds, butterflies, landscapes and the natural wonder of the Catatumbo Lightening.

We are planning on the September and October time frame. Please contact me if you are interested.

In addition to eagles, seals, bears and other birds of prey, the opportunity for some fantastic British Columbia mountain landscape photography will surround you no matter where we go.

I hope you consider joining me and my fellow photographers. 2014 is looking to be a great year as we visit some amazing destinations.

To learn more about my workshops, to see pricing and exact dates, please visit, www.photographerslounge.net

Contact me at kevin@photographers-lounge.com if you would like further information than I have put on my website.

Preparing for an "African Photography Workshop"

 

As I sit back and reflect on my 9 day trip to Tanzania, I am left with memories so vivid I still feel like I am there in the safari vehicle on the Serengeti plains. It was there where I first noticed a herd of wildebeest off in the distance. From my seat they appeared to be trees on the landscape as far as the eye could see. But as we drove closer, what I thought were trees on the edge of the Acadia woodlands turned into the form of wildebeest. I realized that I was witnessing one of the world’s most spectacular migrations … the wildebeest migration.

As we approached the large herd we slowed our vehicle and entered. Like magic they parted and closed in behind as if to welcome us as one of their own. It is then that we stood from our seats and peered out of the open canopy, cameras still at our sides and silently scanned the landscape in all directions. As far as our eyes could see, wildebeest and zebra grazed on the open fields and we realized we were witnessing one of the sights we had all dreamed of.

Our guide, Emanuel, estimated the herd between 400k and 500k and was probably the main herd of the migrating 1.5million animals that make this annual trek from where we were, westward over the Grumati River and then north for the infamous Mara River crossing and into Kenya before their return for the calving season near the eastern border of the Serengeti and Ngorongoro conservation areas.

Slowly we lifted our cameras into position, me, a camera body with my Sigma 150-500 and a second camera body with a Sigma 12-24mm wide angle lens. That is when the action started. As if on cue, the silence turned to the sound of shutters firing and joyous sounds from all 5 of us as we captured the animals jumping and moving in all directions. The more they moved, the more excited we got, the faster the animals began to run in different directions.

This stirred the wildebeest even more... from a slow and steady movement, they turned to erratic movement and panic shrouded in a cloud of dust as they tried to escape an unknown foe, our land rover.

This is what a visit to Tanzania is all about. Appreciating the incredibly beautiful and diverse African landscapes that have formed long before man could even measure time and admiring the animals that dot this amazing landscape as merely a perfect decoration to this ancient land.

As photographers though, we were also there to come home with amazing photos. Preparation and executing playing a huge role to achieve that goal. So how do you prepare yourself and your gear to get the photos of a lifetime, and how to you make sure you execute in the moment?

One – A ritual of cleaning lenses and the camera, making sure you have enough batteries and memory before you leave and making sure the camera and gear are in good working order is something that should be done constantly. This should be done before you leave for the safari drive and a few times throughout the day.

Two – Constantly check your exposure throughout the day. The weather conditions can change constantly during the day and if you shoot in manual, the light is far different in the morning than it is at mid-day. Making constant adjustments will ensure you do not get drastically under exposed or over exposed photos.

Three – Take the right gear with you. There is nothing worse than realizing that your telephoto lens was not long enough or too long. Have a range of lenses with you. I take a few different lenses that range from 12mm to 500mm and a few camera bodies to make sure I have the correct lens for the situation.

Four – Care of your gear in harsh conditions. On a safari you will be driving in a vehicles with large windows and an open roof. Sun and dust are not a friend of camera gear. When not using your camera and lenses make sure they are stored safely on the seat beside you and cover them with a blanket to keep the sun and dust off of them. On my safari’s my attendees get a row to themselves with two seats. One to sit in and the other to place their camera bag to store gear and make it readily accessible.

 

Five – Ask your guide and accompanying pro photographer questions. Both should be a wealth of knowledge on animal behaviour and how to maximize photography opportunities that you will see on a safari. I have a guide, Emanuel that use exclusively. He is a wealth of knowledge on animal behaviours and all the species we encounter and I am always available to help the workshop attendees how to get the angles and shots that they dreamed of capturing on a safari. Emanuel and I also work together to make sure that the vehicle placement maximizes the  natural light and proper backgrounds to make your photo subjects pop from the image.

Six – Take as many photos as you can from all different points of view. This is the digital age, it does not cost you to take 100 photos of an animal sitting there. You never know when a lion will yawn, or a hippo will bolt from the water, mouth gaping open and thrashing in the water.

Seven – Go through your photos every day with your workshop or tour leader. That one on one time at night back at the lodge is invaluable for your learning experience. Having constant feedback in the environment will only make you better every day.

Eight – Practice before you leave for your safari. You will be doing a lot of hand holding of your telephoto lenses. Practicing stabilizing the camera and shooting moving animals will make you a better photographer before you step foot in Africa.

Nine – Do your own research on animal photos before you leave for your safari. We each have our own styles and only you can take that photo… your guides and PRO photographer can put you in the right location and give you all the advice they can, but at the end of the day, it’s all up to you to click that shutter and get that shot of a lifetime.

Ten – Go with a company that is experienced and offers more than just a trip. While the trip itself is great, make sure they think about the little things… water for long hot days, safe environments to stay in, airport pick up and drop off to make sure you and you gear are safe. These little touches are often overlooked and can have a large impact on your African experience.

I hope you can join me on one of my workshops. They are a great learning environment and we always have lots of laughs.

See my workshops here… http://www.photographers-lounge.com/international-workshops/

See my next African Safari here..  http://www.photographers-lounge.com/international-workshops/2014-workshops/tanzania-photo-safari/