Sand Dunes of the Namib-Naukluft Desert, Canon 1DsMkIII, 24-105mm, ISO 200, f5, 1/1600

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Syndicated with Permission of Kah Kit Yoong, Copyright © 2010, All Rights Reserved

By Kah Kit Yoong

Last night, I was having a brief look through my archives from Namibia last year and found this aerial shot from a microlight. Over the years I’ve unearthed a few gems through this process. It usually makes me sleepy so it’s an activity I reserve for just before bed. The image you see shows some of the wind-sculpted dunes of the Namib-Naukluft desert. Having had several experiences in aerial photography (microlight, Cessna and helicopters) over the past year, I thought I would share a few thoughts. The exposures are going to vary a bit depending on the speed you’re flying and distance from the ground but here are a few general comments.

The importance of getting the balance of speed versus depth of field is amplified once you’re in the air. Since landscape subjects are much further from the lens in aerial photography compared to when you’re on the ground, you can often obtain adequate DOF at wide apertures. My favourite lens in the air is Canon’s 24-105mm 4L IS. The focal length allows me to shoot wide landscapes and it’s also long enough to isolate structures for abstracts like the one above. The image stabilisation is irrelevant since I never shoot at a slow enough shutter speed for hand shake. Perhaps it may have some benefit given the vibrations you get from flying. In any case I leave it on. If I’m able to bring up a second lens and body, I use a 70-200mm 2.8L IS.

Wide open at f4, the 24-105mm, provides enough depth of field for most aerial images. However I usually prefer to stop down to f5-5.6 since the lens is sharper and less affected by vignetting. Occasionally, I’ll have a composition where there’s a definite foreground and background. In this case, a little bit more depth of field may be required to get everything in focus necessitating me to stop down further to 6.3-7.1.

Shutter speed is obviously critical in maintaining a sharp image while moving at fast speed. I’ve found 1/500 the absolute minimum exposure I can get away with using the 24-105mm. However I much prefer to use 1/1000 as a minimum and 1/1600 to be safer still. With a telephoto lens, I stick to the range 1/1600-1/3200.

I use whatever ISO is necessary to make the exposures as suggested above. This will obviously depend on the available lighting but usually I start off with ISO 200 or 400.

ND grad filters are just about impossible to use while flying so I don’t bother with them. My preference is to expose for the highlights even if that means a bit of under-exposure. I find that my ability to shoot at adequate shutter speeds takes too much of a hit from polarising filters so I don’t use them either.

Lastly, an important thing to do is to make time to occasionally quickly check the images on your LCD screen (chimping from CHeck IMage Preview) at 100% crop to make sure that the images are sharp enough and adapt if necessary.

On the Run. Canon 5DMkII, 70-200mm 2.8L IS, ISO 400, f5, 1/3200

By Kah Kit Yoong

The concept of abstract photography is not easy to define. What one person considers an abstract may not fit another person’s idea of the genre. Therefore to some extent, it is a subjective term. In nature photography, these images often possess similar characteristics to those I described in a previous blog article about intimate landscapes. In fact, I would consider abstracts to be a subset of intimate landscapes. They usually employ similar focal lengths, mostly ranging from mid to telephoto focal lengths and the subject may be on a minute or vast scale.

So what makes a photo an abstract? I would regard it as an image which presents a subject in a non-literal way. Rather than focus on the subject as a whole, it concentrates on the shapes, lines, colours, patterns and other features that makes up its physical characteristics. Often this process of deconstruction reduces the subject to the point that it becomes unrecognizable. Just as defining an abstract is elusive, being able to interpret landscapes and other locations in this way is difficult. They remain, at least for me, one of the less accessible types of composition around.

The Painted Wave

“The Painted Wave” depicts a receding wave reflecting the dawn sky. A slow shutter speed has transformed the water into streaks, much like brush strokes. The viewer cannot be entirely clear what he or she is looking at, even though the effect was achieved purely in-camera and in a single exposure.

West Coast, New Zealand

Canon 5DMkII, 24-105mm 4L, ISO 100, f16, 1.6s, warming polarizer, tripod.

Dune Abstract

“Dune Abstract” is an aerial view over the largest sand dunes in the world – those located in the Namib desert. The photo is based around the ridge of a single dune which forms the backbone of the composition. If you look closely you can make out a few bushes which give the clue to the scale of the landscape.

Namib-Naukluft NP, Namibia

Canon 5DMkII, 70-200mm 2.8L

Stair Abstract

“Stair Abstract” is a section of a staircase I came across in a museum in Havana. By only revealing a small part of the entire structure, I emphasized the geometric elegance of the architecture. The simple but complementary colour scheme kept the scene minimalist in style.

Havana, Cuba

Canon 5DMkII, 24-105mm 4L

Venetian Jigsaw

“Venetian Jigsaw” is a more complicated travel abstract photo. This is one where that might be some debate as to whether it is an abstract or not. The photo represents a small part of a much larger scene where dozens of gondolas are ‘parked’ in a canal. Notice that none of the objects in the photo show the whole subject but there is a theme of repeated triangles which is the basis of the abstract nature of this composition.

Venice, Italy

Canon 1DsMkIII, 24-105mm 4L, ISO 400, f7.1, 1/250

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Photographs are Copyrighted © 2011, Marsel van Oosten — All Rights Reserved

Qualifications of the Tour Provider

Deciding which photographic seminar to attend is a daunting problem for many.  But, in all instances, one should first determine whether the person or persons conducting the seminar are accomplished photographers and whether their work has been recognized by publications or artistic awards.

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Marsel van Oosten, owner of Squiver, meets all these criteria.  Marsel’s images are famed for his mastery of composition, lighting, color and perspective.  In addition to winning First Prize in the International Photography Awards three times, Marsel’s awards include top honors in the European wildlife Photographer of the Year, First Prize in the Nature’s Best International Photography Awards, and was just selected the Landscape Photographer of the Year by Nature Scapes Net.  His photographs are featured in galleries and museums, and are used in advertising, design, and magazines such as National Geographic, Science Illustrated, and Geo.

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In addition he holds a BA in Art Direction and Graphic Design from the Academy of Arts.

Indeed, browsing through his extensive gallery is magical, image after image showing his emotional approach to communication and his love for the natural world and concern for the environment.  Simple, yet very powerful images are his specialty.

In sum, Marsel is a world class nature photographer.

His partner, Daniella Sibbing, graduated from the school of Marketing and Economics.   She has worked for various renowned agencies.  Daniella took up video to shoot travel documentaries, capturing the nature, wildlife and different cultures from countries all over the world.  Her video footage is used by stock agencies.  She is co-host on most Squiver Photo Tours, taking care of all organizational aspects of the trips.

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Where Are Seminars Offered?

The next considerating is where are the seminars offered?  There are countless places one can go on the earth to do photography, but few tour providers offer more than one selection.  Not so with Squiver.  Tours are available to Japan, Alaska, Namibia, Kenya, Spain, Turkey, and Zambia.

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Japan

Unique is the tour offering to Japan, which encompasses photographing Snow Monkeys, the famous red-crowned cranes, Stellar’s sea eagles, white-tailed eagles, whooper swans, red fox, sika deer, and the mountains near Nagano.  All coupled with opportunities to experience the Japanese culture, customs, and food.

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Namibia

Quivertrees, a sand-covered ghost town, the famous red sand dune at Sossusvlei and the surreal Deadvlei along with elephants, zebra, oryx, as well as black and white rhinos at the famous Okaukuejo waterhole in Estosha, while having the opportunity to do microlight fights, ballooning and gamedrives in Etosha.  This tour is perfect for those who enjoy both landscape and wildlife photography in one of the most remote and sparsely settled places on earth.

Turkey

On this landscape tour Squiver takes you to the best spots to photograph the surreal fairy chimneys and bizarre rock formations in Goreme National Park, UNESCO World Heritage Site.  During the day you can expect to wander through ancient villages, visit an amazing cave town, rock-hewn churches and mosques, underground dwellings, and a carved rock citadel at the highest point in Cappadocia.

Spain

Squiver takes you to the largest zoological park in the world where one can photograph over 100 species from five continents.

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Zambia

This wildlife photography tour takes you to Victoria Falls and Lower Zambezi National Park.  Likely subjects are elephant, hippo, giraffe, zebra, buffalo, lion, and leopard. You will be photographing the animals from land as well as on eye-level from the river.  The versatile shooting possibilities of this tour, is what makes it different from other “traditional” safari countries.  And the water attracts large herds of animals.

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Katmai, Alaska

The ultimate coastal brown bear tour, the tour takes you at close range on the tidal flats of Katmai National Park, in small groups of five guests.  Brown bears, seals, sea otters, fox, bald eagles, tufted puffins, ducks, geese, and perhaps wolves, wolverine, moose and lynx are likely subjects.  All in very close range.

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Masai Mara Migration, Kenya

This tour takes one to see one of the greatest wildlife spectacles on earth: The Great Migration.  One will visit the famous river crossings where the huge Nile crocodiles lie waiting for the wildebeest to cross, and you will search for the Big Five:  buffalo, rhino, elephant, leopard, and lion.

Costs

Considerations for a photographic seminar also involve the issue of cost.  There are dozens of tour providers to choose from, many of which are very expensive.  What is refreshing about the Squiver offerings is that costs are reasonable.  For example, a tour of East Africa typically costs from $8,000 to $12,000 per person sharing.  The Squiver tour begins at approximately $5,500 — a bargain price.

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Photographic Instructions and Critiques

Most tour operators offer one the chance to go to exotic places, few of them offer expert instructions on camera equipment, photographic techniques, and also take the time to critique one’s work.  The Squiver tours offer not only these critical components of a good photographic tour, but they also work with one in advanced Photoshop techniques.

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Conclusion

The PTR Team knows the world photographic community very well.  We have attended seminars, conducted our own, and we know the work of most well-recognized nature photographers.  Marsel and Daniella offer something very special to the traveling photographer — vast experience and recognition for their work, a variety of places to go, reasonable costs, and expert instruction.  In sum, the best combination of all attributes that make up a successful photographic holiday.

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Photo Travel Review Magazine highly recommends Squiver Tours.  The offerings are among the best in the world — Squiver has earned PTR’s five star rating plus (✭✭✭✭✭+). We added the “+” to the rating because their tours are among the most reasonably priced that we have encountered.

Website:  http://www.squiver.com/

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by PTR Team Member Bill Lockhart

Photographs courtesy of Andy Biggs, copyright © all rights reserved.

This is the first in a series of recommended photographic seminars by the editors of Photo Travel Review Magazine.

Our purpose is to provide you with opportunities for photography and travel, ones which the editors of PTR believe are among the best offered.

We begin with Africa.  Africa, the ultimate dream of all photographers, whether it is opportunities for incredible wildlife photographs, or landscapes that fill the imagination.

So, what seminar is the best of the best?

The PTR editors have chosen Andy Biggs. When it comes to Africa, there is no other seminar provider who is better.

A photographic holiday in Africa is the ultimate dream of many photographers.  It is a once-in-a-lifetime holiday.  When one spends lots of money to experience the dream of a lifetime, one should only consider the best.

Andy Biggs is an avid adventurer, conservationist, teacher, and outdoor photographer whose photography celebrates the African landscape and its rich wildlife, people, and culture. With a deep respect and understanding for African wildlife, Andy unfolds the world of the Serengeti onto our doorstep with striking emotional depth. His photographic safaris allow the traveler to not only enhance their understanding of photography, lighting, and wildlife, but to develop a life-long admiration for Africa ‘s beauty and culture.

In 2008, Banana Republic used thirteen of Andy’s photographs as the cornerstone of their Urban Safari campaign, and his images were seen in all 750 stores around the globe, as well as in their billboards, catalogs and annual report. Andy was also the winner of the BBC Wildlife Photographer of the Year in the ‘Wild Places’ category in 2008.

Andy offers you lots of different locations and opportunities for photography, all the while staying in camp sites that are among the best in Africa.

A photographic safari should be about freedom for one to shoot without worrying about how many other photographers are crammed in the same vehicle.  One of the single largest mistakes that many photographers make when going to Africa is booking travel with inexperienced operators who pack many photographers into an ill-equipped vehicle, go to the same spots that all others have photographed repeatedly, and then take one to an inferior campsite.  Not so with Andy Biggs.

Andy knows what a photographer wants and needs.  Each participant has a full seat row with the ability to move from one side of a vehicle to another.  Moreover, he brings along equipment that allows photographers to recharge batteries, view their shots of the day, and clean equipment for the next day’s shoot.  As an avid photographer himself, Andy knows what to expect in harsh field conditions.  He does all he can possible to make certain that your adventure is fulfilled.

It goes well beyond the basics of what a photographic holiday is about.  The big difference with Andy’s seminars is that he seeks locations off the beaten path.  There is nothing more frustrating on a photographic safari in Africa than to find yourself surrounded with other vehicles and an assembly of dozens of tour operators all vying for space while trying to photograph a single animal.

Andy offers seminars in Tanzania, Namibia, and Botswana.  Each destination planned superbly, with outstanding tour guides and accommodations that excel beyond what one might expect on such a sojourn.

One only needs to read the testimonials from his participants to understand just how well appreciated his offerings are.

My own experiences with Andy have been extremely positive.  Through the years as associates at Nature Scapes Net, and through numerous e-mails and telephone conversations, I have found Andy to be the consummate professional.  Friendly, helpful, positive, encouraging — all describe Andy.

Bottom line.  If you have always desired to go to Africa on a wildlife safari, there is only one person you should consider going with.  Andy Biggs is that person.

What will it cost?

It depends on where you go and when.

Currently, a 12-day safari to Tanzania will cost you $8,990 per person.

What does it include?

- All Game Park fees
- All accommodations, based on double occupancy
- All meals inclusive of restaurant staff tips
- Services of guides and drivers
- Land transportation in safari Land Rovers. Each of the three rear seat passengers has a complete seat to themselves, including access to windows on both sides of the vehicle and empty seats for photographic equipment.
- Airport transfers to and from hotels
- Internal airfare from Serengeti to Arusha
- Bottled water at all times
- $30 Tanzanian Airport departure tax, if KLM / NW ticket purchased through Andy Biggs.

What is not included?

- Additional tips for staff such as guides and camp staff
- Fees for passport, visas, immunizations, and insurance
- Hot air balloon flight of $475
- Alcoholic beverages while on safari
- Laundry, phone and other items of a personal nature
- Cost of hospitalization and evacuation if necessary

If you are concerned about the costs, consider that it cost me $9,000 per person to go to Tanzania in 2005!  And I did not go with Andy.

I met many others at camps who asked about my private vehicle.  Seems they were paying $7,500 per person and found themselves in cramped vehicles with guides who only wanted to rush from one spot to another.  I considered myself fortunate.  My entire trip was privately planned and executed.

I should have gone with Andy.

Next time I will.

Photo Travel Review Magazine Five Star Rating:  Andy Biggs

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