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FirstLight Namibia 2022 (finally)

lephant feeding in Chobe River
Oly E-M1 MkIII 8-25mm

After two years, two postponements, we finally accomplished our FirstLight Namibia Photo Expedition.  Three times we’ve done a FirstLight event there, in addition to several assignments in that incredible country, simply reinforces how much I love Namibia. I’m sharing several photos from this most recent trip, with caption and camera info below them. 

Egret on Chobe River
Oly E-M1X 150-400mm 1/100th @f4.5

We’re looking at another Namibia Photo Expedition, intended for 2024, and we’ll update accordingly. 

Victoria Falls

This Expedition started when we flew into Victoria Falls, then a couple of days later, went by road to Botswana where we spent three nights aboard the Pangolin houseboat. From there, we picked up our aircraft in Kasane, Botswana, flying to and clearing customs in the Namibian town of Katima Mulilo. A short flight then took us to the Tsumkwe region and our destination, Nhoma Safari Camp.

Hippo and calf, Chobe River
Oly E-M1X 150-400 lens
Elephant on Chobe River dislodging egret from its back Oly E-M1X 150-400

Our three nights on the houseboat were just about perfect. Our group, we sadly lost one couple due to Covid, took the entirety of the 5 cabins, and having that proximity from the boat to the wildlife in the Chobe River area is astounding and wonderful

Male lion on Chobe River at dusk
Oly E-M1X 150-400 1.17th second f4.5
Lion drinking on Chobe
Oly E-M1X, 150-400 lens, 1.17 seconds, 3200ISO
Three female lions by Chobe River
Oly E-M1X 150-400mm lens
White-fronted bee-eater (Merops bullockoides)
Oly E-M1X 150-400mm, 1/2500th second f5.6
On the banks of the Chobe River.
Oly E-M1X 150-400mm
Elephant family crossing the Chobe River
Oly E-M1X 40-150mm f4 lens
On the banks of the Chobe River
Oly E-M1X 150-400mm lens
Approaching the Pangolin Houseboat
Olympus E-M1 MkIII 8-25mm. 1/13th second f4.5

The Nhoma Camp abuts the Ju/’hoan Bushmen (or San) village of //Nhoq’ma. These peoples are one of the oldest continuous habitation sites in Africa. Living in traditional ways, modern conveniences are pretty much shunned, with a intent to live true to their history. We were fortunate to see a “healing ceremony”, an amazing event held around a campfire.

Chief of the Ju/’hoan tribe at //Nhom’a village during healing ceremony
Oly E-M1 MkIII 17mm f1.2 lens
Healing Ceremony dance
Oly E-M1 MkII 8-25mm lens
Foraging hike with Ju/’hoan people, working on a bee’s nest for honey
Oly E-M1 MkII 8-25mm
Primitive tool to cut into tree and bee’s nest for honey
Oly E-M1 Mk III 40-150mm f4

The ability to observe and document events like this, in a culture that has not been westernized or isn’t the product of globalization, is what I’ve always loved about my world of photography: the ability to get to step into someone’s life or culture, while it is still relatively “pure”.  I think those fading cultures are disappearing at rate to equal the loss of rainforests. What an amazing opportunity to see and meet these people. 

Two nights in Nhoma, then on to the Palmwag Airstrip in Damarland and the Grootberg Lodge. With one of the steepest driveways in any guest facility, the Grootberg overlooks (splendidly)the Klip River Valley. 

View from Grootberg Lodge & Kip River Valley
iPhone
Himba boy in village near Sesfontein
Oly E-M1 MkII 8-25mm
Himba woman emerging from her hut
Oly E-M1 MkII 40-150mm f4
Himba kids working the goat herd
Oly E-M1 MkII 8-25mm
Himba woman in hut, using smoke from burning spices as aromatics
Oly E-M1 MkIII 8-25mm f4

This was our base of operations to visit the Himba village, which was close to the small town of Sesfontein. One of the major things of love about our FirstLight Namibia Expedition is the cultural component: along with the Ju/’hoan people, the chance to spend time in a Himba village is a rare treat. A nomadic people, the Himba encampments are rarely permanent. In our original plan we hoped to visit the same village we’d been to in 2018, but those folk had moved. So, change of plans that were put in place just a couple of weeks before the Expedition led us a new site.  Fascinating as always, the experience impacts one thoroughly. 

From 2 nights at the Grootberg, it was on to one of our favorite places anywhere, Rhino Camp. Set in the desert of the Palmwag Concession, the lunar landscape is stunning. The Lodge is wonderful as well, luxury tents with a central dining area, our first night’s dinner was by the pool (that is a pretty liberal description, more like a plunge pool, or maybe a very large tub?). Early and late drives thru the area is built around the stunning landscape, something we’ve never tired of. 

The Palmwag Concession was far more lush than previous years
Oly E-MX 150-400mm
Early morning vehicle safari
Oly E-M1 MkIII 40-150mm f4
Driving through the Palmwag Concession
Oly E-M1X 40-150mm f4
Mountain Zebra in the Palmwag
Oly E-M1X 150-400mm
Late day drive across the Palmwag Concession.
Oly E-M1MkII 8-25mm f4

            Two nights in Rhino Camp that went too quickly, we then flew on to Swakopmund, a small city on the Atlantic Coast (also known as the Skeleton Coast) for a lunch, then back to our Caravan aircraft for the flight south, then inland to Namib Naukluft National Park for three nights at a beautiful desert lodge, Dead Valley Lodge. Located within the boundaries of the Park, this allows early morning departures for the sand dunes at Sossusvlei or staying until sunset in the dunes, as other lodges outside the boundaries cannot enter the Park until sunrise and have to exit before sunset. 

            I’m always astounded by the quality of light in this place: an enveloping ambience of umber to orange to red light (light is not proper to describe this, it simply is everywhere) it almost exhausts one as looking not only for photo opps, but simply absorbing the beauty of the scene.  Each early morning and late afternoon, we’d get into our Landcruiser’s, and make the hour-long drive to the dunes. 

An Oryx in the Sossusvlei dunes
Oly E-M1X 150-400mm
An Oryx in the Sossusvlei dunes
Oly E-M1X 150-400mm
Dunes & animal tracks in Sossusvlei
Oly E-M1X 150-400mm
Dunes in Sossusvlei
Oly E-M1X 150-400mm
Driving back from Sossusvlei
Oly E-M1X 150-400mm

            When in these visually overwhelming places, the question is often asked: why don’t you put your camera down and enjoy the scene? My response is that a good photographer absolutely sees the beauty of that place, and I find the camera takes me that much more deeply into what is magical about that place and moment. The job of a photographer is to make sense of the chaos that is often in front of the camera. Sometimes it’s very obvious, often it forces the photographer to “define” what is so appealing.  One more reason I love photography: the problem-solving aspect of the craft.

Ghost town, former diamond center of Kolmanskop
Oly E-M1 MkIII 8-25mm
Interior of ghost town building in Kolmanskop
Oly E-M1 MkIII 8-25mm
Late afternoon train passing Kolmanskop
Oly E-M1 MkIII 40-150mm f4

Ghost town, former diamond center of Kolmanskop
Oly E-M1 MkIII 8-25mm

            So, we finally wrapped up our Covid delayed adventure. It was stressful from when we first had to postpone this adventure way back in early 2020. An attempt to reschedule to April of 2021 bit the dust, but things came together in 2022.  Thanks to all our participants, sorry for the disappointments several experienced, and here’s hoping to the future!!



Fire, Ice, and Penguins??!!

Ship visitor
Olympus E-M1X, 12-100mm F4

I recently returned from a fantastic photo (and life) event: three weeks as the National Geographic Photography Expert/Lecturer on one of their Expedition ships.  Three weeks in Antarctica, South Georgia & the Falklands (Islas Malvinas).  

Approaching S Sandwich Islands
Olympus E-M1X, M.Zuiko 40-150mm F2.8 w/MC-20

There’s an old saying that one goes to Antarctica for the penguins, then stays (and returns) for the ice.  Quite true, and a place that has additional characters beyond those incredible, lovable, and comical penguins, including Leopard seals, Elephant seals, Fur seals, the list does go far beyond the most popular star, the penguins.

South Georgia, a 1 ½ day sail across the Southern Ocean, from the Antarctic Peninsula to one of the most remote island groups in the world, reveals a stunning landscape of majestic peaks fringed with massive penguin colonies. How can you photographically go wrong with that combination? 

Tabular Iceberg
Olympus E-M1X, M.Zuiko 150-400mm F4.5

And the Falkland Islands (Islas Malvinas) are a place that never fails to provide stunning contrasts of the Tussock grasses, beautiful beaches, a landscape that reminds me of the Highlands of Scotland…and more penguin photographic possibilities if you’ve not had enough (and one never does). Add to that mix the world’s largest Black-browed albatross colony, found in the Falklands on Steeple Jason Island. The Falklands are beautiful.

Then, let’s go overboard and add two celestial events during my time there: First, an other-worldly lenticular cloud that turned a beautiful evening in South Georgia into a-stretching flow of incredible color and shape.

Lenticular Cloud over S Georgia
Composite of 6 images

The second, and maybe the ringer; a full solar eclipse that rose from below the horizon like an albino shark’s fin and provided a start-to-finish visual extravaganza before disappearing into the clouds that concluded the eclipse just as it finished its magic. 

Resembling a shark’s fin, the partially eclipsed sun appears to rise out of the ocean
Olympus E-M1X, M./Zuiko 150-400mm f4.5
The eclipse further in progress
This series shot with Olympus E-M1X, M.Zuiko 150-300mm f4.5

Having a concentration of great wildlife and landscape opportunities can be almost overwhelming: I think the photographer’s task is to make sense out of chaos (such as a million penguins in one spot!) or to visually find & define the beauty in a location. 

Near Coronation island, Chinstraps launch into ocean
Olympus E-M1X, 15-400mm lens

I want to discuss equipment and the process of photographing the “Natural World.”

On this trip, and as a usual complement of my Olympus gear when traveling to wildlife-rich areas, here’s a list of what was in my roll-aboard I carry on the plane:

2-Olympus E-M1X camera bodies

1-E-M1 MkIII camera body

1-E-M1 MkII camera body.

            I carry these bodies, as I like having one, dedicated camera on which I mount the M. Zuiko 150-400mm F4.5 This combo is my main wildlife (and some scenic’s) lens, a phenomenal lens that I’m looking forward to using in other critter-rich environments. Africa!!!

            The second “X” I’ll use wth the M.Zuiko 12-100mm F4 PRO lens. So, between those two lenses, I have a reach of super-wide to super-telephoto, with C-AF TR with bird mode enabled.

            Or, I’ll use the M.Zuiko 8-25mm F4 PRO lens on my second body, often with the M.Zuiko 40-150mm F2.8 PRO lens.  It really depends on subject matter available. 

Black-browed albatross, new Island, Falklands (Islas Malvinas)
Olympus E-M1X M.Zuiko 150-400mm f4.5

On Expeditions which offer underwater possibilities, I also carry, in a separate, hard-shelled water-proof case, an Olympus PT-EP14 Underwater housing for an E-M1 MkII. I love using the M.Zuiko 7-14mm F2.8 PRO lens in this housing, as it gives me the really wide look, which can be critical when shooting in waters with less-than-stellar visibility. When shooting stills under water, the maximum distance you can effectively shoot is about 1/5th the distance you can see, so I like waiting until my subject is close to my housing. My travel case then becomes the safe place for my E-M1X and E-M1 MkII when traveling from ship to shore in a Zodiac raft, in often boisterous and wet conditions. This provides great and immediate protection for my gear as I can open it quickly, grab the camera for a photo opp, and put it back in for protection from waves that often come over the bow.  

Battling Upland geese, New Island
Olympus E-M1X M.Zuiko 150-400mm F4.5

Landscape and scenic, the equipment list may waver slightly. I’ll often use the E-M1X just in case the errant bird flies through the scene, always great to be ready! The E-M1 MkIII is also a great camera for these purposes, and I’ll throw in an additional couple of choices: If hiking or really wanting to reduce the amount of gear I’m carrying, I’ll often opt for the E-M5 MkIII and/or the E-M10 Mk IV. Both are a pleasure to carry in a backpack, and both still retain the incredible Olympus “look”.  Lenses to match this “smaller is better” thinking include the series of f1.8 fixed lenses: the 17mm, 25mm, 25mm, and 75mm, and toss in there the 12mm f4 and you cover a TON of visual bases. Or, consider the 12-45mm f4 zoom. A favorite if I’m doing street photography and/or want to minimize my “visual presence.” If wanting a bit more reach, the 14mm-150mm f4-5.6, gives you just enough reach to consider for wildlife. 

Penguins on iceberg, Weddell Sea
Olympus E-M1X M.Zuiko 150-400mm f4.5

            In either of the above-mentioned lists, I always find space in my roll-aboard for one (or all, shoot-dependent) of the stellar Olympus PRO f1.2 lenses. Wonderful Bokeh, and incredibly, incredibly sharp. 

            So, I’ve gone over equipment for that outdoor world. I also carry a few filters with me: a warming polarizer (always purchase the filter larger than the largest diameter lens on which  you expect to use it, I like using step-up rings so the filter can’t cause any vignetting) In my case, I also carry a Neutral Density Grad filter, for those occasions when the sky is simply top bright for any camera’s dynamic range to capture that extreme light. 

            I’ve included caption and camera info on each photograph. 

Interior of iceberg, near Orne Harbour, Antarctica
Olympus E-M1X 12-200mm f3.5-6.4
King Penguin colony, St Andrews, South Georgia
Olympus E-M1X M.Zuiko 150-400mm f4.5
King Penguin colony, St Andrews, South Georgia
Olympus E-M1X M.Zuiko 150-400mm f4.5
Neko Harbour, Antarctica
Olympus E-M1X M.Zuiko 12-100mm F4
King penguin molting chick, Gold Harbour, South Georgia
Olympus E-M1 MkIII M.Zuiko 8-25mm f4
Penguins “porpoising”, Cooper Bay, South Georgia
Olympus E-M1X M.Zuiko 40-150mm f2.8 w/MC-20
Skua, St Andrews, South Georgia
Olympus E-M1 MkIII M.Zuiko 8-25mm f4
Penguin colony, Elephant Island, South Georgia
Olympus E-M1X M.Zuiko 40-150mm f2.8
South Shetland islands
Olympus E-M1X M.Zuiko 150-400mm f4.5
Black-browed albatross colony, Steeple Jason islands, Falklands (Islas Malvinas)
Olympus E-M1 MkIII M.Zuiko 8-25mm f4
Kinnes Cove, Weddell Sea, Antarctica
Olympus E-M1X M.Zuiko 150-400mm f4.5
Iceberg, Weddell Sea, Antarctica
Olympus E-M1X M.Zuiko 150-400mm f4.5
Elephant Islands, South Georgia
Olympus E-M1 MkII M.Zuiko 7-14mm f2.8 Olympus underwater housing
Grytviken, South Georgia
Olympus E-M1 MkIII M.Zuiko 12-100mm f4
Hercules Bay, South Georgia
Olympus E-M1X M.Zuiko 150-400mm f4.5
Skua looking for an easy meal, Gold Harbour, South Georgia
Olympus E-M1X M.Zuiko 150-400mm f4.5


Working with the Olympus M.Zuiko Digital ED 150-400mm f/4.5 TC1.25X IS PRO Lens

Wow, they did it again! With the release of the Olympus M.Zuiko Digital ED 150-400mm f/4.5 TC1.25X IS PRO Lens (That’s an abundance of vowels, numbers, and syllables!!) Olympus has once again confirmed their position as the leader in producing the absolute best, portable, and professional camera system in the world-especially for the location/travel/wildlife photographer. 

Working with the Olympus 150-500mm at the Monte Vista National Wildlife Refuge. Click on image for higher res version

            I recently spent a week with this incredible lens, I’d planned on photographing the Fall gathering of elk in Rocky Mountain National Park, but the massive fires Colorado experienced eliminated that idea. I was driving towards the Kawuneeche Valley, but realized I was heading against a constant flow of traffic leaving my intended destination. An evacuation was going on. 

            Making a U-turn, I headed south then east on I-70, to the Wild Animal Sanctuary in Keensburg, Colorado. A description from their website: The sanctuary specializes in rescuing and caring for large predators which are being ill-treated, for which their owners can no longer care, or which might otherwise be euthanized. It is a 501(c)(3) nonprofit organization and a state and federally licensed zoological facility.

            The Sanctuary is an amazing place: large containment areas for the multitude of wildlife they have there, with an elevated boardwalk that stretches for a mile and a half. 

Affectionate lions. 500mm (1000mm Full Frame equivalent-hand held). Click on image for higher res version

            The first thing that struck me, as I walked on this extensive path, was the extreme portability of the 150-400mm lens. Years ago I’d used a different camera system, and owned a 600mm f4. A great lens, but due to its massive weight and size, necessitated at least a monopod, and in many situations, a tripod. The 150-400 has a lens collar that is also a handle with which to carry the lens (also has foot on the lens collar that fits all “Arca Swiss” type quick release plates). This collar is a great grip with which to shoot. I found that I could easily hand-hold this lens for relatively extended periods of time. 

            I’ll list what I think are the stellar points of this lens, which in all reality, is just about everything. 

Tiger, 1000mm FF equivalent. Click on image for higher res version

Portability:  

Wildlife photography is all about moment, and the less cumbersome a piece of gear is the less it gets in the way of an instantaneous reaction. A huge selling point for this lens in the world of wildlife, I found I could react to a moment, two lions reacting to one another, that would probably have been missed if I’d needed to use a monopod …and almost certainly if using a tripod. I checked the size of this, and it fits in my ThinkTank Airport Advantage roll-aboard case. I do NOT want to check any piece of camera gear, especially something as potentially fragile as a super-telephoto, on an airlines. I’ve suffered broken equipment, and I’ve had photographer friends with horror stories about theft when checking camera gear as luggage.

Arctic Fox, 500mm FF equivalent. Click on image for higher res version

Autofocus Speed:

This is an area of great interest to those photographing wildlife, as a slow AF will most certainly lessen your chances of getting a sharp photo. Using the 150-400, I found the image would “snap” into focus, but one does have to be aware of the focusing mode as well as AF points. On birds, using C-AF+TRAF, and setting the C-AF Sensitivity to +2 (works well with birds in flight, a -2 for static birds) I find that the my E-M1X or E-M1 MkIII works well for locking into birds in flight. One may need to “pump” (keep pressing and re-pressing the shutter button) the AF while tracking to re-establish focus. This is an old trick I learned while shooting sports, which is not entirely different from wildlife. I find a very high rate of sharp images are available if using this process. 

Rocky Mountain Arsenal, deer. 1200mm handheld. Click on image for higher res version

Sharpness:

This easily could have been the first feature I mentioned, as this lens is incredibly sharp. I have the images created by the 150-400 to have that same sharpness as a prime lens, even approaching the Olympus 300mm f4, and that is a major statement. This lens creates a beautiful bokeh (the out-of-focus look, or nature, of a lens) However, as with any fast long lens, be aware that at times you may want to stop the lens down to get a little more depth of field (DOF)

Sand hill cranes take flight, 640mm FF equivalent, 2000 ISO, 1/640th handheld. Click on image for higher res version

Built-in 1.4 teleconverter:

An incredibly usable feature. The f4.5 aperture is constant throughout the 150-400mm range, providing a very fast aperture for the range of zoom. If wanting that extra “oomph” of reach, you can move the teleconverter lever (placed near your right hand when shooting) down and obtain that extra reach. The beauty of a 1.25 teleconverter is the light loss is 1 stop. Not a third, not 1.4 stops, but a logical one-stop, so when quick calculations are being made while shooting as to how one prefers the aperture, it’s simple, one stop. 

I also tried the lens with my Olympus MC-20 2x teleconverter, so when everything was to the max, I was shooting with an equivalent 2000mm lens-handheld-see the photo of the Sand Hill Cranes in flight. 

Another benefit to this built-in teleconverter, especially for the wildlife photographer, one eliminates dust due to changing optics in field

1000mm FF equivalent, 1/20th of a second, handheld. 5000 ISO. Click on image for higher res version

IBIS and the 150-400:

Olympus’ Internal Body Image Stabilization (IBIS) really works wonders. Used in symphony with lens and body, the damping effect is incredible. First time I used it, I was photographing a wildebeest migration in the Serengeti, shooting with the Olympus 300mm f4 with the MC-14, 1.4 teleconverter. I lifted the camera to my eye, expecting wonderful things with the IBIS…and was pretty disappointed when I saw no difference in stabilization. I then realized I’d not turned on the lens stabilization switch. I did so, looked back through the viewfinder at an empty area of grasslands where wildebeest were heading, and thought the camera was frozen as nothing was moving in the quiet scene..then a group of wildebeest entered from stage right, and I realized that the camera/lens combo was completely steady…amazing when I realized I was holding the 840mm Full Frame equivalent image, with only elbows resting on the side of the safari vehicle. 

With the 150-400, one experiences the same dramatic difference when looking through the lens with the IBIS off, then with it on. Plus, this combo allows one to shoot an unbelievable slow shutter speeds when IBIS is enabled. The photo of the 4 sand hill cranes in the foreground was shot at 1/20th of a second, hand-held, at 500mm (or a 1000mm Full Frame equivalent) at 5000 ISO.

Prime lenses offered by other manufacturers:  500 f4, 8.5 pounds and about $9,000.00, the 600 f4, similar weight to the 500, around 8.4 pounds, 

The most identical zoom offering by other companies is a 180-400mm f 4, with teleconverter, nearly 8 pounds and costs a bit over $12,000.00. 

Sand hill cranes, 1626mm FF equivalent!!! , hand held. Click on image for higher res version

Specs:

Focal Length: The Olympus 150-400mm provides a Full Frame equivalent focal length of 300 to 800mm without the 1.25 built in tele-converter enabled, 420mm to 1020mm Full Frame equivalent with the 1.25 tele-converter enabled

Weight: 4.1 pounds (1875 grams)

Filter Size:  95mm (front) filter,

Dimensions (ø x L):  4.6” x 12.4”(115.8 x 314.3 mm), has a rotating collar ring with a built in Arca-Swiss compatible foot

Cost:  $ 7,499.00

Flock of San hill cranes over Monte Vista NWR, 300mm FF equivalent. Click on image for higher res version

Conclusion:

I’ve been on a number of National Geographic/Lindblad Expeditions as the Photographic Expert, and watched as folks photographed from the bow of the NG Explorer or NG Orion, waiting for a Polar Bear to do something interesting, or waiting for an Orca to surface, only to have that critter’s great moment occur to sharp left or right.  Trying to react quickly with a heavy, long lens is really tough, and in those same circumstances I’ve been able to swing my Olympus lens around quickly.

If you’re an Olympus/Micro Four Thirds owner, and if photographing wildlife/sports/outdoors is your world of interest, this is lens is a worthy consideration to add to your camera arsenal. Speed, portability, and real-world ease of use are a few of the highlights of this lens. Not inexpensive, but incredibly competitive in price when comparing to other lenses in this range.

FF equivalent 900mm, handheld
Sand hill cranes departing Refuge, FF equivalent 360mm-handheld

Photography is about making the image, and hopefully, the equipment gets out of the way. That’s what I love about the Olympus system, it’s built around the idea of making the process of photography easier and more intuitive by creating that smaller and ergonomically beneficial gear.  

Sun rising over cloud bank, Monte Vista NWR. Click on image for higher res version



Traveling with the Olympus E-M5 MkIII

A recent National Geographic Expedition, “Around the World by Private Jet”

Jay at the Monastery, Petra, Jordan w/2-EM-5 MkIII’s. photo: Dr Brett Nelson

            A simple task, to determine the total number of countries in the world, right?  Not quite so easy, as the UN recognizes 197 member countries, two UN observers (Vatican and Palestine) and the self-governed territories of Taiwan and Kosovo. China regards Taiwan as being part of its territory, as does Serbia with Kosovo. So, an accurate count is not an easy answer.  (Worldpopulationreview.com)

Olympus E-M5 MkIII
All photos in this blog were shot with the E-M5 MkIII

            But, whether 195, 200, or however many countries, travel has increased to the greatest numbers ever. According to the World Economic Forum, tourism in 2020 (if a Corona Virus had not occurred) was projected to approach 1.5 billion travelers, with a growth of 3-4% . Wow. (Traveling-cook.com)

            Within those numbers, the demographic that is traveling the most are millennials, ages 24-35, on the road an average if 35 days. This is followed by Generation Z travelers, ages 18-23, averaging about 29 days a year. (Skift.com)

Taj Mahal at sunset.
1/2 second to allow water to blur
12-100mm f 4 lens
Taj Mahal at sunset.
1/40th of a second to slightly freeze motion of water. 12-100mm f 4
lens

            Of this group, nearly 40% of millennials own a camera, whether a fixed lens or a DSLR, around 25% of those owning a mirrorless camera. (www.direporter.com) 

            I find this really intriguing as that demographic of millennials is one that I think we readily assume use their iPhones to record the world.  Personally, I think this group has grown up with that readily available phone in hand and are now seeing the benefits of a real camera: lens selection, adjustable shutter and aperture, meaning more control over the final product.

Samoan fire dancer
25mm f1.2 lens, 1/50th @ f 1.2, 1250 ISO
700Sunrise over Angkor Wat
12-100mm f 4 lens
Morning at Angkor Wat
12-100mm f 4 lens

            As a member of a demographic that is a few years older than the millennial group, I travel extensively (I photographed in 31 + countries last year, have shot in 11 in the firsts two months of 2020.). As a working photographer, I constantly look for methods in which to reduce the amount and weight of gear I carry, but with the requirement of extremely high quality. This is why I had accepted the offer, many years ago, to become a sponsored Olympus Visionary Photographer.  Their design ethic is built around small, compact, high-quality, and a camera that is in your hands when you need it. It’s an ethic in which I believe

            I just finished a National Geographic “Around the World by Private Jet” Expedition, starting in Peru and ending in Morocco. In addition to those two countries: Easter Island, Samoa, Australia, Cambodia, Nepal, Bhutan, India, Tanzania, Jordan, and Morocco. A total of 11.

National Geographic’s 757 aircraft, from recent Around the World Expedition

            Usually on these Expeditions (this was the 11th Around the World I’ve been on) I carry my usual Olympus E-M1 MkII’s, and the E-M1X. This Expedition, I decided to photograph this trip with the Olympus E-M5 MkIII (I did shoot the E-M1X for some photos in Tanzania, primarily for the long-lens requirements of that world).  

Recently announced by Olympus, I saw the E-M5 MkIII as the perfect, “lean and mean” camera due to its lighter weight than the E-M1 MkIII (which is already far smaller and compact than DSLR’s and most mirrorless competition) which makes it a great travel camera. The E-M5 MkIII is fast, weather resistant, and very ergonomic. 

Sacred Valley, Peru
12-100mm f 4 lens
Pup who greeted us at the Quarry on Easter Island
12-100mm f 4 lens
Sadhu at Pashupatnith Temple, Kathmandu
12-100mm f 4 lens
Mourners at Pashupatanith Temple, Kathmandu
12-100mm f 4 lens

            Carrying both E-M5 MkIII bodies on my “go-to” travel setup, a BlackRapid “Duo” strap system, I was able to work with my preferred two-bodies.  On one, the Olympus 7-14mm f2.8 Pro lens, and the Olympus 12-100 f4 on the other. This provides a very workable range of lens length, from a full-frame equivalent of 14mm, out to 200mm.  If this doesn’t cover what I’m shooting, then it must be a wildlife or sports situation, where 300mm or longer is called for.  In Tanzania, the 40-150mm f2.8 (often with the MC-20 tele-converter, doubling that focal range) was a go-to lens, and I’d also use the Olympus 300mm f4 (often with the MC-14 teleconverter).  In the seat of the safari vehicle, I’d have a third body with the 12-100mm f4. So, in those situations, I’d have immediately available, and eqully important, hand-holdable, lenses ranging from FF equivalent of 24mm out to 1200mm. This is the reason I carried the E-M1X, as my third body in Tanzania for wildlife. 

Taj Mahal
12-100mm f 4 lens

            Pros and cons for the E-M5 MkIII

            Pros:

                        Noticeably smaller and lighter than my usual E-M1 MkII (and MkIII) I have written about, and preach regularly, to the benefits of a lightweight system. You can read more about that by clicking here

                        Fast autofocus– not as fast as the EM-1 cameras, but able to do the job

            Great ergonomics: the camera and its controls fall to a very natural position. This camera has matured over the years since its introduction, the early versions suffered from a cramped set of controls.

            Weight and ergonomics go a long way in this business, and especially when using the cameras professionally.  I am out and about for hours on end, and I don’t want to carry equipment that forces me to constantly be on the outlook for a perch on which to set it. What’s the best camera to have?  Old question but still a relevant answer: the one that’s in your hand when that photographic moment is presented. This is a huge plus of the Olympus system. 

            Beautiful image quality. A camera is not worth much if it can’t produce images that fit one’s requirements. My images have to meet very high criteria for usage, from printing up to 4’ wide, to publishing industry requirements, and the Olympus files easily meet both those critieria. 

Video / Sensor: The MkIII is quite a capable video camera, with 4K capability at 24 fps, and 237Mbps bit rate, captured on the same 20.4 MP sensor as the E-M1 MkII

            Pro Capture  this is a huge benefit that Olympus included in the E-M5 MkIII. Pro Capture, when enabled, buffers up to about 2-seconds worth of images, not writing them until the shutter is fully released.  Photographing a bird exploding in flight off of a branch, Pro Capture helps the photographer capture this moment, usually missed as one’s reaction time isn’t usually fast enough to compensate for this moment. 

Pygmy Falcon, Serengeti
300mm f4, Pro Capture

            5-Axis IBIS (In Body Image Stabilization) Not only is the Olympus system smaller and lighter, but Olympus invented the IBIS system that works ridiculously well. Working presently with the 12-100mm f4 and the 300mm f4 Pro lenses, IBIS allows the photographer to hand-hold the camera to more than 5 stops lower than without. I’ve shot 4-6 second, handheld exposures, that are sharp…not “gee, that looks pretty good” but tack-sharp photos. This is huge, and one won’t understand just how powerful this feature is until its used. The photo below was shot with the 300mm f4 with the MC-20 teleconverter, handheld while standing in a safari vehicle. Yes, it was shot at 1/640th of a second, but I was hand-holding the camera to my eye for probably 10 minutes.  That is 1200mm of FF equivalent, and ALL the photos are sharp. 

Lions hanging out in the Serengeti
300mm f4 w/MC-20 Telextender

Cons:

                        Lack of a dual-card slot. I realize by utilizing one slot, the size of the camera can be significantly reduced.  But, this is a calculated gamble here.  I use Lexar cards, shooting thousands of images per assignment, reformatting on a daily basis, and I haven’t experienced a card failure for years.  So, I’ll gamble with this camera, with the idea of always downloading my photos on a daily, or more if possible, basis. 

            Viewfinder brightness. Going from my E-M1 MkII and MkIII to the E-M5 MkIII, there is a noticeable lessening of brightness of the viewfinder, but if working without another camera to compare, this is not a factor.

Burst Rate  My E-M1 MkIII, with follow-focus,  can shoot at 15 fps, the E-M5MkIII, at the slightly slower 10fps. Not a huge difference but would prefer the faster. However, read above in the Pro Capture mode. With my E-M1 MkIII I can shoot up to 60fps in continuous, and with the E-M5 MkIII, I can “only” shoot 30fps. I came from a film background, and I remember my Nikon F with a motor drive could shoot a blazing 3fps, so ”only” 30fps is outstanding and acceptable!!

Somewhere over the South Pacific
12-100mm f 4 lens

Conclusion: What this all comes down to, the Olympus E-M5 MkIII is a strong contender for the perfect travel camera: compact and very portable, great image quality, a camera that you’d want with you at all times. 

Olympus’ newest travel lens

Just after the Corona Virus lockdown occurred, i received the new Olympus 12-45mm F4 lens. I had a couple of trips planned that were cancelled, both trips were going to be perfect for working with this new lens. I look back on the great photojournalists, who shot the majority of their work with lenses ranging from 35mm to 90mm, and sometimes not that large a range. The new 12-45mm, within its zoom range, contains the focal length which was such a favorite of those photographic mentors. I’m really looking forward to getting back out on the road with this new lens. attached to the E-M5MkIII, the perfect travel package becomes even better!! The photo below shows my black E-M1 MkIII with the 12-40mm f2.8, compared in size and bulk to the E_m5 MkIII.

E-M1 MkIII w/12-40mm f2.8, E-M5 MkIII w/12-45mm f4



“Where’s Jay” 2018 wrap-up

It’s always interesting, at the beginning of a new year, to look at the scheduled trajectory of that year, then compare that to the reality of what the calendar reveals at the end of that time.  2018 was an interesting, exciting, sad, enlightening and educational year for Becky and me. Much happened on both our personal and professional calendar, and travel, as always, was a huge part with 20 countries visited over the year.

As a location photographer, you always get the question, “What is your favorite place?”  This is similar to asking whom your favorite child is; almost impossible to provide an unbiased answer, as it’s one of those questions that really needs context to answer. So many components come into play here: I could name a great place in terms of cultural attractions, or another entirely different place if wildlife is the draw…or landscapes.

I always feel incredibly fortunate to get to visit these places, with my camera as the reason I’m there. I love the role the photographer plays, providing that “conduit” to the viewer’s eyes and imaginations, filling in the blanks on what is that place like, what those people are like.

Thank you for following “Where’s Jay.” Our blog is a joint effort between Jay & Becky — Jay writes his thoughts, Becky clarifies the words & the structure. We love meeting people, most soon to be friends, through our wanderings — and always love hearing feedback about this blog. On to 2019!! A moment of personal pride was that we were named this year in the PhotoBlog.com’s “47 Best Photography Blogs in the World.”


Holy Man, Pashupatinath Temple, Kathmandu, Nepal.
E-M1 MkII 45mm f1.2 Zuiko lens
Singh Ray HiLux filter
As a working photographer, I’m often asked in what genre I specialize:  landscape, wildlife or cultural?  I’ve always considered myself a generalist, that’s what I love about my world of photography. And, I’ve always tried to approach my assignment with the idea that there is a best photo available.
            On a National Geographic “Around the World by Private Jet” Expedition, Kathmandu, Nepal was the 4thstop out of the 11. In Kathmandu, Pashupatinath Temple is a famous and sacred Hindu Templecomplex that is situated on the banks of the Bagmati River. Here, cremations are regularly carried out during the day. Attendant to the Temple, one finds the sadhus, or holy men. The sadhus wander stroll around revered Hindu shrines, adorned with Rudrakshya necklaces, rings, and long, unshaved beards. The sadhus have abandoned world goods and pleasures, determined to live a peaceful life in isolation. 
            I’ve photographed several sadhu previously, and enjoy seeing them when visiting Pashuatinath. This gentleman had stopped me asking if I’d like a blessing, always something not to pass up!  After the blessing, I asked if I could photograph him. (I always take prints back to places in which I am pretty sure I’ll re-encounter a photographic subject)
            I used the Olympus 45mm f1.2 lens for this image, shot at 1/2000thof a second at f1.2, 200ISO. I shot this intentionally wide open, so the background would “melt” out of focus. The out of focus nature of a lens is its bokeh, and the design of the Zuiko F1.2 lenses is built around a beautiful and natural bokeh.  
Serengeti fight in the grasses
E-M1 MkII 300mm F4 Zuiko lens
Singh Ray HiLux filter
I’ve had the great fortune to photograph in Tanzania’s Serengeti many times, it’s a place that never fails to produce great photo opportunities.  On an October Nat Geo Around the World Expedition, while in the Serengeti we experienced two young bull elephants sparring. They’d been antagonistic towards each other for a while, and as the herd was moving on, these two decided to walk back a couple of hundred yards and finish their fight. 
A high shutter speed ensured sharpness in the animals. 
French Polynesia. E-M1 MkII
12-100mm f4 Zuiko
Singh Ray HiLux filter
I love any opportunity to get around water.  Add the tropical warmth of French Polynesia, making it an incredible experience in the late summer on a trip aboard the Nat Geo “Orion” to the South Pacific.  
            The bow is a favorite place to photograph on several of the NG/Lindblad ships. We were sailing in between two islands, known for the fast current that appeals to porpoises as it makes for great “bow riding” for these critters.  Looking straight down from the bow, I shot this photo at a 1/15thof a second with the Zuiko 12-100mm f$ pro lens. This slow shutter speed made the water look silky and smooth, and having a little sharpness on the porpoise gives the eye that edge on which to settle. 

   

Matt Dickman, French Polynesia
E-M1 MkII 7-14mm f2.8
   I love photographing underwater, but it certainly involves a different set of skills.  Instead of looking for that “golden hour” of very early sunrise or late sunset, one of the ideal times to shoot underwater, especially when shallow, is when the sun is straight overhead. The water acts as a giant “diffuser”, softening and dispersing the light to create a beautiful wrap-around light. 
            Our son Matt joined me for the last of three French Polynesia trips and I think he loves the water as much as I do.  We were snorkeling off the island of Tuamoto when I photographed Matt diving down to photograph a subject. 
           
 One of the other issues of photographing underwater: without a corrected “port” for the front of the housing, the water magnifies the image, making it appear larger than it is. Add to that the fact that one can photograph (still images, video is different) about 1/5ththe distance you can see. This is due to the still image “freezing” everything, including the particulate matter floating about in front of you, effectively reducing the distance you can see before the subject starts to be occluded by the stuff in the water. This is why many underwater photographers use ultra-wide lenses, so they can work close to a subject, and still get a lot of that subject in the image.  
            This photo was shot with an Olympus E-M1 MkII with the Zuiko 7-14mm F2.8 Pro lens in an Olympus PT-EP14 housing. I used an Olympus PTLH-E01 dome port with an Olympus PER-E02 tube (to accommodate the length of the 7-14mm)  
Three images above: Galapagos hawk
Olympus E-M1 MkII. 40-150mm Zuiko
Singh Ray HiLux filter
I remember reading a description of wildlife photography, comparing it to flying: “hours of boredom interrupted by moments of terror.” Really true.  When sitting somewhere, often for extended periods waiting for the cheetah/bird/elephant/elk/cow/whatever to do something interesting, it’s really easy to let your guard down just at that moment when things “hit the fan.”  
            These photos of a Galapagos hawk (Buteo galapagoensis)
 were shot on the island of Urbina in the Galapagos. We had just come out of a hike to the shoreline, where we found this young bird sitting on a small tree, literally in front of us. I hunkered down, waiting for that nice moment when it took flight. A couple of minutes quickly turned into 15 minutes, then 20, 30, 40 minutes,then an hour.  My camera was up to my eye the entire time (one more reason I love the small footprint of the Olympus) and I had the “Pro Capture” of the E-M1 MkII enabled. This feature “pre-captures” images, up to 50 in full RAW, while holding the shutter button half-way down. When the bird (finally) took flight, I pressed the shutter and those pre-captures were written to the card, effectively capturing the two seconds or so immediately prior to my pressing the shutter. 
Young Himba tribal member, Namibia.
E-M1 MkII 12-100mm f4 Zuiko
Singh Ray HiLux filter
In May, FirstLight hosted a Namibia Photo Expedition.  One of my favorite countries on earth, Namibia is incredible…..especially for its landscape and cultural attractions. 
            Visiting a small Himba encampment, we spent a morning photographing the lives of these nomadic peoples. Many photographers enjoy making photos during the “golden hour” as the light is soft, warm, and doesn’t create a dynamic range too great for the sensor. Not only was this during that time of great light, but it was in open shade which can further provide incredible light. Shot with the Zuiko 12-100mm F4 pro lens. 

Samoan fire dancers
E-M1 MkII 25mm f1.2
Singh Ray HiLux filter
11 world-wide locations in 24 days, the National Geographic Around the World Expeditions are an incredible way to see a number of iconic locations.  The Taj Mahal, Angkor Wat, the Great Barrier Reef, Tibet, the Serengeti, just a few of those places. 
            In Samoa, traditional fire dances are part of that experience.  Talk about low light…this images was made at 500 ISO, 1/60thof a second with the 25mm F1.2 Zuiko.  
Lava Cactus, Galapagos
E-M1 MkII 12-100mm f4 Zuiko
Singh Ray HiLux filter
The Galapagos Islands were my destination in November. This is a place where wildlife has no fear of humans, you’ll often have to stop in a trail to await a Blue-footed booby as it takes over the path in front of you. 
            On the island of Fernandina, a subject of great interest are the lava cactus (Brachycereus nesioticus). Growing out of the lava flows on this island festooned with marine iguanas, these cacti form beautiful arrays.  Photographing this with a strong backlight, the shapes of the cacti create a nice repeating pattern structure. 
Smoker, Bhaktapur, Kathmandu, Nepal
E-M1 MkII 12-100mm f4 Zuiko
Singh Ray HiLux filter
The old city of Bhaktapur sits near the center of Kathmandu, Nepal. Wandering through this famous place in October, I met this woman who was generating income by posing for tourists in the traditional palms touching greeting of Namaste.  I asked if I could sit with her for a while, and caught a slightly different feeling moment.
Rainbow Lorikeet (Trichoglossus haematodus ) Australia
E-M1 MkII 40-150mm f2.8 Zuiko
Singh Ray HiLux filter
In the Wildlife Habitat in Port Douglas, Australia, birds, mammals and reptiles of the region are housed in this facility. Here, a Rainbow lorikeet forages on a tropical flower. 
Iceberg, Southern Ocean
E-M1 MkII 40-150mm f2.8
Singh Ray HiLux filter
Moment pretty much trumps all in photography. These can be big and explosive situations, or a quiet and gentle slice of life. 
            On a March Expedition to the Falkland Islands (Islas Malvinas) and South Georgia, we encountered boisterous seas in between the two island sets. Sustained 55 MPH winds with gusts above 75, it made for an interesting trip.  
            This day was particularly foggy, which can make for dramatic images: mysterious, ethereal, and/or magical were the feelings that prevailed as we sailed by numerous icebergs, appearing and quickly disappearing back into the fog.  
700Himba village, Namibia
E-M1 MkII. Zuiko 25mm F1.2
Singh Ray HiLux filter

I love shooting the fast (F1.2) Zuiko Olympus lenses. I’ve suggested to Olympus that they could have welded mine open at F1.2 because I love the look of the very shallow depth of field. 
            On our May Namibia Photo Expedition, in a small Himba encampment, we were watching the village slowly awaken in the early morning light. Here, a young Himba handles the family water jug. 
Deadvlei, Namid Naukluft National Park
E-M1 MkII. 7-14mm f2.8 Zuiko
Again, Namibia blows me away every time I go there.  In the Namib Naukluft National Park, the former lake bed or pan, Deadvlei, sits at the end of the park road. We get permission to stay there into the night so we can photograph the 600+ year-old desiccated trees in this moon-like environment. With a bit of moon this night, the air is so clear that we could still photograph the Milky Way as it rose in the sky.  30-second exposure
Underground grotto on Makatea, French Polynesia
E-M1 MkII. 8mm F 1.8 Zuiko

An underground grotto on the French Polynesian island of Makatea was totally pitch black when first entered.  Lindblad Naturalist and friend David Cothran & I lit the cave with 4 small dive lights.  The secret with lighting goes something like this: you can’t just blast the light onto the walls/ceiling of the cave or you’ll create hot spots far too bright. “Feathering” the light, so it barely plays across a large expanse helps to “smooth” out the light. To the eye, it’s still very dark, but as exposure is cumulative, shooting a 6-second exposure allows the light to build during that time. 
Caracara on Steeple Jason in Falklands (Islas Malvinas).
12-100mm F4 Zuiko on E-M1 MkII
Singh Ray HiLux filter
Having just landed pre-dawn on the island of Steeple Jason in the Falkland Islands (Islas Malvinas), I started hiking towards a black-browed albatross colony (largest colony in the world of these birds) when a Caracara decided to frighten me away from its territory. As mentioned earlier, moment is everything, and I was really fortunate to get the bird in such a cool position. 
Galápagos flycatcher (Myiarchus magnirostris) in lens of John Argent
40-150mm f2.8 Zuiko
Singh Ray HiLux filter
I wish the bird were closer….on Santa Cruz in the Galapagos Islands, naturalist John Argent is a bit too close for a Galapagos fly catcher. These fearless birds look for small recesses in which to nest, guess they thought the lenshood looked like a likely home. 
Myanmar silk weaver on Inle Lake
E-M1 MkII 12-100mm F4 Zuiko
Singh Ray HiLux filter
In Myanmar, on an NG Expedition. A silk/lotus weaver works her loom in this small facility on Inle Lake.  
Absaroka Ranch, Dubois, Wyoming
E-M1 MkII 12-100mm F 4 Pro lens
Singh Ray HiLux filter
I couldn’t do a look at a year’s worth of work without including photos from our FirstLight CM and FirstLight Absaroka Ranch Workshops.  Working on a session to teach “panning”, I photographed this wrangler with the beautiful Ramshorn Mountain in the background. Panning is a method used in which the energy and power of movement can be conveyed by using a slower shutter speed.  Here, 1/30thof a second.  
Blacktip reef sharks near Rangiroa, French Polynesia
Olympus TG-5 Tough Camera, FCON-T01 wide angle adapter
Blacktip reef sharks( Carcharhinus melanopterus)
 swarm in the warm waters near Rangiroa in French Polynesia. I was hanging on a platform in the water watching this incredible site right in front of the camera. 
Greeting the morning, Gold Harbour, South Georgia
E-M1 MkII. 12-100mm F4 Zuiko Pro lens
Singh Ray HiLux filter
Gold Harbour is simply one of the most awesome places you’ll find.  Huge colonies of King penguins, fur seals, elephant seals, Skuas; the list is pretty long. Add to that a landing pre-dawn, we felt like we were photographing a movie set of an over-the-top location.  I used a slow shutter speed to allow the waves sweeping in to have a silky and mercurial look to them but finding sharpness on the two penguins in the foreground.  
A Holy man takes early morning bath
E-M1 MkII. 7-14mm F2.8 Zuiko
Maji Ka Mandir Temple on Pichola Lake in Udaipur, India. Using the waters of Pichola Lake, this holy man bathes in early morning light of Udaipur. 
Traditional boat on Inle Lake, Myanmar
E-M1 MkII 7-14mm F2.8 Zuiko Pro lens
Singh Ray HiLux filter
Riding a traditional fishing boat across the waters of Inle Lake, I shot a slow shutter speed looking over the bow to emphasize movement of the beautiful and traditionally painted craft.  1/15thof a second. 
Traditional games being played in San Bushmen camp in northeast Namibia
E-M1 MkII. 12-100mm F4 Zuiko
Singh Ray HiLux filter
Sān or Saan peoples in small bushmen village in NE Namibia. These people have forsaken most modern amenities to live in traditional ways.  
Himalaya Mountains
E-M1 MkII. 40-150mm F2.8 Zuiko
Singh Ray HiLux filter
While flying from Lhasa, Tibet to Kathmandu, Nepal, we flew over the Himalayas in the beautiful evening light. 
Fur Seal pup, Jason Harbour, South Georgia
E-M1 MkII. 12-100mm F4 Zuiko
Singh Ray HiLux filter
Near Jason Harbour in South Georgia, a fur seal pup bends over to check me out. I believe photographers are responsible for everything in the viewfinder, it’s your canvas. 
A weaver and child in Cinchera, Peru
E-M1 MkII 12-100mm F4 Zuiko
Singh Ray HiLux filter
In the Sacred Valley of the Incas, near Cusco, Peru, a weaver works her fabric as her child watches. 
Furnaces below the city baths of Marrakech
E-M1 MkII 7-14mm F2.8 Zuiko
Singh Ray HiLux filter
Below the hot baths in Marrakech, Morocco, this gentleman’s job is to feed fuel to the fires that heat the waters.  
Diver surfacing, Makatea, French Polynesia
E-M1 MkII 7-14mm F2.8 Zuiko in underwater housing.
With incredible visibility, the ocean waters are a mecca for scuba divers. Here, a diver surfaces with the island of Makatea in the background. 
A baby elephant reaches towards its mother, on the Chobe River in Botswana.
E-M1 MkII 300mm F4 Zuiko
Singh Ray HiLux filter
Ancient pan of Deadvlei, in Sossuslvei, Namibia in the Namib Desert
E-M1 MkII 40-150mm F2.8 Zuiko
Singh Ray HiLux filter
Albatross landing, West Point, Falkland Islands (Islas Malvinas)
E-M1 MkII 12-100mm F4 Zuiko
Singh Ray HiLux filter
Jacana, or “Jesus” bird looks for food, Chobe River, Botswana
E-M1 MkII 300mm F4 Zuiko lens
Singh Ray HiLux filter
Black-browed Albatross colony, Steeple Jason, Falkland Islands (Islas Malvinas)
E-M1 MkII 7-14mm F2.8 Zuiko lens
Victoria Falls, Zimbabwe
E-M1 MkII 12-100mm F4 lens
Singh Ray Graduated ND filter
Rangiroa, French Polynesia, barracuda defensive swarm
E-M1 MkII 7-14mm F2.8 Zuiko Underwater housing
Rhino Desert Camp, Palmwag Concession, Namibi
E-M1 MkII. 40-150mm F2.8 Zuiko Lens
Singh Ray HiLux filter
Sea turtle, Galapagos Islands
Olympus TG-5 Tough camera w/FCON-T01 converter
Returning from South Georgia in the Southern Ocean
E-M1 MkII. 7-14mm F2.8 Zuiko lens
Mekong River, Laos
E-M1 MkII 40-150mm f2.8 Zuiko lens
Young monk, Shwezigon Pagoda, Bagan, Myanmar
E-M1 MkII 12-100mm F4 Zuiko lens
Singh Ray HiLux filter.
Morning horse run at Absaroka Ranch
E-M1 MkII 12-100mm F4 Zuiko lens
Singh Ray HiLux Filter

One thing we really love about photography: it provides a reason to approach someone, either domestically or internationally, and ask if we can step, briefly, into their world. Isn’t this why you love to travel, to get under that veneer of tourism and interact with people in their world? We hope you enjoy travel & photography with the same passion that we do!

Jay & Becky Dickman



Olympus Super-Fast Prime Lenses

Olympus’ Trio of Super-Fast Prime Lenses: 17mm, 25mm, and 45mm f 1.2

I’ve been using the Olympus 25mm f1.2 lens for a little over a year. It’s one of the sharpest lens I’ve used, and has secured a permanent spot in my camera bag. Olympus recently released the 17mm and 45mm, both f 1.2. and following in the trend of the 25, both are also incredibly sharp. Many of the photos posted on this blog were shot with the 25mm.

These three make a great trio of lenses for not only very low light photography, but for those occasions when the photographer is looking for very minimal depth of field (dof) and/or incredible bokeh*. In so many circumstances, I’d have been happy if Olympus could have released these lenses with the aperture welded open at f 1.2, as I find I love working with these lenses in those previously challenging situations, where one would be limited to slower shutter speeds or much higher ISO enforced by very low-light situations.

Chris Kelii on Hawaiian island of Kauai Olympus         45mm  1/5000th @ f 1.2

              Samoan fire dancer                                 25mm  1/25th f1.2

I noticed that the 25mm and the 45mm lenses are made in Japan. Interesting that for these premier optical gems that Olympus plays this one close to home.

The build quality of these is really stellar, a build quality that simply makes you want to find photos to make. With these lenses, 9 bladed circular aperture diaphragms were incorporated, helping to produce such an incredible bokeh (referred to by Olympus as “feathered bokeh”) as evidenced in the out-of-focus circles in foreground/background layers. Attention to detail is evident in every aspect of these lenses.

I enjoy photographing in late day, after sunset, before full darkness, and into night. That special time between sunset and full darkness can produce an incredible blend of light: the deep purple that precedes total darkness mixed with the introduced light of human-made lighting blending together in what we call complimentary colors, warm and cold colors opposite each other on a color wheel. When viewing photographs and/or art, we are drawn to those complimentary light situations, as the opposing warm and cold colors created by the scene are emotionally appealing to us. Having lenses that enable us to fully utilize that light is important, as that allows the photographer to capture what they are seeing in their mind’s eye.

Another great invention of the Olympus engineers (Toshi, I’m saluting you here) is the manual focus clutch found on all their professional lenses. Initially, this feature was something I wasn’t sure about. But I found I was often using this to take over the already accurate AF in my own hands. I may want my zone of focus, especially with the very shallow dof accessible via these, to fall on an exact area in the frame. I love having the option of absolute control.
(A hint to you new Olympus users: when using one of the “Pro” lenses, I have created a muscle memory trick I’ll do every time I pick up the camera.  I grab the focus ring on the lens, and automatically slide it forward, thus assuring me that I know the exact function the lens will access, either manual or AF. If deciding to manual focus, I’ll then know the ring needs to be slid back to MF only position.)

Geisha, Kyoto, Japan 25mm f1.2

At end of this article you’ll see pairings of floral photos shot in Hawaii. Quite noticeable is the compression difference in similar scenes: the 17mm obviously produces an image with a wider area of the image, the 45mm creates an image with more visual info on a single layer, and the 300mm really places everything on a single plane of interest.  Which is the correct lens to use for those close-up photos? It depends on what you are trying to say or achieve in the photo. Each lens produces a specific look that provides the photographer with a  different look.  I find the incredible close-focus distance of the 300mm f4 lens provides a great “look” for macro work. Along with the ridiculously effective IBIS (In Body Image Stabilization) I’ve found I can hand-hold the 300mm f4, with the MC-14 tele converter (a FX equivalent of 840mm) down to 60th of a second if needed.

                            Nepalese Holy Man                        25mm  1/250 f1.2

Cusco, Peru                                        25mm 1/500 f1.2

Namibian singers                                              25mm 1/125 f1.2

The 17 has a much closer focusing ability, down to 7.87 inches . The 45 minimum focus is 19.68 inces, I see the 45mm lens as perfect for photographing people, as lack of wide angle distortion generally provides a more pleasing image. The 17 feels as though designed for street and macro photography.  The design concept behind these two lenses: the 17 focuses closer, but the 45 enjoys a natural lessening of dof by its longer focal length

One does face a bit of a conundrum here: if you own the 45mm f1.2 and the 45mm f1.8, or the 17mm f 1.2 and the 17mm f1.8, which do you put in your bag.  What a great problem to have, and is simply answered by “how light do you want to travel?”  If working as minimally as possible, and wanting fast lenses, pack an Olympus E-M10 MkIII, with those smaller lenses  Great quality is still available, not as stellar as the f1.2 lenses, but a powerful image should resonate on the level of how powerful it is.

What does this all mean to the photographer? Olympus has been on the forefront of creating equipment with functions for the real-world photographer. From the first dust reduction system that Olympus pioneered, to the articulateable rear monitor (I think I just made up a word) that I’ve found so much use for, to “Live Composite,” “Pro Capture,” the list continues. These features are available on camera bodies that are compact enough that I do not mind carrying them with me all day. So, a camera with a form factor this is very user-friendly, state of the art features pioneered in so many cases by Olympus, a camera capable of producing extremely high quality images, and a range of lenses that can accommodate any working pro……what else do you want?

*A few interesting articles describing bokeh, just click on titles: PictureCorrect Wikipedia Photography Life 

 17mm    1/1250 f1.2                                                                         45mm        1/1000 f1.2

17mm    1/8000 f1.2                                                                           45mm      1/8000 f1.2

                              top-17mm    1/1600 f1.2                   bottom-45mm        1/1600 f1.2

 top-17mm      1/8000 f1.2                          bottom-45mm      1/5000 f1.2

   top-45mm      1/250 f1.2                           bottom-300mm       1/250 f4



The Portrait-thinking about lenses

Holy Man, Kathmandu, Nepal                                                             12-100mm f4

One of the great powers of photography is its ability to capture and share portraits, be it people or animal. We love looking at others, both from nearby and abroad, because a good portrait can help define and describe our subject.

Tibetan woman reacting to having her picture made  12-100mm f4

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I love photographing people, actually any and all portraits.  In our camera bag we carry various lenses: those used to photograph people, make portraits of our pets, animals, anything that walks or crawls.  Each of these lenses provides a unique and specific look.  With our cameras, we can use those lenses to create either a standard or environmental portrait. A standard portrait is usually a fairly close-up image, filling the frame with the subject.  An environmental portrait includes the subject as well as background info, which provides that important information of place. Photographing people is something I love and I encourage other photographers to include that skill in their photographic range.  It can be an intimidating process, the idea of approaching a total stranger, either domestically or internationally. But, with a little practice as well as a little nerve, the comfort level in this process can be improved.

 

Man in Agra, India                                                                    12-100mm f4

Tibetan Monk, Potala Palace, Lhasa, Tibet                                     12-100mm f4

Super-wide: Olympus 7-14mm f2.8

Olympus 7-14mm f2.8

This great lens provides a huge field of view, in 35mm equivalence from 14mm to 28mm, or 114∞ to 75∞, which in laymanís terms is REALLY wide.  One of the great advantages of working with this lens when photographing people is you can be physically very close to your subject. That closeness can be beneficial as it allows you to connect more readily with your subject.  You also can take advantage of that huge field of view by bringing in the background information, which makes this a great environmental portrait lens.  The photographer has to be careful as that information can overwhelm the viewer.

 

 

Isle of Harris, Scotland                                                           7-14mm f2.8

Dubois, WY wrangler                                                                     7-14mm f2.8                                          

Isle of Harris, Scotland                                                      7-14mm f2.8

Using this as an environmental portrait lens, watch the background closely.  Your subject, if in the near foreground, can also be distorted if placed too close to the edge. The lens is ìrectilinear,î meaning if held level the horizontal and vertical lines will appear to be straight.  Tilt the lens up or down, and you will force those lines to distort.   There are times I do want as much information as possible, usually to emphasize the background.  Working with ìplanesî of information, Iíll place my subject in a foreground plane, allowing the background to be a second layer of information, telling me about that person and the importance of place.

 

Wide to short telephoto:  12-40mm f2.8 / 12-100mm f4

Montana winter horse herd                                                              12-100mm f4

Mongolia camel herd, Gobi Desert                                                   12-100mm f4

Kacchpura Village, India                                                        12-100mm f4

Olympus 12-100mm f4

We use the term “normal lens” to describe this length as it closely replicates  the field of view the human eye sees.  The eye is so sophisticated as it zooms effortlessly to what it needs at that moment.   When using the wider range, the 12mm setting, greater and inherent “depth of field,” or DOF,which is the zone of focus, from foreground to background.  Wider lenses have greater DOF, longer have less.  The photographer can use that DOF for creative purposes, either blurring the background by shooting at a large f-stop (diaphragm of the lens, smaller numbers give less DOF) or utilizing a small f-stop, creating a deeper DOF, more in focus from foreground to background.  This is a great focal length with which to work as it allows the photographer to be close to the subject, but not “in their face.”  I love working close enough that I feel a connection to my subject, instead of being too far away.

 

 

 

Marrakech, Morocco fire tender                                               12-100mm f4

 

 

Medium to Long telephoto:  40-150mm f2.8

Olympus 40-150mm f2.8

The longer the lens, the shallower DOF you get in a photo.  The closer to the 40mm on this lens, the greater the DOF and conversely, the closer to 150mm, the less depth of field.   The out of focus visual quality of a lens is referred to as “bokeh.”  By stopping these longer lenses down to an f-stop of f 11 or smaller, the photographer dictates the amount of background that is in focus,  in between, or out of focus . There is a reason for spending the extra money for a fast lens, and the ability to control the amount of focus or de-focus is a prime consideration.  This medium-length lens can allow you to work a bit further from the subject.

 

 

Sri Lanka Temple worshipper                                                    40-150mm f2.8

Sri Lankan stilt fishermen                                                              40-150mm f2.8

Bora tribal woman, Madagascar                                                 40-150mm f2.8

In addition to extra working distance this length provides, a longer lens also starts to “compress” the photo: background and foreground start to appear on the same plane of interest. This also becomes a creative tool for the photographer.

 

Super-telephoto: 300mm f4

Puffin, Vigur Island, Iceland                      300mm f4 + MC-14 Teleconverter

Olympus 300mm f4

Normally thought of as a wildlife or sports lens, one doesn’t normally think of a very long telephoto as a portrait lens.  But, they absolutely have their place here.  From the obvious situation of simply not being able to get close enough to the subject (think lions, hippos, polar bears, and hungry puffins,) to using the super “compression” these lenses provide (compressing being the nature of a super-telephoto to put everything on one plane of interest, foreground to background) a super-telephoto can drop out the background easily in terms of focus.  This can be a creative tool when wanting to heavily emphasize the main subject of the photo.

Polar bear                                                        300mm f4 + MC 14 teleconverter

Hippo, Chobe River, Botswana                                                        300mm f4

 

Super-fast prime lenses: 17mm f1.2,  25mm f1.2,  45mm f1.2

Geisha, Kyoto, Japan                                                                             25mm f1.2

Olympus 25mm f1.2

By design, the super-fast Olympus Pro F1.2 lenses (the 17mm, 25mm, and 45mm) have a beautiful bokeh, very smooth and creamy, enhanced by its multi-blade diaphragm. I use these lenses often for their dramatic visual effect: minimal depth of field which “directs” the viewer where to look, as the sharpness is in on that layer of the image. These lenses also work incredibly well in low-light environments, where a higher shutter speed or greater aperture is desired.

Holy man, Kathmandu, Nepal                                                                25mm f1.2 

 

Cusco, Peru                                                                                                    25mm f1.2

Samoan fire dancer                                                                            25mm f1.2



Horizons 4th Grade Photo Program

4th grade Horizon’s Photo Student

Our family has had a long association with a wonderful summer academic enrichment program named Horizons, held at our kid’s school Colorado Academy. During the summer of 2001 our son Matt began interning with the program; this June he will begin his 17th summer, now Assistant Executive Director. Our daughter Maggie began volunteering in ’03, followed by interning & Teacher Assistant through high school & college summers. She’s continued in this same field, now an urban education teacher. My wife, Becky, and I also jumped in volunteering because we were drawn to the mission, helping underserved children with academic support through the summer gap. Volunteering in the classrooms led to photographing in the program and subsequently creating a photo course.

I’ve always felt photography is critical, as we are visual creatures that recall our memories, and process our thoughts through still images. If I mention your first birthday, your first pet, 9-11 or the Iraq war, a still image most often comes to mind. We don’t think or process via video clips, it’s still images that create the foundation for the process of memory and recall. Based on that thinking, I decided to create a photo program for Horizons, specifically for the 4th graders, believing that age group would be perfect for this class as those kids were old enough to understand the mechanics of the camera and young enough to be impressionable.

Photo by Horizons Photography Student

 

From Horizons Mission Statement:

Horizons at Colorado Academy is an enrichment program designed to promote the potential of a diverse population of children from low-income families.  Guided by a professional faculty in a nurturing environment, the program emphasizes academics, the arts, intramural sports and social growth.  Horizons is committed to the development of the whole child through experiences that encourage a life-long interest in learning and enhance self-esteem, foster awareness of community responsibility, and build problem-solving skills.

Horizons was created in New Canaan, Connecticut in 1964 to serve low-income families in lower Fairfield County. Horizons demonstrated that participation in their program reverses summer learning loss. In 1995, Horizons went national, adding two more locations…along with more locations through the subsequent years. Now, there are 51 Horizons programs in 17 states. Initially only a pre-K through middle school program, currently it has expanded to serve pre-K to high school students. Because of Horizons, those kids participating in the program exhibit a high school graduation rate of 99% along with increased school attendance, improved self-esteem, better grades and love of learning.

From Horizons website:
THE PROBLEM Gaps–of opportunity and
achievement–continue to grow between low-income students and
their more fortunate peers.

THE OPPORTUNITY Horizons students discover the joy of learning, the skills for success, and the inspiration to realize their dreams.

THE RESULTS Increased school attendance. Improved self-esteem. Better grades. A love of learning. And a high school graduation rate of 99%.

One of our 4th Grade Horizon’s Photo class

We began our first photo class in 2004, with the support & enthusiasm of our good friend, fellow parent in our own children’s class, & Executive Director of Horizons at Colorado Academy, Jenny Leger.  Jenny understood my vision & readily wanted to offer it to her students. I then asked Olympus to provide cameras, simple digital point and shoot ones, for our students.

Olympus generously jumped on board. Those cameras worked well as we didn’t have the learning curve of trying to educate the kids on the various shooting modes, etc. We’d put the camera in “Program” mode and let our young photographers focus on the image, the moment. Classes ran for 4 days of a week, immediately after lunch until the end of the day. They would photograph around the school grounds, a different subject each day. Our “curriculum” included photographing people, action, close-ups and telling a story through photos. I kept it simple to allow more time to address the photos they’d create, as I’d do a critique session each day of the previous day’s work…what was discussed on Tuesday would be easily remembered on Wednesday. The “best of the week” photos would be presented in a final slide show at the end of the week. Additionally we printed a “gallery show” of their work for the final night of the 6-week Horizons program. Parents and visitors were able to view the final body of photos, each of them signed by the proud student photographers.

Photo by Horizons Photography Student

A couple of years into the program, I realized I needed help as my business schedule began to conflict with finding time for this week-long class. A very good friend and premier sports photographer for the Denver Post, John Leyba, came to mind. John and I were friends from my time as a Denver Post photographer back in the late ’80’s. I knew John’s easy-going style and love of kids would complement my teaching style. I approached John and he readily agreed.

It was great seeing John the first time we co-taught the class. I asked him to present a body of his sports work, which I knew would resonate with the kids in the sports-savvy town of Denver. His photographs of pro sports include the Denver Broncos, Denver Nuggets, Colorado Rockies and Colorado Avalanche as well as college and high school sports. Our plan worked, as all the kids love John and his work with them.

John began printing the final show, producing 11 x14 prints of two of each of our photographer’s best photos from the week. We’ve been able to keep the 4th grade photo class going throughout these 13 years because John has taken over the class a couple of summers when my work prohibited me from participating. Much of the success of this class has been due to John.

Photo by Horizons Photography Student

Now, for our 4th-grade photographer’s images. I knew they would be able to produce nice photos, as those young minds are open and the cameras were simple to operate, empowering them to capture what they were seeing. I then thought it would be great if they took a camera home with them to document their family life but didn’t want to worry about losing or breaking a digital camera. I approached Bryce Cole of Englewood Camera in Littleton, asking him to provide enough “disposable” film cameras, with a flash built in, for each student. Not only that, but I asked Bryce to develop the film, print and digitize the photos so we could deal with electronic files for ease as our week was so filled already. This enabled us to choose and print from those photos as well, eliminating a time-consuming conversion from film to digital.

Photo by Horizons Photography Student

What really became tough was choosing which images to hang in the final show. Once the kids got the hang of the camera and had a specific theme of portrait, action, etc, the shooting became natural. Having to narrow the choices down was tough, so often too many nice photos from which to choose.

Photo by Horizons Photography Student

Take a look at the quality of these photos, how many are very personal and do tell as story. The idea of visual narrative is close to the heart of many photographers, and these young image-makers did an amazing job of creating beautiful prose.

 By Becky & Jay Dickman, April, 2017

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

 

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Photo by Horizons Photography Student

Hanging one of the final shows

John and Jay with one of our Horizons 4th Grade Photo Class



Traveling Light

The Benefits of Traveling Light

 

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  “He who would travel happily must travel light.” Antoine de Saint-Exupery

It was around 1962 when I first stepped foot outside of the US, on a family trip to the Texas/Mexico border including a visit to Laredo. Looking across the Rio Grande River into Nuevo Laredo, I experienced that first thrill, and at the same time an uncertainty of crossing a border. What a daring thing I was doing, I thought, going into a foreign country, into a place where my language was a foreign tongue. I remember trying some of my basic Spanish phrases, “Hola,” “Como Esta?,” and a few others that came out pretty garbled from the lips of a very shy kid.  Even though it was a brief family trip the excitement of new & foreign places resonated with me.

"Floating" Shinto Shrine, Miyajima Island, Japan E-M1 MkII, 40-150mm

“Floating” Shinto Shrine, Miyajima Island, Japan      E-M1 MkII, 40-150mm

Fast-forward to today…travel/location photography is the main component of my professional work now, and I know that my first foray into that foreign country was a catalyst for my love of adventure and travel.

Traveling extensively for the past 35+ years as a photographer, I am constantly on the search for ways to reduce the weight of my accompanying baggage, both equipment and personal.  2016 was a busy travel year; I just finished a shoot in Japan, the 28th country I worked in this year. My world is pretty much about traveling light, as heavy bags really do slow you down, literally and professionally.

I’m one of Olympus’ “Visionaries” because I believe in the company’s vision for our industry: small, compact, extremely high quality… gear you can carry all day with suffering “camera fatigue.” I believe Olympus is following the design ethic that Oskar Barnack used when building the first Leica in 1927: small, compact, ergonomic and a camera one could carry all day. Sounds familiar, eh?

Arashiyama bamboo forest, Kyoto, Japan E-M1 MkII 7-14mm f2.8

Arashiyama bamboo forest, Kyoto, Japan                             Olympus E-M1 MkII    7-14mm f2.8

Here’s my list to make your travel & photography all the more pleasurable & productive.

Camera & lenses:

I have preached in talks/seminars/lectures/workshops what I consider the benefits of the Micro Four Thirds (MFT) system. The sensor is smaller than a full-size sensor, which allows 35mm equivalency lens lengths to be accomplished with much lighter and smaller lenses. Until the law of physics is changed, lens speed will dictate the size of lenses based on their millimeter rating. My Olympus 40-150mm f2.8 lens is equivalent to an 80-300 f2.8, and is considerably smaller and lighter than a Full Frame (FX) lens

When working in the field, I carry two E-M1 MkII bodies, on a BlackRapid “Dual” strap. This strap allows a camera to suspend from each shoulder, with no chance of the strap slipping. On those bodies, I usually carry the Olympus 12-40mm f2.8 (24-80mm in FX equivalency) and a 40-150mm f2.8 (80-300mm FX equivalent) Olympus Pro lens. Unless sports or wildlife specific, I find I can accomplish 98% of my photographic needs with these lenses. I have a couple of extra batteries in the small cellphone pouch that can clip onto the BlackRapid strap.

I’ll often stick the 7-14mm f2.8 lens in a pocket, so I have coverage from 14mm FX equivalence out to 300mm. A lot of range covered here.

E-M1 Mark II w/12-40mm f2.8

E-M1 Mark II w/12-40mm f2.8

Here are the Olympus lenses from which I’ll choose for my particular assignment:

8mm f1.8 fisheye. Yep, you read right, an f1.8 16mm equivalent lens. Great for those huge sky photos.

7-14mm f2.8   A workhorse, as I always seem to find need of this lens.

12-40mm f2.8   If only working with one lens, it would be this. 24-80mm FX equivalent, and a pretty awesome near-macro

40-150mm f2.8 One of the greatest inventions since canned beer, this 80-300mm FX equivalent lens works for so many situations, from portraits and landscape to sports and wildlife, this is a great lens. And with the MC-14 1.4 millimeter converter on this, you have a very real-world African wildlife lens reaching out to 420mm.

MC-14 teleconverter   Usable on the 40-150mm f2.8 and the 300mm f4, this always goes with me, as so many times you want just a bit more lens length. Think of this, with the 300mm f4 and MC-14, you have an FX equivalent 840mm f5.6

300mm f4   Speaking of this lens, here it is on my list. A fantastically sharp lens, it is the perfect lens for Africa and other wildlife locations. Bosque del Apache, here it comes.

Iya Valley, Japan E-M1 12-40mm f2.8

Iya Valley, Japan                                                                                             E-M1 12-40mm f2.8

Other specific usage lenses from which I’ll choose for low light situations:

12mm f2 I’ve found usage after usage for this tiny jewel of a lens. I will carry this in my roll-aboard ThinkTank bag, along with the 25mm f1.2 for those low light situations, and/or where I want to really drop the background out of focus.

25mm f1.2 This is an amazing piece of glass, sharp, beautifully built, I’ve found myself looking for subjects I can photograph with this lens.

75mm f1.8  Another jewel of a prime lens.  I’ll often use these three lenses, the 12mm f2, the 25mm f1.2 and the 75mm f1.8 for working in those low-light conditions.

Sri Lankan stilt fishermen

Sri Lankan stilt fishermen                                                                E-M1, 40-150mm f2.8 w/Singh Ray Vari ND

Travel and working bags:

As air travel becomes worse, the photographer is continuously fighting an uphill battle in terms of traveling with gear. Overhead space on planes comes at a premium (literally as some airlines now charge for overhead space) given nearly every flight is loaded to capacity. And if you think you can argue with a gate agent when traveling internationally that your bags fall within “international carry on regulations,” I’ve got a bridge to sell you. In so many inter-continental flight, from South America to Africa, Asia to Europe and Australia, that determination of what you can bring aboard is determined by the gate agent, who is most often judge and jury on that argument. Who wants their expensive gear delegated to checked luggage?

I use the ThinkTank Airport Advantage bag for carrying gear aboard the aircraft. I’ve carried this on international as well as commuter flights, with limited overhead and haven’t had a problem (but there is that first time waiting everyone.) This bag is compact, provided a locking system if the horrors of having to gate-check a bag happens.

Again, this is the beauty of the Olympus system, the compact size of the lenses and bodies allow me to pack everything in this case, including batteries/charger, 3 camera bodies, lenses ranging from 16mm FX equivalent out to 600mm f4, my Singh Ray filters and my flash. This entire bag weighs under 22 pounds. See the photo below of my working ThinkTank Airport Advantage.

Once on the ground, if I am working in an environment where I may need a greater compliment of lenses, I’ll use the ThinkTank Retrospective 7 bag. As a long-time traveler, I find that even if you go to that larger bag, you will fill the space accordingly. The Retrospective 7 bag works really well, and takes a minimum of space but can pack a surprising amount of gear.

In years of travel, I’ve found the Eagle Creek line of bags to be great: lightweight, durable and very realistic in terms of packability as well as dragging through an airport. An argument today over the 4-wheeled bags vs. the 2-wheeled bags; I still prefer the 2-wheeled bag, tows straight behind me and moves over uneven ground. Check out the Eagle Creek ORV 30 bag, large but able to also carry tripods, reflectors, etc in addition to your clothing. I trying to go lighter still, check out the Eagle Creek “Load Warrior” series, the link takes you to the Load Warrior 26

My ThinkTank "Airport Advantage" with all cameras for a trip

My ThinkTank “Airport Advantage” with 3 bodies and lenses ranging from 14mm (equivalent) out to 840mm f5.6

 Travel Clothing:

                        For many years, my vanity fought the idea of “travel clothing.” I saw it as nerdy and not-cool. But I tried an “ExOfficio” shirt once, synthetic with a zipper pocket for my passport or other important papers and I was hooked. I use Patagonia travel-specific pants and shirts a ton as they are rugged, putting up with the abuses of travel and equally important, wash quickly and dry rapidly in your hotel room. I’m a fan of the Patagonia Quandry pants. Check out the Patagonia “Sol Patrol “ shirt, this link is to long sleeved version, short also available. Both pants and shirts have an SPF built in, for sun protection. If traveling to areas with endemic malaria, consider spraying your clothing with Permethrin, an insect repellent that will work to repel mosquitoes for 5-6 washings.

Another nerdy thing that I always travel with is my hat. I’ve tried baseball hats, which are a pain for the shooting photographer as one constantly is turning it backwards to shoot vertically. Also, a baseball hat provides no sun protection for ears and neck. So, I have been using the Tilley “Airflo.” Guaranteed against essentially anything this hat has been on so many assignments with me, that I’ve lost count. It has a wind cord, to cinch the hat down so it won’t come off in strong winds. Plus, and here’s the big plus, the brim will collapse against your forehead when holding a camera vertically, then spring back to normal position after shooting.

 

ThinkTank ShapeShifter, Airport Advantage and Shinkansen "Bullet Train," Hiroshima

ThinkTank ShapeShifter, Airport Advantage and Shinkansen “Bullet Train,” Hiroshima

Travel minutiae:

 Stuff I always carry:

2-chamois cloths. Great as an impromptu raincoat for my cameras, use it to wipe off front filters (never the front element) Don’t buy the synthetics, look for the real ones at local auto supply, Target, etc.

Small umbrella: I travel with a “SeaToSummit” travel umbrella. Great products from this Boulder, Colorado based company. This is a really small umbrella (5.3 ounces) that provides to a decent sized canopy

SeatoSummit Aeros travel pillow: It is amazing how your carry on bag will build in bulk and weight unless carefully watched. This pillow is ridiculously small (3 ounces), packs very small and works nicely when traveling back in steerage. Trust me, anything to reduce bulk and/or weight.

CM Ranch E-M5 MkII, 12mm f2 triggered remotely from iPhone OI-Share app

CM Ranch E-M5 MkII, 12mm f2 triggered remotely from iPhone OI-Share app

I travel with either a ThinkTank “ShapeShifter” or “Perception Pro” backpack. The Shapeshifter will carry up to a 17” laptop, the Perception Pro, a 15” laptop. These are deceiving bags, as you really can’t believe so mush will fit into such a small space. Within mine is my traveling office stuff, some of which is listed below.

I used to carry a “Monster” brand extension cord with USB ports. I can’t find that model anymore, so I’ve just purchased a “Bestek” Portable Power Strip.   This compact power strip has a two outlets, and 2 USB outlets: one is a 5.8V, the other is a 4.9V. This can impact charging times for your iPad, so be sure and use correct port for maximum charging ability. I also ALWAYS carry a three prong (type B) to two prong (Type A,for US outlets, grounded to ungrounded ) adapter with me, as often you’ll find some locations (older, very often in US) won’t have a three prong outlet. I plug this Bestek power strip either directly into the plug adapter to local type of plug, or use the 3-2 adapter if necessary.

Geisha, Kyoto, Japan. E-M1 MkII w/ 25mm f1.2

Geisha, Kyoto, Japan.         E-M1 MkII w/ 25mm f1.2

1-2 local plug adapters. Here’s a great website that provides you photos and designation info for international power plug

There are also compact multi-adapters made, if buying MAKE SURE the country your intending to visit is included in the built-in adapters.   Many available via Amazon, here’s an example of one

Small headlamp or flashlight which is always with me, REI sells some great ones. I carry a small and cheap tungsten flashlight, found at Target, etc, sometimes in the checkout aisle. These are nice for light painting, as the tungsten light provides a very warm light. I also carry a Black Diamond “Icon” headlamp that projects an intensely powerful beam, in addition to a lesser-power consuming light source and a red light, great for illuminating something at night without causing a loss of night vision. In that headlamp I use Lithium batteries, long lasting, coming in at nearly 1.7 volts instead of the usual 1.5V of standard AA batteries, and cost a bit more, but worth it for longevity and weight savings.

I frequent “Bed Bath & Beyond” as their travel section of stuff is awesome. Folding hair brushes, tiny individual packets of Tide, travel sized deodorants, toothbrushes, toothpastes, etc..the selection is huge. Look at their small bottles, in which shampoos, etc can be downsized.  In that same line of thinking, in my “dopp kit,” I carry a very small bottle of “Maca Root Shave Cream” from the Body Shop.  This stuff is amazing, as a little goes a long way and provides an incredibly close shave from a tiny dab.

In the conversation of clothes washing, I carry a small “sink stopper.”   Hotel laundry can be expensive, slow or non-existent, and I find that the clothing I use on the road (as noted above, mostly synthetics) is fast drying after a quick wash in my sink. I can’t tell you how many hotels/inns/places I’ve stayed that had no way of stopping up the sink, this simple device has made travel that much easier. Look at your grocery store, hardware store or Bed Bath and Beyond.

Remember the old saw about packing when you’re backpacking: go through your selection of stuff, pull out what you know you won’t use, then reduce that pile by another 50%.  With those quick dry clothes, one can pack 2-3 pairs of pants 3 shirts along with synthetic underwear, all of which will dry in your hotel.  Don’t let the weight of your baggage get in the way of your experience.

 

 “Traveling – it leaves you speechless, then turns you into a storyteller.” – Ibn Battuta

Speaking of travel, this year was pretty crazy…I had the opportunity of working/shooting in over 30 countries in 2016.  Below you’ll find photos from the places I visited…

Landing in Chicago Olympus E-M1 MkII, 12-40mm f2.8

 

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Puffin on Vigur Island, Iceland                                                      E-M1 300mm f4 w/MC-14 teleconverter

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Polar bear, Baffin Island                                                                                             E-M1 300mm f4

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Polar bear, Baffin Island                                                                                        E-M1   300mm f4

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S Ellesmere Island, Canadian Archipelago                                                                E-M1 12-40mm f2.8

Melville Bay, Canadian High Arctic E-M1 40-150mm f2.8

Melville Bay, Canadian High Arctic                                                                           E-M1 40-150mm f2.8

Qilakitsoq, Greenland E-M1 12-40mm f2.8

Qilakitsoq, Greenland                                                                                                                                  E-M1 12-40mm f2.8

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Ilullisat Ice Fjords, Greenland                                                                                              E-M1 300mm f4

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Red Lady, Siena, Italy                                                                                                                 E-M1 12-40mm f2.8

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Colle di Val d’Elsa, Italy-Three friends                                                       E-M1 12-40mm f2.8

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San Gimignano, in the Tuscany region of Italy                                                   E-M1 40-150mm f2.8

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Levanto, province of La Spezia, Italy                                                                   E-M1  40-150mm f2.8

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Monterosso al Mare, province of La Spezia,                                                    Italy E-M1 12-40mm f2.8

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workers clear old building bricks from atop Sigiriya, an ancient rock fortress, Matale District,Central Province, Sri Lanka                             E-M1 7-14mm f2.8

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Young monk in Golden Temple of Dambulla, Sri Lanka                                     E-M1 12-40mm f2.8

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Sri Lankan traditional dance                                                                   E-M1 12mm f2

In Sri Lanka, at the Temple of the Tooth Relic, a pilgrim prays at entrance to temple

In Sri Lanka, at the Temple of the Tooth Relic, a pilgrim prays at entrance to temple      E-M1 40-150mm f2.8

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Tea plantation and tea picker, Sri Lanka                                                               E-M1 7-14mm f2.8

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Fishermen pull in nets, Kataragama, Sri Lanka                                               E-M1 12-40mm f2.8

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Fishermen launching boat, Weligama, Sri Lanka                                               E-M1 40-150mm f2.8

Iya Valley, Japan E-M1 12-40mm f2.8

Iya Valley, Japan                                                                                                         E-M1 12-40mm f2.8

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Itsukushima Shrine is a Shinto shrine on the island of Itsukushima (popularly known as Miyajima), best known for its “floating” torii gate. Hiroshima Prefecture in Japan.                  E-M1 MkII  12-40mm f2.8

 

 

 

 



CM Nat Geo & FirstLight Absaroka Workflow & Printing Workshops

Road to Dubois Olympus Pen F, 12-40mm f2.8

Road to Dubois                                      Olympus Pen F, 12-40mm f2.8

FirstLight held our printing workshop, July 3-8, 2016 at the Absaroka Ranch, in Dubois Wyoming. Along with printing guru Frank Varney, we hosted a sold-out workshop built around photographing the incredible scenery and western lifestyle on this western town.

Printing is the natural final product of the shooting process, and many never get to experience the pleasure of seeing their photographic efforts come to fruition in a beautifully managed 13 x 19” print.

Moab/Legion Paper provided their really incredible Juniper Baryta Rag 305 paper for our participants. This is one of the first digital media that I’ve seen that has the texture, feel and look of a traditional darkroom print. It’s got an incredible sheen to it, similar to how a glossy paper would look when dried matte. Without question, it’s my new favorite printing paper.

Our great sponsor Olympus provided E-M1 bodies along with 12-40mm, 40-150mm and a couple of the just released 300mm f4 Pro lenses. I’ve been using this system since its release, and I’m a total and enthusiastic advocate for the Micro Four Thirds system. I know a couple of our particpants were swayed over to “the light side.”

To transfer images from our participants to print, we used Lexar flash drives…never have had a problem with their media…

These are just a few images shot during this workshop, please visit FirstLightWorkshop.com soon for updates on our future workshops.

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CM Wrangler Zach LeCompte on Dubois Overlook

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Early morning horse drive, Boneyard

 

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CM Ranch students at Overlook

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FirstLight Absaroka participants

Jack & Apryl Poikvar with their prints

 

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Badlands overlook

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Photographers taking advantage of great light in front of Rustic Pine

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Bryce Street

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Bryce Street jumping

Wrangles at CM

Wranglers at CM

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Horses returning into corral, early evening.

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Horses returning into corral, early evening.

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Dubois Rodeo

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Dubois Rodeo