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Bolivia & Peru

Mount Rainier
Bird Photography
Gear Test: Canon 6D
Racing Across The Ice
Photographing Kenya
Underwater Landscapes
Does Sensor Size Matter?
Matterhorn & Lake Stellisee
Is Pro Gear Worth The Money?
148 Pages 18 Articles Over 125 Images
v
Landscape
APRIL 2013
ISSUE 26 Pho t o g r a phy Ma g a z i ne
& Wi ldl i fe
www.landscapephotographymagazine.com
Welcome
Cape Foulwind
New Zealand
This months cover image
is by LPM reader Francis
Carmine.
fickr.com/photos/francisc
Hello again
1st of April today and I suppose
you are expecting an April fools
day joke. Well, for one more
time we managed to reach over
145 pages of inspiring content
and no, this is not a joke, we do not joke
when it comes to LPM content.
Every month we go beyond our capabilities
to bring you outstanding content and
inspirational images from around the world,
and this month is no exception. Actually,
some of you have already mentioned that we
include a bit too much content in each issue.
Well, we enjoy keeping you informed and
inspired and will continue to do so and, on
that bombshell, we have a new contributor
starting this month. Dennis Bromage is a
landscape photographer based in England
(plenty of UK images) and his column Vision
& Light can be found on page 78. Dennis will
share with us his knowledge on composition
and light and, I strongly believe that many of
us will be infuenced by his superb work.
Further more, from next month we start one
more monthly column, I will not reveal any
details just yet, patience.
Now, on the concept of publishing articles
written by our loyal readers, this month we
welcome Annette Price and her underwater
landscapes on page 70. You could be next,
send us your material
Finally, you will notice that we managed to
have f-stop on board. They will be sponsoring
our Inspirations section and supply the us
with a superb backpack every month. Now,
dont say we are not good to you.
Enjoy
Dimitri
Featured Articles
Landscape Photography Magazine was founded in
2011 and is published On-line 12 times a year.
Email: Please use the contact us form
To advertise please contact Melanie Beck
0044 (0) 7920 483 106
0044 (0) 1273 471 324
ads@landscapephotographymagazine.com
theultimateimage@btconnect.com
The Authors
Editor Dimitri Vasileiou earthsbeautytours.com
Authors David Hay imagepro.photography.com/davidhay
Guy Tal guytal.com
Ian Plant ianplant.com
Keith Wilson my-photo-school.com/course/travel-photography
Alain Briot beautiful-landscape.com
Dennis Bromage dennisbromage.co.uk
Boris Mar borismar.com
Kaleel Zibe kaleelzibe.com
Mark Bauer markbauerphotography.com
Trevor Anderson trevorandersongallery.com
Austin Thomas austin-thomas.co.uk
Jack Graham jackgrahamphoto.com
Jaroslav Zakravsky zakravsky.cz
Annette Price h2ophotography.co.uk
16 22
70 88
100 124
Jaroslav Zakravsky is taking us to a
superb adventure in Switzerland
Matterhorn Reflections
This month Boris Mar travels through
Bolivias and Perus stunning landscape
Bolivia & Peru
Annette Price shares her knowledge and
experience in underwater photography
Underwater Landscapes
Jack Graham explains his theory on
landscape photography
A Sense of Place
Mark Bauer takes the new Canon out for
a spin and gives his verdict
Gear Test Canon 6D
Austin Thomas shares with us his
experiences of Kenya
Photographing Kenya
Take part in our First Frame section, click here for details Pentax 645D, Pentax 35mm, f/11, 1sec, ISO 100 Steven Fudge
Kilt Rock, Isle Of Skye, Scotland by Steven Fudge
First Frame
www.distanthorizons.com.au
Photography Magazi ne
Contents
Landscape
April 2013 Issue 26
Get involved
This document is for private viewing only. Any distribution or sharing is strictly prohibited. All material is protected by international copyright law
Guy Tal talks about the value and importance of
wildness and the meaning of nature 20 32
42 64
96 86
142 108
78
32
08
114
68
134
52
Essays Advice Our Readers Features
Click here to get your images
and stories featured in Landscape
Photography Magazine. Its simpler
than you think.
Creative Notes
Dimitri Vasileiou expresses his thoughts on dull
weather days and landscape photography
Spotlight
Dennis Bromage kick starts this new feature essay
with a visit to Staithes village in Yorkshire
Vision & Light
Daniel McVey talks of his inspiration on capturing
the harvest moon rising over the White River NF
Inspirations Harvest Moon
The best photographs often come from an
unexpected direction. Ian Plant explains
Pro Talk
Close up, people, colour and b&w, we welcome
Rajib Kumar Bhattacharya from India
Rajib Kumar Bhattacharya
Kaleel Zibe shares with us his best tips and advice
on how to photograph birds
Stories From The Hide
David Hay explains why sensor size really matters
when it comes to landscape photography
Hay Fever
This month we display the work of Dora Artemiadi
from Greece and Terje Lindal from Norway
Portfolio
Interview with Sapna Reddy, an upcoming nature
enthusiast with a passion for landscape and travel
In Conversation...
Kaleel Zibe wonders if pro gear is worth the extra
expense in nature photography
Through The Lens
Alain Briot shares his knowledge and thoughts on
patience and composition
Views & Tips
This month we are profling Johan Swanepoel, a
brilliant wildlife photographer from South Africa
Johan Swanepoel
Trevor Anderson has a lovely story about Mt
Rainier to share with us
Foto Talk
There is more to photography than facing the right
direction. Keith Wilson explains
Landscape Travels
8 - LPM
Portfolio
dora artemiadi greece
Al l pi ctures Dora Ar temi adi
I was born and still live in
Athens, Greece. At the age
of 13 my father bought
me a Zenit 122, it was a
nice gift. Many years later,
I realized that it was the
greatest gift my father could have
ever bought for me.
I always liked photography but
I became more serious 4 years
ago when I discovered landscape
photography. I am an amateur and I
am trying to learn more. When I am
close to nature with my camera the
feeling is invaluable. I feel free and
happy and nothing can be compared
to it. Sometimes these unique
experiences can lead to a good photo,
sometimes they dont.
500px.com/doraartem
IN THE BAG
Canon 7D
Canon 450D
Tokina ATX Pro 11-16 mm f/2.8
Canon EF-S 18-200 mm f/3.5-5.6
Canon EF 75-300mm f/4-5.6
Manfrotto 055 XPROB tripod
ND flters
Circular Polariser flter
ND graduated flters
Shutter release cable
Sunset, Dubrovnik, Croatia
Canon 7D
Canon 11-16mm @ 14mm
f/6.3, 59sec, ISO 100

10 - LPM
portfolio dora artemiadi
When I am close to nature
with my camera the feeling
is invaluable. I feel free and
happy and nothing can be
compared to it
Opposite Plitvice Lakes National Park, Croatia
Canon 7D
Canon 18-200mm @ 18mm
f/6.3, 1/60sec, ISO 100
Top Temple of Poseidon, Cape Sounio, Greece
Canon 7D
Canon 18-200mm @ 18mm
f/11, 8sec, ISO 100
Left Eiger Peak, Grindelwald, Switzerland
Canon 7D
Canon 11-16mm @ 15mm
f/11, 15sec, ISO 100

12 - LPM
Opposite Lake Matheson
West Coast, South Island
Nikon D700
Nikon 50mm f/1.8
f/11, 2sec, ISO 200
Right Lake Tsivlou
Korinthia Mountains, Greece
Canon 450D
Canon @ 35mm
f/8, 1/30sec, ISO 200
Below Falasarna Beach
Crete Island, Greece
Canon 450D
Tokina ATX 11-16mm @ 15mm
f/16, 4sec, ISO 100
portfolio dora artemiadi

14 - LPM
Back to contents page
Above Kokori Bridge
Zagori, National Park of Epirus
Greece
Canon 7D
Tokina ATX 11-16 @ 16mm
f/11, 1/4sec, ISO 100
Left Shinias Beach
Athens, Greece
Canon 7D
Canon 18-200mm @ 18mm
f/11, 1/2 sec, ISO 100
portfolio dora artemiadi
16 - LPM
A lake on top of the world, the refections of one of the most impressive
mountains on its still waters, and a perfect sunrise. This is as close a
landscape photographer can get to heaven; welcome to Lake Stellisee
Al l pi ctures Jarosl av Zakravsky
Matterhorn & Lake Stellisee
18 - LPM
on the map matterhorn & lake stellisee
Back to contents page
N
o matter whether you say its
name in German (Matterhorn),
Italian (Monte Cervino) or French
(Mont Cervin), everyone knows and
recognises the unique shape of this
famous mountain, which forms the
border between Switzerland and Italy.
The Matterhorn and its surrounding
area are the most iconic locations
across the Alps, which means also that
this area should be very interesting
from a landscape photography
perspective.
After a quick analysis of the
Matterhorns location and shape, it
becomes clear that the best places
Switzerland
How to get there
Link to Google map
Page 16-17
Canon 5D Mark II
Canon 17-40mm f/4L @ 26mm
f/16, 52sec, ISO 50
Opposite
Canon 5D Mark II
Canon 17-40mm f/4L @ 23mm
f/16, 2sec, ISO 50
Left
Canon 5D Mark II
Canon 17-40mm f/4L @ 17mm
f/16, 0.5sec, ISO 50
Jaroslav Zakravsky
I grew up in the most
beautiful part of the
Czech republic. What
I like about landscape
photography is that you never
know what to expect. I live in
Prague, but when it is possible I
run away from the city to spend
at least mornings and evenings in
the outdoors
www.zakravsky.cz
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advice
Creative Notes
20 - LPM
Guy Tal
It is incumbent upon those of us who believe in the value and importance
of wildness to do more with our art than to afrm erroneous perceptions of
what nature means or what it should look like, benign and dispensable and
optional to our existence. Guy Tal explains
Expressions of Wildness
I
rarely pass up a chance to visit
used book stores. Shelves stacked
with random titles, the scent of old
paper and the hunt for interesting
discoveries often make me lose track
of time. On a recent trip I found myself
in such a store where I stumbled
upon a thin and poorly printed
book about the most ambitious
photography exhibit in history, The
Family of Man, orchestrated by Edward
Steichen and first presented in 1955.
Despite containing one of the most
impressive collections of photography
ever put together, the book itself
Guy Tal
Guy Tal is a professional
photographer, writer and
naturalist living and working
in the Colorado plateau, a
scenic and diverse desert region of
the western United States of America.
To view his images or book one of his
workshops visit
www.guytal.com
Back to contents page
can be summed up in one word:
unimpressive.
Practically every image in the book
portrays some facet of humanity, men
The full content of this article is available to subscribers only
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in search of mother nature
Part 10 of 12
The next four days I spent roaming around the Eduardo
Avaroa Andean Fauna National Reserve. Its main
attractions are cone shaped volcanoes, hot springs,
geysers, lakes and spectacular mountain scenery; not to
mention its three endemic species of famingos

F
rom northern Chiles Altiplano
I crossed into Bolivia. A long
and windy dusty road brought me
to a border office in the middle of
a deserted plain; a little plaque on
top of the entrance displayed a jaw-
dropping 4,900 metres (16,000 feet).
Crossing the border with a vehicle
that originates from Chile is time-
consuming, and at times, a frustrating
affair; it involves a lot of paperwork
and many unclear guidelines. After
two hours in freezing conditions at this
altitude, I was allowed to enter Bolivia.
Coloured Lakes
The next four days I spent roaming
around the Eduardo Avaroa Andean
Fauna National Reserve. Located at
an altitude between 4,200metres
(13,800feet) and 5,400metres
(17,700feet) it extends over an area of
714,745 hectares. Its main attractions
are cone shaped volcanoes, hot
springs, geysers, lakes and spectacular
mountain scenery; not to mention its
three endemic species of flamingos.
However, I am drawn to its coloured
lakes: Laguna Blanca (white), Laguna
Verde (green) and Laguna Colorada
(red) are a feast for the eye; their
colours are caused by sediments
within the lakes. In Laguna Verdes
case, the lakes distinguished green
colour is due to copper minerals, as
well as by micro-organisms that live
in it. I photograph normally during
early mornings or late evenings when
lighting conditions are soft. However,
these lakes need to be visualised with
boosting bright colours; it is those
colours which make them remarkable.
Between 11:00 and 14:00 the sun is
at its highest. I used a polarising filter
to boost the colour vibrancy and
contrast; it is the only way to capture
the actual colours of this magnificent
place. Often flamingos can be seen
wading in these lakes; they can be the
finishing touch to a photograph and
also they can create a sense of depth
and space. No matter how beautiful
In this months article Boris Mar will be crossing into Bolivia and Peru,
where he will photograph the heart of the ancient Inca Empire, the
landscape and its people
Bolivia and Peru

22 - LPM
The full content of this article is available to subscribers only
Click here to subscribe now!
advice
Spotlight
24 - LPM
Scotlands north-west ofers many photographic opportunities, but typical
Scottish weather consists of many days with a dull and featureless sky.
The question is, do we pack up and go home under these conditions?
Dimitri Vasileiou has the story
Under A Dull Sky
Dimitri Vasileiou
Dimitri is the editor of
Landscape Photography
Magazine, a landscape and
outdoor photographer,
writer and workshop tutor.
Dimitri is the owner and tutor of
Earths Beauty Tours, a photographic
courses and workshops company.
www.earthsbeautytours.com
A
s I am writing this, I am preparing
for my next workshop in
the Inverpolly and Assynt areas of
Scotland, taking place between 11th
and 18th February, 2013, although it
will be April by the time you read this
article. However, as I began to prepare,
I came across this image and right
away remembered the story behind
it, which occurred during the identical
photographic workshop last year.

Exploring
I had heard of a beautiful location
in the area around Loch Druim
Suardalain, but had not visited it
beforehand. Usually, I avoid visiting
new locations during a workshop
as the area might be disappointing
photographically, and participants
Di mi tri Vasi l ei ou
might be disillusioned. However, this
time, because of the intermittent wet
conditions, I thought it would a good
opportunity to pay a visit to see what
the area had to offer. Without wanting
Back to contents page
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26 - LPM
rajib kumar bhattacharya india
Al l pi ctures Raj i b Kumar Bhat tachar ya
I am a software trainer by
profession, father of one
child, and a cofee lover.
Photography is my passion
and I love to capture light
with my own style. I do not
have any photographic training, but am
infuenced by many great photographers
in the world through the internet.
I love travelling, though do not have
much time for it.
www.fuidr.com/photos/rajeve
Featured Artist
IN THE BAG
Nikon D7000
Tamron 90mm
Nikon 18-200mm
Sigma 10-20mm

28 - LPM
featured artist rajib kumar bhattacharya
W
hen did you start
photography?
I started serious photography one
year ago after buying my DSLR in June
2011.
H
ow important is photography
for you?
Photography is my passion; the one
and only passion; my only addiction.
W
hat is your favourite image of
all time?
It is not possible to mention one; the
best images in different categories
belong to different photographers.
D
escribe your favourite and most
inspiring location.
I do not have much time to travel often
and do not have my DSLR with me all
the time, but Sikkim was a great place
for photography.
W
ho is your favourite past or
present photographer?
In flower photography it is Shirley
Mangini and in portraits it is Lee
Jeffries; there are many others as well.
B
esides photography, do you
have any other hobbies?
Besides photography, which is my real
passion, I also love travelling whenever
I can and listening to my favourite
music.
W
hat are your future
photographic plans?
First of all, I wish to have a professional
full frame body with a 150mm macro
lens; this combination would work well
in conjunction with my landscapes
and portraits. However, above all, I
need to learn to use Photoshop as best
as I can.

featured artist rajib kumar bhattacharya

Photography is my passion;
the one and only passion;
my only addiction
32 - LPM

Back to contents page


featured artist rajib kumar bhattacharya
34 - LPM
Straightforward thinking is fairly common these days. So is straightforward
photography. The best things in life, however, as well as the best photographs,
often come from an unexpected direction. Ian Plant has the story
Sideways Shooting
I
f you truly want to excel as an
artist, you need to learn how to
think sideways instead of straight
on. But what do I mean by thinking
sideways? Let me start by way
of analogy, with a classic example
of sideways comedy, which goes
something like this: a skeleton walks
into a bar and says, barman, give
me a pint of beer and a mop. Give
it a moment, you will get it. All right,
maybe it is not the funniest joke in the
world, but hopefully it gets my point
across: sometimes it is best not to hit
people head on, but come at them
from an oblique angle rather than
taking the obvious approach, looking
instead for something unanticipated.
Sideways shooting requires being
open-minded to new approaches, a
curious nature, and a willingness to
go the extra mile. Above all, do not
just point your camera at the most
obvious scene or subject: not only
Ian Plant
Ian is a full time
professional nature
photographer, writer, and
adventurer. His work has
appeared in numerous
magazines, books and calendars. He is
also the author of a number of ebooks
and digital processing video tutorials.
www.ianplant.com
I an Pl ant
Pro Talk
Back to contents page
The full content of this article is available to subscribers only
Click here to subscribe now!
36 - LPM
Top 10 - February 2012
For available image details click here
LPM / Flickr
10 09 08
01. Daniele Zedda
Fregene, Lazio, Italy
02. Mario Cugini
Aberdour Pier, Scotland
03. Ani Pandit
Valley of Fire State Park, USA
04. Nick Walton
Twisleton Scar, Yorkshire Dales, England
05. Hafdz Abdul Kadir
Penunjuk Beach, Kemaman, Terengganu
06. Alan Howe
Heybrook Bay, England
07. Ivan Cajigas
Inside Autumn Woods
08. Loscar Numael
Escalante National Monument, USA
09. Michael Cockerill
Princetown, Victoria, Australia
10. Christos Andronis
Vaghiotiko Creek, Zagori, Epirus, Greece
01 02
06
07
03 04 05
Every month we select the Top 10 submitted
images to our LPM/Flickr group and add
them to the LPM website. These Top 10
images are also included in the magazine
every month.
Furthermore, well be selecting the best
images from the Top 10 and will be asking
members to submit them to LPM for the
Magazine Cover, First Frame, Final
Frame sections and so on.
If you wish to see your images displayed
in LPM and promote your photography,
another way to do it (besides the
submissions page) is to join the LPM / Flickr
group, it doesnt cost anything.
www.fickr.com/groups/landscapephotographymagazine
Book Review
38 - LPM
The full content of this article is available to subscribers only
Click here to subscribe now!
This book appears to cover both cofee table and portfolio genres. But,
can such a book appeal both to landscape photographers and to the
general public? David Hay shares his fndings in this review
Irelands Coast
I had not come across the work
of Carsten Krieger before but,
obviously, he is a very competent
photographer

but, obviously, he is a very competent photographer; his


work has a contemporary digital feel to it. Reproduction
generally is of good quality, although the review copy had
some print defects, most notably on page 104. The print
register was slightly visible when the images were viewed
close up.
Geographical Coverage
The whole of the island of Ireland is covered, both north
and south. Research on the internet into the photographer,
Carsten Krieger, revealed that his original intention was
to create a book like Scotlands Coast by Joe Cornish.
C
offee table book or photographic portfolio? There are
two types of book in this geographic genre. The first
is designed to appeal to a wide range of buyers who want
a souvenir of their visit to a particular place, and the second
is aimed at photographers who want to own a collection
of the photographers work. Most books about an area of
a country comprise mainly stock images, some quite old,
along with some general text. Portfolio books contain
higher quality images, usually by one individual. This book
lies in the second category although it has elements of the
first category as well.
I had not come across the work of Carsten Krieger before
Pages 192
Price 10.99 - $17
Published by The OBrien Press
Review by David Hay
Al l pi ctures Sapna Reddy
Could you describe your home country of India from a photographers
point of view?
India is unique. It is a blend of geographical and cultural diversity
that lends itself very well to the medium of photography. From the
awe-inspiring landscapes of the Himalayas to the sun-kissed shores
of Kerala, it is an amalgam of colours and culture that is a treat for
any photographer irrespective of their genre. This, combined with
the friendly welcoming nature of the people, and the fact that
a significant number of them are proficient in English, makes it
relatively easy to travel around the country and fulfil ones passion for
photography.
It is a very exciting country and should be on all photographers list of
destinations to visit. When did you start to take photographs?
I first started taking pictures in high school, mostly friends and on
fun occasions. Gradually it evolved to carrying a camera on every trip
I took, although it was with the intent of capturing a memory not as
an artistic pursuit. In the summer of 2010 I received my first DSLR as
Sapna Reddy
Nikon D800
Nikon 70-200mm f/2.8 @ 120mm
f/16, 1/125sec, ISO 4000
In Conversation...
40 - LPM

Sapna is a nature enthusiast and has travelled extensively throughout the world. Being an
adventurer at heart, she loves to hike through the wilderness and primarily photograph
landscapes. Here is her incredible story
Sapna Reddy is originally from Hyderabad, Andhra
Pradesh, India. She migrated to America to pursue
a career in medicine. She is a doctor specialising in
paediatric radiology who pursues photography as a
passion. In addition to multiple publications, her work
is displayed in medical centres in Northern California.
She is collaborating currently with the Sankara Eye
Foundation which is responsible for the Gift of Vision
program which sponsors free eye surgeries for the poor in
India. The proceeds from sales of her images are directed
to funding this organisation.
Instead of chasing a picture, let the picture
come to you as you imbibe, observe and
experience the immeasurable beauty of
nature around you

in conversation... sapna reddy


42 - LPM

Above Nikon D800


Nikon 70-200mm f/2.8 @ 200mm
f/2.8, 1/250sec, ISO 100
Opposite Nikon D800
Nikon 70-200mm f/2.8 @ 135mm
f/22, 1/50sec, ISO 100
a gift. I started playing with it and soon realised that it was
a medium for creative expression. The intent for doing
photography changed at that point from documenting lifes
events to expressing my creativity. So, I have been using the
camera to express myself for about 2 years now.
This is a very short period of time but your images
impressed me. I look forward to seeing the ones you take in
2-3 years time. Now, who is your favourite past or present
photographer who has inspired you and influenced your
photography?
It is not a single body of work that I find inspiring, rather it is
multiple photographers, each with certain images that I am
able to connect to at a spiritual level. From the masters such
as Ansel Adams, Edward Weston, Imogen Cunningham,
and Ruth Bernhard, to modern day wonders like Michael
Kenna, Jack Dykinga, Mark Adamus, Fatali, Guy Tal, Michael
Frye, Charles Cramer, Andy Mumford, William Neill, and
Clark Little. Each of these photographers has one or more
images that are truly awe-inspiring to me; images that I look
at on a regular basis, with haunting compositions, unique
perspectives, and soulful renditions.
This, indeed, is a very long list of superb photographers,
whom we all revere. Talking of great photographers, what is
your favourite image of all time?
There are several images that have the ability to evoke
a strong emotional response in the viewer, the ability to
convey volumes in a single frame, depict monumental
episodes in history. One such image that will remain with
me forever is the picture of the 9 year old Napalm girl
running naked through the main street of her village after
a bomb was dropped on it. It tells a story of brutality,
vulnerability, courage and generosity, all in one single
capture. The brutality of war, the vulnerability of those who
are subjected to it, the courage of the photographers who
choose to place themselves directly in the path of danger,
purely with the purpose of bringing a story to light for the
rest of the world, and the generosity and kindness of the
photographer who saved the little girls life after he took
the picture. The photographer was the one who rushed the
girl to the hospital and made sure the surgeons were able
to treat her burns right away. He did not know he had the
picture until much later.
http://upload.wikimedia.org/wikipedia/en/d/d4/
TrangBang.jpg
Indeed, this is a picture that has been an inspiration to
many of us. Most photographers have a moment where
everything becomes clear and that moment could change
the way we see photography. Have you had such a moment
and how did it affect your style?
When I started doing photography seriously, I used to
focus on the technical aspects, concentrate on nailing the
pictures. The approach to taking a picture was meticulously
planned in terms of timing, location, weather, gear etc.
However, it was missing an essential component.
I went to shoot Horsetail Falls in Yosemite last year.
Photographers from all over the world were gathered
in their hundreds, all hoping to nail the picture of
the famous phenomenon of fire falls; the setting sun
illuminating the rugged rock face of El Capitan, the golden
light transforming the water of Horsetail Falls to the colour
of molten lava, the spray created by the wind billowing to
create the perfect golden horsetail. It would be pure magic
if one was lucky and the weather conditions were perfect
to produce this phenomenon. As I sat there waiting for
hours, I started talking to two photographers. It was their
60th year photographing the falls, and yes, they had seen
the phenomenon a few times and had photographed it too.
Why, then, are they here, I wondered; they have the picture
already. As I talked to them over the course of a few hours
it became quite clear to me that their purpose and mine
at that point were quite different. They had come to enjoy
the experience, irrespective of whether they got a good
picture that day or not. I, on the other hand, was there to
take home a prized picture. The more I spoke to them, the
more clear it became to me how flawed was my attitude
and approach. Thanks to them, I came to the profound
realisation that it is not the destination that matters, it is the
journey. What really matters is that you enjoy the process
of getting the picture. If you actually nail the picture, that
is just icing on the cake. Instead of chasing a picture, let the
picture come to you as you imbibe, observe and experience
the immeasurable beauty of nature around you. From that
day onwards I started treating photography as a channel
for me to commune with nature, and to establish a path to
finding my own moments of Zen.
Very interesting and also true. Talking of Zen and emotions,
to what degree are your own emotions reflected in your
pictures now?
As a photographer I aspire to evoke an emotional response
to each of my images. If there is no emotion going into the
creation of the images, then how can one expect there to

Top Nikon D90


Nikon 24-70 mm f/2.8 @ 70mm
f/13, 1.6sec, ISO 200
Right Nikon D800
Nikon 14-24mm f/2.8 @ 24mm
f/16, 2.0sec, ISO 100
44 - LPM
in conversation... sapna reddy
As a photographer I aspire to
evoke an emotional response
to each of my images. The
purpose of generating images
is to convey the feel for a
place, to express what you as
a photographer felt when you
were standing at that place at
that point in time

be one evoked in the viewer? The purpose of generating


images is to convey the feel for a place, to express what
you as a photographer felt when you were standing at
that place at that point in time. So yes, every image that I
generate is optimised to convey that emotion.
Sometimes you include people or animals in your pictures.
What is your theory behind this?
If there are people present when I am photographing a
particular location, I try my best to include them as, in
my opinion, the story of the connection between man
and nature is well worth sharing. Not only does it give
perspective to the images, it also adds interesting elements
to the composition. The story is strengthened, the drama,
perhaps, a bit more enhanced with the introduction of
interesting characters.
An interesting point of view. Changing the subject now,
can you tell us about your items of gear and why you chose
them?
The first DSLR I owned was a Nikon D90 that I received as
a gift. In order to use that camera, I bought Nikkor lenses.
Once the collection of Nikkor lenses formed, it was only
natural that I stick with Nikon and upgrade in a manner that
lets me continue to use my lenses. The discussion of nuts
and bolts of gear, brand of camera used, Canon v Nikon,
which seems to inundate photography forums, holds no
interest for me. Personally, I think that once you have a
reasonably good camera, the only nut that matters is the
one behind the camera.
Currently my gear includes Nikon COOLPIX S800c for
scouting locations, Nikon V1 when I have to travel light, and
my standard usage bodies, Nikon D90 and D800. The lenses
I use most frequently for landscapes are Nikon 14-24mm,
Nikon 24-70mm, and Nikon 70-200mm, Nikon 105mm f1.4
for macro, and Nikon 85mm f1.4 for portraits. The Nikon 17-
35mm f2.8 is good for use with screw-on filters as opposed
to the large hood of the Nikon 14-24mm. The 10mm V1 lens
is very useful for street photography as both camera and
lens are barely noticeable.
I agree with your sentiments on Canon v Nikon; it is the
nut behind the camera that matters.
Lets move on. Like almost every
photographer, you must have a
favourite image. Tell us a little bit
about it, all the details and especially
the why.
Personally I do not have a single
favourite image. I sincerely believe
my best is yet to come. Of the ones I
have taken so far, some appeal to me
more than others. One of my favourite
images is that of the road leading to
monument valley. This image was
taken in imperfect light, with the harsh
glare of sun, of a relatively colourless
landscape, and I was not sure I was
even generating an image that I
could use. However, I knew (before
I captured the image in camera)
how I intended to process it later in
software to depict the image of a
46 - LPM

Above Nikon D800


Nikon 14-24mm f/2.8 @ 14mm
f/22, 1/60sec, ISO 100
Opposite Nikon D800
Nikon 14-24mm f/2.8 @ 28mm
f/22, 2sec, ISO 100
Page 60 Nikon D90
Nikon 24-70mm f/2.8 @ 40mm
f/20, 15sec, ISO 200
Page 61 Nikon D800
Nikon 14-24mm f/2.8 @ 14mm
f/9, 1sec, ISO 1250
in conversation... sapna reddy
journey. There is a lot of satisfaction in
generating a remarkable image given
conditions that are less than ideal. For
someone who is constantly chasing
light, the image was an eye opener in
understanding that there is an image
in every light. It taught me to start
looking for ways to turn the mundane
to interesting, to be creative with what
light was available and working with
compositions, rather than constantly
trying to take images only in good
light.
I want to ask you now about the
aftermaths. What post processing do
your images undergo? Can you give us
some details of your basic workflow?
I tend to shoot in RAW and jpeg fine.
Almost invariably I process only the
RAW images. The jpeg images at
this point are like a security blanket.
The processing is done using Adobe
Photoshop CS5 with a few plug-ins.
Exposure, White Balance, Clarity
adjustments are made as needed
in Adobe Camera Raw. Additional
adjustments in Photoshop are tailored
specifically for each image. I have
found Tony Kuypers luminosity
masks very useful in saving me time.
and envisage what the desired end
product is. The most rewarding images
are those where I can see the end
product clearly before even I press
the shutter release and, therefore,
enhance everything from acquisition
of the image to its post-processing and
presentation in realising that creative
vision. It is extremely satisfying when
you see an image in your head and
can then create it and share it with the
world with the tools available to you.
Fascinating, I have not thought of
processing an image in different ways,
just different formats. This leads me
to ask if you have gone through any
formal training in photography or are
you self-taught?
I have not had formal training in terms
of pursuing a degree in photography.
When I started shooting, I spent
a significant portion of my time
reading about the basic concepts of
photography and how they influenced
the creation of a basic image. Once
I became comfortable with the
technical aspects of photography, I
invested a large portion of my time in
studying images, trying to understand
the compositions, the use of light,
emotion behind the
generation of the image,
and the steps individual
photographers take in
an attempt to fulfil their
individual artistic vision
and to connect to the
viewer. Then I started
shooting obsessively,
practising every day,
trying to apply the
theoretical knowledge to
practical situations. There
are a few teachers who
have been generous with
their time and instruction during this
learning process, acting as mentors,
offering critique, coaching me both in
the field and with post processing, and
transforming me gradually.
I agree completely with your theory
of studying images, hence we have a
variety of small essays in the magazine.
How do you come up with ideas, and
what do you use as inspiration for your
images?
The images generated by me for the
large part have been taken within a
short distance of where I live. Being
in Northern California, one has the
opportunity to revisit a variety of
landscapes, become familiar with
them, study the patterns of light and
weather, and subsequently generate
images that are emotionally satisfying.
Having said that, I have enjoyed my
share of destination photography;
getting to beautiful places and
photographing them during the
golden hour is enjoyable certainly.
However, it does not come close to
the fulfilment experienced when
photographing a place close to your
heart, one that you are familiar with,
associate with and consider as your
corner of the world.
I use light as my inspiration. Being
a landscape photographer, every
place I go to I try to see what that
particular light at that particular
time is showcasing. It is hard for me
to connect emotionally to a picture
without that element of light in the
composition. To a large degree, how
subsequently I compose the picture is
based on what kind of light is available
and what best conveys a feel for the
place.
Is your love of photography a passion
or obsession?
It is sometimes hard for me to know
when the line from passion to
obsession is crossed. The pursuit of
photography is a personal journey
filled with happiness every step of
the way. Every image acquired, that is,
every step of the journey, feels more
pleasurable than the last, a sentiment
that draws me passionately deeper
and deeper into the exhilaration of
the art. I do obsess about the quality
of my pictures, the planning of my
pictures and their execution. However,
considering this is not my primary
Sometimes I process specifically with
the intent of rendering a scene as close
to reality as possible, and at other
times enhance images purely with the
intent of expressing myself creatively
with less emphasis on reality. Often,
I process the same picture in 2-3
different ways, then assess how I feel
about each version over the course of
2-3 days, and eventually settle on one
version that to me best conveys the
feel for the place. In essence there is
no cookie-cutter recipe that I follow;
each image is treated separately. In
terms of self-discipline, before I take a
picture, I try to observe the landscape
48 - LPM

in conversation... sapna reddy


profession, at this point in time, I confess I am obsessively
passionate about it. To find beauty in the barren, depict
mood in the mundane, and evoke emotion by immersion in
images requires a strong love for the art.
It is indeed a very thin line that separates passion from
obsession, I agree. Now, when you are on location, you
must have a certain method or process in order to find the
picture. Can you share it with us?
Like all the masters say, the key to photography seems to
lie in observation. So, before I photograph a landscape, I
try to spend some time hiking through it. Spending some
time at the place, soaking in the atmosphere; relaxing
and connecting with nature has become a very enjoyable
experience. During my first visit to the place I do minimal
photography, perhaps scout out a few sites and shoot a
few images with my compact camera, but mostly try to
explore and to discover what hidden secrets the place
has. Once I am somewhat familiar with the place and feel
connected, I begin to chart out where I want to shoot from,
potential compositions, timing for quality of light etc. Since
every picture is a story without words, prior to pushing the
shutter release button I ask myself what this story is about.
Who/what is the protagonist of this story? Based on the
answers, I then try to compose the picture in such a way
that, hopefully, will draw the viewer into the image and
direct the eyes towards the main subject. It goes without
saying that the choice for the main subject is determined
by where the most interesting light is in a particular scene,
or sometimes the strongest pattern, the most drama, or the
most calm.
It is always good to hear photographers talking about light,
drama and emotions. Saying that, have you ever had an
awe-inspiring experience that will stay with you for the rest
of your photographic life?
One of the best things about photography is that it
provides you with the motivation and the opportunity to
witness things that otherwise you may never really see.
As a child I often marvelled at the colours of the sunset,
noticed the ripples formed by the raindrops in puddles,
the swishing of the coconut trees to the ocean breezes,
the vibrancy of a butterflys wings and so on. Gradually
childhood recedes and with it diminishes the ability to
marvel and appreciate the beauty of all that is around us.
As we get caught up in our day to day chores, we become
immune to the beauty around us and succumb to visual
anaesthesia. It was not until I started doing photography
earnestly, that I began again to observe and become
excited about the hues of the sunset, the kaleidoscope
of the rainbow or the vibrancy of the butterfly. With the
observation comes the realisation of the wonder of it all. In
short, the habit of observation that becomes second nature
to a photographer makes it possible for one to be in the
present and progress from one awe- inspiring moment to
another.
A very poetic way to put it. Talking of locations, do you have
a favourite location and why is it your favourite? Will you
share it with us?
There are two places that have deep emotional attachment
for me. The first is my hometown of Hyderabad, India.
Having grown up to the sights and smells of the colourful
riot that is Hyderabad, there remains a deep longing to visit,
to photograph, to reconnect, and to relive the precious
moments. The second is where I belong now, in Northern
California. Sorry for the clich, but home is where the heart
is. Where else can we experience the joy of pursuing our art
than in the places that are closest to our heart?
Continuing on the topic of locations, we all have a dream
location that we want to visit before we are too old. What is
your dream location and why?
This is an interesting question. Considering I have not seen
a large portion of the world, honestly I cannot say I have
a single dream location. There are so many places that
interest me as a photographer and as a person. Currently I
am in the process of planning a trip to Ladakh this summer.
This is one of the places where I hope to go trekking off
the beaten path and photograph the majestic landscapes.
East Africa, South America and New Zealand are additional
dream destinations.
You mention New Zealand: this is one of the countries I
long to visit and hope to be able to do so at some point
in my life. My next question is if you could turn back the
time, what advice would you give to a younger you about
photography?
As a beginner in photography I made a ton of mistakes.
However, I learnt from each of those mistakes. Some were
very painful to go through, but at the same time, perhaps I
learnt the most from them. So I have no regrets for events
that have occurred in this journey; I accept the good, the
bad, the beautiful and the ugly. As long as my next picture
is equal to or better than my last, the journey is beautiful
irrespective of the twists and turns. My advice to the
younger Sapna would be to invest more time in improving
the art and less time in social networking.
Like all the masters say, the key to
photography seems to lie in observation

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Sapna Reddy
Sapna Reddy is originally
from Hyderabad,
Andhra Pradesh,
India. She migrated to
America to pursue a
career in medicine. She is a doctor
specialising in paediatric radiology
who pursues photography as a
passion. In addition to multiple
publications, her work is displayed
currently in medical centres in
Northern California.
www.fickr.com/sapnareddy
Back to contents page
in conversation... sapna reddy
50 - LPM
If you had to choose a different genre
in photography besides landscapes
and nature, what would you choose?
Being a people person, and one who
tends to talk a lot, I love to shoot
portraits. Having a camera in hand
makes it easier to approach total
strangers with a smile. The majority
of the time people are happy to have
their pictures taken. Having a large
extended family and circle of friends,
there are plenty of opportunities for
me to take portraits. I sincerely hope
to travel through India some day
and shoot portraits of people on the
street, in the melas (fairs), working in
the fields, during festivals, classical
dancers, all of the drama within the
human landscape. I do not wish to take
portraits of famous people. Rather I
wish to take pictures of people no-one
knows, outside of their little circle, and
show how truly extraordinary they are.
The joy of being able to reach out, take
somebodys picture, share it with them
and bring a smile to their face is as
rewarding as the quiet moments spent
in silent introspection in a peaceful
landscape.
How do you see the future?
Considering the extremely short
time that I have been pursuing
photography, my journey has just
begun. My hope is to improve in this
art medium, and use it to benefit
others. The joy experienced in
witnessing the beauty of nature and
being able to incorporate a small part
of it within oneself is immeasurable
and a reward in itself. To stand at a
point in space and time and have
the ability to envisage what the final
image will look like is what I aspire for.
To realise how the story will end by
just looking at the cover page because
you as the author will write the story
within. I sincerely hope to see the
images improve, generate sales, and
use the proceeds to help others see
what I see. The website SapnaReddy.
com will be launched shortly. I am
in the process of collaborating with
the Sankara Eye Foundation which
sponsors free eye surgeries for the
poor in India. If with the sales of my
pictures, I am able to contribute to this
worthy cause, I should consider myself
as infinitely fortunate.
My final question is what advice would
you give to our readers?
Enjoy the journey, one frame at a time
and remember life is not measured by
the number of breaths we take, but
by the moments that take our breath
away.
Nikon D800
Nikon 14-24mm f/2.8 @ 14mm
f/16, 1/125sec, ISO 200
Getting into the right position is essential for any photograph, but sometimes
there is more to it than facing the right direction. Keith Wilson recalls a time
when he really had to get his nose down to the ground
Racing Across The Ice
T
he great Ansel Adams was as
prolific with uttering memorable
quotes as he was in producing
exquisitely printed landscapes. One of
my favourite lines from the old master
is: A good photograph is knowing
where to stand. I love the simplicity of
this comment even if it may seem like
stating the obvious. Knowing where
to stand succinctly identifies the most
important decision a photographer
has to make when framing a
scene. So many photographs, not
just landscapes, would be greatly
improved if more consideration were
made to the shooting position. Where
you choose to stand or set-up your
tripod ultimately affects every other
decision that follows.
Of course, Ansels quote shouldnt
be taken too literally. There are
Sledding across the frozen sea,
East Greenland
Canon T90 with 20mm lens,
Kodachrome 64, 1/15sec at f/22
52 - LPM
Keith Wilson
The founder of both
Outdoor Photography and
Black + White Photography
magazines, Keith Wilson
is a former editor of Amateur
Photographer. He is a Fellow of the
Royal Geographical Society and
on-line tutor in travel photography
at My Photo School. For more
information or to book a place on
Keiths 4-week course, go to
Travel & City Break Photography Course
Landscape Travels
advice
The only way I could
photograph a team of dogs
on the move head-on, was to
stretch out on my stomach
occasions when standing is neither
the best position nor advisable;
sometimes the ideal shooting position
might be attained by lying flat on your

Back to contents page


Kei th Wi l son
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Landscape
Pho t o g r a phy Ma g a z i ne
54 - LPM
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Aperture
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by contributing your
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First Frame / Final Frame
Display your best landscape & wildlife
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Inspirations
Share your inspirations
with the world. Submit
your picture and tell us
what inspired you to
achieve your creation
and how you did it.
Lightbox
This is all about you, the
fairly new photographer.
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56 - LPM
Inspirations
My Inspiration
I love shooting the full moon rise and
the harvest moon seldom disappoints.
The scene of the bright moon on a
dark background and the trees in full
detail, was something I could simply not resist to
photograph.
There is something about the moon that attracts
me (all of us I suppose), probably its mystery and
romance.
Technicalities
I was able to shoot the moonrise 3 times by
shooting until the moon was airborne, I then got
in my car and drove further up the mountain.
Changing my perspective drove the moon below
the ridge line and gave me another chance to try
again.
www.danielmcvey.com
daniel mcvey usa
Camera: Canon 7D
Lens: 100-400mm f4.5
Aperture: f8.0
Shutter: 1/250 sec
ISO: 400
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Harvest Moon rises over the White River National Forest, Colorado, USA Daniel McVey Back to contents page
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58 - LPM
technique
A Guide To:
Underwater Landscapes
Most of us love landscapes, seascapes, oceanscapes, skyscapes, cityscapes and so on.
We all love being out there with nature. However, how many of us have discovered
the wonderful world of underwater landscape? LPM reader Annette Price is sharing
with us her experience and some valuable advice
Al l i mages Annet te Pri ce
F
reshwater rivers are fascinating. I have been a
kayak paddler since the mid 1990s, through which
I have gained an intimate knowledge both of placid and
whitewater rivers. I love bubbly, aerated whitewater, the
way it tumbles over rocks and ledges swirling into eddies,
the calm serenity of clear placid water and the wild places
that rivers can take you.
So, extending my photography to the underwater world
was a natural progression when I learned to dive in 2004.
I use a DSLR in an Ikelite underwater housing to
photograph underwater landscapes; sometimes diving
with scuba diving equipment and at other times simply
wading or swimming into shallower water. I love the
relationship between land and water and how water
changes the elements that lie beneath its surface. A sunken
vehicle can become an artificial reef, housing crustacea
and molluscs, and also a shelter for fish. It can rust and
change colour, to become something quite different. Light
passing through water distorts colours, caused by the
unequal absorption of different coloured light waves, which
removes different colours at different depths. Red light
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I made around a dozen exposures during
the next hour, all of exactly the same
composition but diferent in light and mood

60 - LPM
Sometimes, it is worth trying new, fresh approaches to landscape photography,
and one such approach is to take the same picture under diferent lighting
conditions. Dennis Bromage is back from the idyllic fshing village of Staithes
in Yorkshire and has the story
Light And Timing
advice
Vision & Light
Denni s Bromage
Dennis Bromage
Dennis is a professional landscape
photographer and one-to-
one workshop tutor based in
North Yorkshire in England.
He is currently focusing his attention on the
landscapes and coast of his beautiful and
picturesque home county.
To view more of his work visit
www.dennisbromage.co.uk
I
n this new column I am trying
to illustrate that landscape
photography is not about which
camera you use or clever camera or
computer techniques you employ, it
is about having the vision and the eye
for a good image. It is about pairing
a great location with the right light
and weather conditions but, more
than that, it is about choosing the best
season and time of day.
I am always on the lookout for new
locations or for fresh ways to shoot
classic and iconic locations. My first
approach is to take a quick snapshot
Back to contents page
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62 - LPM
Hai tz Al usti za
I was born in Legazpi, an
industrial town in the Basque
region of Spain. I have been
an amateur photographer for
a year now.
My interest in photography is related
to my love of travelling and hiking.
It all began long ago, searching the
internet for beautiful pictures to plan
my journeys, always learning and
always improving.
Being a beginner, I sometimes favour
a realistic approach and other times
get more creative. Landscape
photography allows me to engage
with natures forces. I try to evoke
those moments in my photography.
I have to learn a lot, but it has been a
good journey, so far.
www.fickr.com/photos/haitz
Lightbox
haitz alustiza spain
Arrizala, Basque, Spain
Canon 350D
11-16mm lens @ 16mm
f/2.8, 157sec, ISO 400
Our talented readers reveal what images they have been shooting lately
and where they fnd their inspiration. Whether colour or mono, intimate
landscapes, rural scenery, coastal views, woodland or even abstract, you
will always fnd plenty of variety on these pages
Dimitri says...
Reading your bio, I must
admit that I enjoyed your
humble approach towards...

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From Art to Long Exposures
lightbox
Ji m Emer y
Jim Emery, USA
I am a retired high school teacher
who is an avid semi professional
photographer, in Cleveland, Ohio. I am
also a professional high school track,
feld and cross country teacher at a private school
in Cleveland Heights. I enjoy golfng, reading and
wide range of music.
www.fickr.com/photos/jamesemery
Dimitri says...
Hills, trees, a bit of snow still
lying on the ground and, most
importantly, clear blue lake...
Back to contents page
Mountain Vista
Nikon D7000
8-16mm f/4.5-5.6
f/16, 1/250sec, ISO 100
66 - LPM
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A photograph taken at f/16
with a full frame camera
will have about the same
depth of feld as one taken
at f/11 with an APS-C
camera and f/8 with a
micro 4/3rds camera

68 - LPM
Over the last year or so there have been some serious advances in small
sensor technology. Can we still say bigger is better when it comes to
cameras, or are small and lightweight bodies the future in photography?
David Hay shares his views
Does Sensor Size Matter?
Hay Fever
W
hen digital SLR cameras first
appeared, a full frame sensor
was considered to be the Holy Grail.
This would allow digital image quality
finally to equal that of 35mm film.
However, rapid developments in
sensor quality have meant that digital
sensors currently easily exceed the
quality of the same size of film. So
what size of sensor is needed now for
good quality digital prints?
In this article I am trying to keep
things simple to avoid having to
use mathematical equations, so the
following statements are all broadly
true. A full frame sensor is about twice
the surface area of an APS-C sensor
and about four times the area of a
micro 4/3rds sensor. For example, the
cameras with each of these sensor
sizes are a Nikon D4, a Pentax K5 II and
an Olympus OM-D.
Resolution
The most important measure of
advice
Davi d Hay
David Hay
David is a retired biologist
who specialises in nature
and travel photography.
He is based in Pitlochry,
Scotland where he runs
workshops in digital photography. To
view his gallery visit
www.imagepro.photography.com/davidhay
Back to contents page
image quality usually is resolution,
the amount of fine detail that can be
recorded by the sensor. With the same
quality of lens in front of each of these
cameras, they will all record the same
amount of detail, as they all have 16
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Seeing and predicting
light and potential is
an important art for
photographers to develop

Walking through the area can be extremely


helpful in order to ascertain how you want
to use the unexpected conditions in a
positive manner to create your image

70 - LPM
A Sense of Place
More often than not nature photography is a compromise. Rarely are the
conditions the way we expected when we planned our day. Being fexible
and creative can make or break the possibility of a stunning photograph,
as Jack Graham explains

Aperture
Y
ou pack your vehicle the night
before; you have studied the
maps, GPS information etc., to get
you there; you have looked at some
other images made in the location
to which you are venturing the next
morning, and you feel inspired and
ready to capture a scene in your own
way. You go to bed and think of what
might be. You awake, get ready and
drive, sometimes a long way to your
destination. You arrive and guess
what? Despite all the planning and
forethought, what you see is not what
you expected. Perhaps the weather
is unco-operative and the forecast is
wrong. Perhaps the wildflower bloom
is late, or has occurred already. Now
what? Just when you think things are
not right, having a sense of place can
allow for some great imagery.
As you arrive at the location that
you planned to photograph, what
exactly are you thinking? Are you
determining how the light might
affect the image which perhaps you
had been planning for some time, or
do you have a sufficiently open mind
to depict the scene as it will appear
on this occasion? In other words, can
you make more than the best of the
situation?
Often photographers have their
minds set on how a certain location
should look when they arrive to make
the photograph. They have created
in their minds, perhaps, an iconic
image of Half Dome or a famous
lighthouse on the Maine coastline.
So often, Mother Nature affects the
results drastically and ones best laid
plans are negated. A huge part of
successful photography is the result
of planning. However, being flexible
and constantly aware what you can do
with a scene, taking into consideration
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72 - LPM
Views & Tips
There is a tendency among landscape photographers to unpack gear and set up
camera and tripod the minute they arrive at a location. It is a ritual of sorts, but
one that Alain Briot fnds hard to follow
About Field Work
Alain Briot
Alain Briot creates fne art photographs, teaches
workshops and ofers DVD tutorials. Alains 3
books are available as printed books on Amazon.
com and as eBooks on Alains website. You
can fnd more information about Alains work, writings
and tutorials as well as subscribe to Alains Free Monthly
Newsletter on his website.
Alain welcomes your comments on this essay as well as on
his other essays available. You can reach Alain directly by
emailing him at alain@beautiful-landscape.com
W
hen I arrive at a location I want to photograph,
I do not unpack my gear right away. Instead, I put
camera bag and tripod down and spend a good amount
of time looking at the landscape, taking it in, studying
the colours and considering different compositional
possibilities. Before taking photographs I first want to view
the scene without a camera.
This is because I hardly ever find the strongest
advice
One of the biggest mistakes a photographer
can make is to look at the real world
and cling to the vain hope that next
time his flm somehow will bear a closer
resemblance to it - Galen Rowell
Al ai n Bri ot

Back to contents page


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M
ost of us know the main benefits of
a circular polarising (or polarizing)
filter or CP as we refer to. It suppresses
surface reflections and intensifies colour
saturation. The effect is directly related to
the angle of the lens from the light source.
Best results on polarising a blue sky can
be achieved when the light source (the
sun) is at an angle of 90 with the lens;
basically, right above your head.
You can also use two CP filters
screwed together. By rotating the filters
on opposite directions, you can have an
adjustable neutral density filter of up to
ten stops.
However, using a CP filter in
conjunction with ultra wide lenses for
landscape photography may cause
some problems. Ultra wide lenses are
considered the ones wider than 24mm
on a full frame body. Here are a few
things that will help you avoid potential
failure.
Parts of a blue sky will turn out
darker than others. This is due to
extreme wide field of view with these
lenses. Unless you love the effect, it is
best to avoid using a CP.
Be aware that CP filters darken the
exposure by almost 2 stops. Make sure
you account for the loss of light by
adjusting the exposure accordingly.
Make sure you remove the CP filter
when you are shooting multiple frames
for a panoramic picture as the sky will
look unnatural.
It is advisable to remove the filter
when shooting a scene with the sun in
front of the lens. Wide lenses do not
handle lens flare very well, the problem
is intensified with a CP filter on.
Would you like to share your advice with
us? Submit your best picture and your
advice and see them displayed on these
pages. For full details on how to submit
click here.
74 - LPM
ADVICE
OF THE MONTH
Recently, Canon introduced its third and lowest priced camera, in a line-
up of full frame sensor cameras. However, can the new Canon 6D stand
up to the competition? Mark Bauer took it for a spin on location and
here are his fndings
Canon 6D
Gear Test
76 - LPM
Al l pi ctures Mark Bauer

Introduction
The Bottom Line
Features
O
nly around a decade ago, the announcement of
an affordable full frame DSLR would have been
big news. But with a number of full-frame models now
available from 3 different companies, and 5 models with
street prices under 2,300, the simple fact of its existence
is not enough for the 6D to make much impact; it needs to
compete on its feature set, ergonomics and performance.
Canon itself has 3 models in its current full-frame line
up, all very similar in terms of megapixel count, and so
distinguished mainly in terms of build quality, features
and handling. The distinction between the top-of-the line
1Dx and the other two full-frame cameras is obvious, both
in these areas and in terms of price. However, the 5D Mk
III and 6D are both mid-range DSLRs and so must have
presented Canon with a much bigger challenge in terms
of how to separate them: trim down the 6D too much, and
it will lose its appeal, keep it too close to the 5D Mk III and
you take sales away from the higher-priced model. There
is a huge risk of confusing the customer and having the
two models compete against each other.
So, has Canon managed to get the balance right with
the 6D? Has the 700 saving over the 5D Mk III resulted in
too many compromises or, as a landscape photographer,
can you save a fair chunk of money and essentially obtain
the same results and performance from the 6D as you can
from its more expensive cousin?
T
he 6Ds feature list is very long, and I could fill my word
count for this review just by writing down everything on
the list, so it is probably best to restrict myself to the edited
highlights:
20.2 MP full-frame sensor
ISO 100-25,600 (expandable to 50-102,800)
4.5 fps
1080p30 video recording
11 point AF system, cross-type centre point, sensitive to -3 EV
63 zone metering
97% viewfnder coverage
1040K dot 3 LCD
Single SD card slot
Electronic level
In-camera HDR and multiple exposures
Built-in Wi-Fi and GPS
So, what the 6D loses in comparison with its older sibling
is a bit of build quality, although apparently, it still ofers
weather sealing to the same specifcation; some autofocus
capability (not important for landscape, but if you dabble in
wildlife photography as well, could be a deal breaker); a little
bit of speed; 0.2 of the rear LCD and 3% of the viewfnder
coverage. For most landscape photographers, that is not a lot
to lose in order to save 700, and the 6D even gains a couple
of things that the 5D Mk III lacks; namely Wi-Fi and GPS. How
useful these last two features are in real life is debatable,
however.
T
he 6D is a highly competent camera which delivers excellent image
quality. It is quite capable of delivering professional quality results, and
I had no qualms about using it on real shoots. While there are compromises
regarding its handling compared with the 5D Mk III, the importance of these is
highly subjective: what might drive one photographer mad may well not bother
another. A lot depends probably on which previous model you are moving from.
If your budget does not stretch to a 5D Mk III, then it is fairly simple; the 6D is
recommended. If your budget does include the 5D Mk III, then things are a little
more complicated, but, basically, it comes down to whether you prefer a smaller,
lighter camera or one with a little more heft and solidity, and the importance of
certain specific handling differences.
The 6D delivers excellent detail, sharpness, colour and contrast
straight out of the camera, with very little post-processing work
necessary, as this colourful sunrise at Lyme Regis in Dorset shows.
Canon 17-40mm f/4L @ 32mm
f/16, 25sec, ISO 100, Lee 0.9 hard grad
gear test canon 6d
78 - LPM
I
shot with the 6D for just over a fortnight, taking it as far
afield as Iceland, to photograph the northern lights. I
was able to push the camera, not only in terms of its image
quality in difficult shooting situations, but also with regard
to its robustness, in fairly harsh conditions at times.
The body is based around that of the 60D, with a couple
of modifications to accommodate a full-frame rather than
APS-C sensor, the most obvious being the slightly larger
pentaprism, and the fixed, rather than articulated rear LCD.
This latter change is a shame, in my opinion, as there are
many advantages to an articulated screen; Canon claims
that the fixed screen is to improve durability. Personally,
I think this is a bit of a red herring; if you want a more
rugged camera, there is another option in the line-up.
With a camera such as the 6D, Id be willing to trade a little
durability for better functionality.
The smaller form factor has led to a different control
layout from the 5D/7D series cameras, and this is the
main issue I have with the 6D. Rather than having the
main control buttons lined up along the left-hand edge
of the rear LCD, they are scattered around the back of the
camera. There is no joystick, but instead an 8-way controller
which sits inside the rear control dial. This does not fall
neatly to hand, as does the joystick on the 1, 5 and 7 series
models, but is rather awkward to access, requiring an
uncomfortable change of hand position. Furthermore, the
Play and Magnify buttons, although reached easily by the
thumb, are almost flush to the surface of the camera, rather
than being raised. This makes them not as easy to press as
they should be, especially when wearing gloves, and, at
times, I found myself having to spend a moment looking for
them, rather than just being able to get on and use them;
perhaps not a major problem, but certainly an irritation
over time.
Of course, the problems I had very likely are the result
of my being more used to working with the control layout
of the 5D and 1D cameras, and someone upgrading
from, say a 60D (presumably a large part of the target
market), probably would not feel the same way. However,
it does raise the question of why Canon does not have
more consistency of design and control layout across its
range. From a professionals point of view, there are some
important issues here, which go beyond the level of minor
irritation: if using the 6D as a second body, with your main
body being a 5D Mk III or 1Dx, the differences in layout
and handling will be confusing when switching from one
camera to the other. In rapidly changing conditions, this
could lead even to missed opportunities.
My own preference would be for the 6D to be slightly
larger, with the same, or similar, control layout as the 5D
Mk III. It could still be made quite a bit lighter, and probably
slightly smaller, and would then have appeal both as a main
camera for the enthusiast and a back-up camera for the
professional.
In the hand, the 6D feels quite a bit lighter than the 5D
Mk III, and also has more of a plastic touch, although the
body actually is pretty robust and should survive what the
average landscape photographer is likely to do to it. I shot

with it at the coast on a blustery day and also in -10 C in


Iceland. At the end of that shoot, ice was forming on the
camera, but it suffered no ill effects. What really impressed
me at the time was the battery life; after 3 hours of shooting
long exposures in freezing conditions, the battery indicator
still showed 4 bars! I certainly have no hesitation in
subjecting the 6D to the day-to-day rigours of professional
landscape photography.
In Use
My own preference would be for
the 6D to be slightly larger, with
the same, or similar, control
layout as the 5D Mk III

Opposite The 6D handled this contrasty


exposure at Faxifoss in Iceland really well,
rendering good detail in both highlights
and shadows from a single exposure.
Canon 17-40mm f/4L @ 17mm
f/16, 3.2sec, ISO 100
Below Although it does not feel as
robust as the 5D mark III, the 6D is well put
together and is dust and drip proof. As a
result, I felt confident enough to get fairly
close to the waves at Kimmeridge Bay.
Canon 17-40mm f/4L @ 20mm
f/11, 15sec, ISO 100, Lee 0.6 hard grad
T
his is where the 6D scores highly. At low ISO, images
are clean and very detailed. Shadow detail is good,
and I found that the files stood up to quite a lot of
processing, in much the same way as the 5D Mk III images.
The camera really excels at high ISO. It is unusual for me
to shoot much above ISO 400, and hardly ever above 1600,
but shooting at night in Iceland necessitated pushing things
a little further. It was with some trepidation that I dialled
in ISO 3200, but I need not have worried; the resulting files
showed a lot less noise than I was expecting, and what
noise there was, cleaned up really well in processing. Good
exposure technique is necessary, though, as the further into
the shadows you go, the uglier things get, noise-wise. For
best results, you need to expose to the right, but as long
as you do, pushing up the ISO is no problem. I did some
comparisons with my 5D Mk II, and the 6D noticeably had
less noise at ISO 3200 and 1600, and immediately became
my camera of choice for aurora photography.
As well as being very good in low light at high ISO, the
6D also delivers the goods when shooting long exposures
in low light. Files were very clean and detailed, there were
very few hot pixels and there was no need to set long
exposure noise reduction. This is a camera which will keep
the Lee Big Stopper fans happy.
Colour and contrast are good, straight out of the camera,
with very little processing needed. Generally speaking,
although the files can take a lot of punishment in the raw
converter, I found they needed very little work to get them
looking how I wanted them to look. Dynamic range is very
good: laboratory tests conducted by others suggest that it
is not as wide as the latest Nikons, but certainly I did not run
into any problems and found it perfectly adequate for the
situations in which I shot.
The 6D clearly is not designed as an action camera, and
the autofocus system is fairly basic. The centre focusing
point is very accurate, however, and works effectively in
very low light; something which proved helpful when
trying to find infinity focus with a wide angle zoom when
shooting the northern lights.
The vast majority of landscape photographers, however,
do not rely on AF, and how well Live View works is of far
more interest. The good news is that it works extremely
well. The rear LCD is a joy to use, a clear improvement on
the previous generation. It is easy to see, even in bright
light, and shows plenty of detail even in poor light. All of
this makes precise manual focusing a breeze. The only
slight fly in the ointment is the aforementioned lack of
joystick for moving the square focusing point around; the
8-way controller just is not as instinctive.
The live histogram is very useful and works well with
the 6D, though as with other models, remember that the
metering is taken from the magnifying window, so if you
close Live View and then shoot, the metering will change,
and you may not get the result you were expecting.
gear test canon 6d

80 - LPM
The Live View screen also can show an electronic spirit-
level, which is another excellent and especially welcome
feature.

Performance and Image Quality


Colour and contrast are good,
straight out of the camera, with
very little processing needed

Opposite The 6D delivers excellent detail, sharpness, colour and


contrast straight out of the camera, with very little post-processing
work necessary, as this colourful sunrise at Lyme Regis in Dorset shows.
Canon 17-40mm f/4L @ 17mm
f/11, 60sec, ISO 100, Lee 0.9 hard grad
Above Big Stopper fans will love the 6D, as long exposures are
clean, with very few hot pixels; I tried it out at Portland in Dorset, and
was impressed with the results.
Canon 17-40mm f/4L @ 23mm
f/11,180sec, ISO 400, Lee 0.9 soft grad, Lee Big Stopper
82 - LPM
gear test canon 6d

In Favour
Records very good detail
Excellent high ISO
Good colour/contrast straight out of the camera
Light but robust
Very good LCD and implementation of Live View
Range of features
Against
Placement of some buttons
8-way controller instead of joystick
More expensive than its direct competitor
Rating
Features: 8.5/10
Handling: 6.5/10
Performance: 8.5/10
Image Quality: 8/10
Value for Money: 7.5/10
Overall: 39/50
Final Thoughts
Mark Bauer
Mark Bauer is one of the
UKs leading landscape
photographers with work
published worldwide.
He is the author of 3
books, including The Landscape
Photography Workshop (with Ross
Hoddinott).
To see more of his work visit
www.markbauerphotography.com
O
bjectively speaking, the 6D is an excellent piece of kit; it is
packed with features and delivers superb image quality. For
those on a budget, it provides a genuine alternative to the pricier
5D Mk III, without having to give up too much for the 700 saving.
It is worth noting, however, that Nikons competing model, the
D600, has a street price around 150 less than the 6D, and apart
from GPS and Wi-Fi, provides pretty much the same features and
a few extra megapixels.
Subjectively speaking, I felt that, although the 6D is a very
capable camera, I just did not get excited by it, and found that a
couple of handling issues, placement and feel of some control
buttons, and the replacement of the joystick with a rather
awkwardly placed control pad, made it less than a joy to use.
However, I have to stress the word subjectively in the previous
paragraph, and I am sure there are plenty of other photographers
who will find that the handling of the 6D really suits them. If you
still have a local camera shop, I suggest visiting it and trying the
6D for size. If its ergonomics suit you, then I really recommend
it, as it is a well-featured, well put together camera that delivers
great results.
Oh, and if you have tried it out in your local camera store and
decide to buy one, get it from them.
Back to contents page
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The 6D has impressive high ISO
capabilities, but noise does creep in if you
underexpose and try to pull up shadow
detail, as I did here at Pingvellir Lake in
Iceland. All in all, though, it is an excellent
camera for this kind of work.
Zeiss 21mm f/2.8
f/2.8, 25sec, ISO 2500
Foto Talk
advice
84 - LPM
Trevor Anderson
The Shades Of Rainier
Mount Rainier, in Washington State, is a mountain of many diferent moods and
perspectives. Being next to the mountain under dramatic light is an unforgettable
experience. Trevor Anderson shares his adventure
M
ount Rainier is a mountain of many
different shades and many different faces:
it shows its more graceful and painterly side
from the south, where it can be seen curving
gracefully in the sky, above pristine and almost
other-worldly meadows, like a wave on an ocean.
Move a bit further to the west and Rainier, having
suffered eruptions in the past, shows a little bit
more of its ruggedness and its geologic stresses.
But inch further north and Rainier resumes
its rounded and more graceful appearance;
Back to contents page
Trevor Anderson
Trevor is a Pacifc
Northwest based landscape
photographer. He believes
visual art is a necessary component
for healthy self expression and
encourages others to appreciate the
art inherent in life. To see more of his
work visit
www.trevorandersongallery.com
John Muir once stated that:
Of all the fre mountains which,
like beacons, once blazed
among the Pacifc coast, Mount
Rainier is the noblest

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86 - LPM
Portfolio
terje lindal norway
Al l pi ctures Terj e Li ndal
Terje is an amateur
photographer living
in Norway, about 50
kilometres north of Oslo.
He has been using much
of his spare time in the
feld of photography for almost two
decades.
Some years ago he realised that
black and white flm and traditional
darkroom printing is the way
to express what he wanted to
communicate with his pictures.
At an age where speed and digital are
the norm, Terje is going against the
fow and sticks to the traditional way
of doing photography, both in the
feld and in the lab.
In Terjes bag you will fnd a Leica
M6, a Mamiya RZ Pro II, an Arca Swiss
F-Line 6x9 and a Zero Image 617F.
Terje also enjoys doing pinhole
photography these days.
The images shown in these pages
are 8 out of 25 of a series called
Buildings.

88 - LPM
portfolio terje lindal
Expos
Wild Planet
johan swanepoel south africa
Al l pi ctures Johan Swanepoel
The passion for photography
has been part of me since I can
remember, therefore a midlife
career change from engineer /
project manager to freelance
stock photographer was easy
and inevitable.
If forced to describe my style and genre, the
answer will surely be something similar to
the dreadful words under construction.
Not that I am totally clueless, but more a
matter of diverse interest.
I do have a soft spot for wildlife and this
can further be narrowed down to black and
white imagery. With this medium, I allow
myself to venture a little beyond editorial
style photography, and post processing is
seen as part of the creative process.
www.johanswanepoel.com
IN THE BAG
Canon 1Ds Mk III
Canon 600mm f/4L
Canon 300mm f/2.8L
Canon 135mm f/2L
Canon 100mm f/2.8 Macro
Canon 90mm f/2.8 TS-E
Canon 85mm f/1.8
Canon 50mm f/1.4
Canon 24mm f/3.5 TS-E
90 - LPM
Nature Section

expos johan swanepoel


92 - LPM
Entry page Gemsbok
Etosha National Park, Namibia
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4, 1/3200sec, ISO 200
Previous page Baby elephant seeking recognition
Addo Elephant Park, South Africa
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4.5, 1/500sec, ISO 100
94 - LPM
Top left Baby Elephant
Etosha National Park, Namibia
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4, 1/1000sec, ISO 320
Top centre Blue Wildebeest
Kruger National Park, South Africa
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4, 1/200sec, ISO 320
Top right Giraffes
Etosha National Park, Namibia
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4, 1/2500sec, ISO 400
Left Chacma Baboon
Kruger National Park, South Africa
Canon 1Ds Mark III
Canon 300mm f/2.8L IS
f/6.3, 1/250sec, ISO 400
expos johan swanepoel
expos johan swanepoel
96 - LPM
Left Elephant with zebra on open plains
Etosha National Park, Namibia
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/4, 1/1000sec, ISO 100
Below Left A Young Lion
Kgalagadi Transfrontier Park, South Africa
Canon 1D Mark II N
Canon 300mm f/2.8L IS
f/5.6, 1/800sec, ISO 400
Below Zebra having fun
Etosha National Park, Namibia
Canon 1Ds Mark II
Canon 600mm f/4L IS
f/4, 1/1250sec, ISO 200
98 - LPM
expos johan swanepoel
Back to contents page
Top Blue Wildebeest
Kgalagadi Transfrontier Park, South Africa
Canon 1D Mark II N
Canon 300mm f/2.8L IS
f/4, 1/8000sec, ISO 400
Left White-faced Owl
Kgalagadi Transfrontier Park, South Africa
Canon 1D Mark II
Canon 300mm f/2.8L IS
f/9, 1/125sec, ISO 200
Right White Rhinoceros
Kruger National Park, South Africa
Canon 1Ds Mk III
Canon 600mm f/4L IS
f/1, 1/250sec, ISO 400
I do have a soft spot for
wildlife, and this can further
be narrowed down to black
and white imagery

98 - LPM
100 - LPM
Terra Fauna
Photographing Kenya
When Austin Thomas started his photographic journey, he had a rough idea
of what lay ahead. However, what he did not expect was a love afair with
Africa, and especially Kenya. Here is his story

W
hen I started my photographic journey six years ago
I had some ideas in my mind of what being a nature
photographer would be like. I knew that it would involve
early starts and late finishes; all the books I read told me to
photograph at dawn and dusk. I had prepared myself, at
least mentally, for the initial costs involved in buying the
camera and computer equipment necessary to take the
kind of pictures that I had in my mind. Also, I was under
no illusions about the time it would take to develop as a
photographer and produce pictures that would make me
happy to place on my wall. What I was not prepared for was
discovering a continent so varied and appealing that repeat
terra fauna photographing kenya
102 - LPM
On my frst trip I remarked
on how green everything was
in Kenya. When I visited the
following year, in the exact same
week as the previous year, Kenya
was decidedly brown. As a
consequence, images of the same
species can look very diferent
year after year

Previous double page Lion (Panthera leo)


Canon 1D Mk IV
Canon 400mm f/2.8L IS
f/2.8, 1/640sec, ISO 1600
Top Leopard (Panthera pardus)
Canon 1D Mk IV
Canon 400mm f/2.8L IS
f/2.8, 1/5000sec, ISO 400
Right Cheetah (Acinonyx jubatus)
Canon 1D X
Canon 800mm f/5.6L IS
f/6.3, 1/2000, ISO 1600
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104 - LPM
Stories From The Hide
Bird Photography
His frst safari in Africa was back in 2008. His frst book was about the seabirds
of the Farne Islands and a fascination with bird photography fnally turned
to a full time job. In this article, Kaleel Zibe shares some extremely valuable
information on bird photography
I
used to be a reluctant birder. It took my first safari trip to Africa in
2008 to truly appreciate what birds really look like. I know it sounds
absurd, but I had never considered how subtly beautiful they are
until, in between the usual big game photography, I started taking
pictures of brightly coloured rollers and bee-eaters and actually
looked properly at the pictures; I had some superb captures of these
amazing creatures. I brought that enthusiasm back home with me and
gradually started to understand the fascination of birds and how to
photograph them, even if our native avifauna is - at a distance at least
- rather more dour.
After this trip, I made the avian realm my main focus as a
professional photographer and turned a personal project on the
Al l pi ctures Kal eel Zi be
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106 - LPM
Through The Lens
Kal eel Zi be
Is Pro Gear Really Worth The Money?
With prices on pro digital cameras and big lenses soaring lately, nature
photography is becoming a very expensive hobby. So, the question is, do we
really have to own pro camera gear in order to make superb nature images?
Kaleel Zibe expresses his thoughts
I
t depends, is the answer to this question.
All right, I agree, that excuse requires an
explanation.
In my defence, it depends on the purpose for
which you intend using the kit and how tricky the
conditions are likely to be. There are too many
photographic gadgets and gizmos in the market
to shake a financial stick at, so I am concentrating
here on noise and lens glass.
Simply put, professional equipment is
indispensable when the highest image quality
is required under the most extreme conditions.
Obtaining well exposed, sharp, saleable pictures
of small, distant wildlife in almost no light is an
example of this; and wildlife has a habit of being
in exactly these conditions more often than we
Kaleel Zibe
Kaleel has been a
professional photographer,
getting muddy and wet
waiting for wildlife at
dawn, since 2008. He has
written the book Wildlife of the Farne
Islands and runs wildlife photography
workshops with Alan Hewitt at Hawks
Head Photography.
www.kaleelzibe.com
Below - Nikon D4
Nikkor 200-400mm f/4 @ 400mm
f/5.6, 1/500sec, ISO 400
Opposite - Nikon D4
Nikkor 50mm f/1.4
f/1.4, 1/8000, ISO 20000
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Black Skimmer by Melissa Groo
Final Frame
Chincoteague NWR, Virginia, USA Canon 1D Mk IV, Canon 500mm f/4 IS, f/5.6, 1/640sec, ISO 1250 Mel i ssa Groo Take part in our Final Frame section, click here for details
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110 - LPM
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