Photo Courtesy of Canon

By Bill

In recent weeks, I have been exceedingly interested in a whole new camera kit that fits my needs for travel. My idea has been to lighten the load, and to find quality equipment that is suited to the subjects I photograph most.

My first step was to acquire the Canon EOS 5D Mark II. And, from my first impressions of shooting with the new camera, I am totally delighted with the results. Wow what a camera.

My next step was to settle one two lenses that could provide me with a range of 24mm to 300mm. Why that range? 24mm on a full frame sensor is certainly wide enough for doing landscape photography, and 300mm, although not as long as I would like, meets most of my telephoto needs.

Since I already own the wonderful Canon EF 24-105mm f/4L lens, the quest turned to finding a lens that would complement this lens and give me more reach.

So, I did some reading and settled on the Canon EF 70-300mm f/4.5-5.6 DO.

Why this lens? It is compact and relatively light.

But, will this lens deliver?

Before daylight, I found myself at the Dunedin Causeway, just north of Clearwater, Florida, and along comes a Reddish Heron, the perfect subject for testing the new lens. Why? Well, Reddish Herons are very active when fishing. The move rapidly and sometimes make radical turns instantly. Shall we say that they are perfect for testing how fast a lens will focus.

And here is one of my shots from that morning:

Click on Photograph for the Original Edited Version

And here is another:

Click on Photograph for the Original Edited Version

Course, not all of those who travel are interested in photographing birds. One might find an antique that is interesting, such as this old clock:

Click on Photograph for the Original Edited Version

But then again, one might just see a friendly Brown Pelican that is just begging to be photographed.

Click on Photograph for the Original Edited Version
Given the wonderful range of 70-300mm, this lens will be very useful for street photography. I like the fact that it is black and less obtrusive. I like its size, about the same as the 24-105mm lens.

I also absolutely love the wonderful bokeh this lens produces.

But, of course, the final decision about any lens is whether it is sharp and whether it does a decent job with things like chromatic aberration. And I must report, the lens is free of CA!

Lots of reviewers say that the lens needs more contrast. I did not find that to be the case. And even if I did, I can fix that easily in Photoshop.

Some reviewers suggest that the price of the lens is too high. Well, it is expensive, largely because of Diffractive Optics which makes this and one other lens totally unique. But, after looking at the EF 70-300mm f/4-5.6 IS USM lens, I concluded that there is no comparison in quality, the DO is just made better. Course, it does cost less than half what the DO lens costs. But then, for me, glass is an investment. And frankly, through the years, my lens collection has grown in value over time. In fact, better than my investments in the stock market! So, I tend to buy the top of the line.

The real test of this lens will come during June when I will join other PTR Team members in a photographic seminar at the Isle of Arran and along the coast of Northumberland in England. From cityscapes, stone circles, landscapes, Puffins at the Farne Islands, and Gannets at Bass Rock, I will have ample opportunity to test the lens.

I can’t wait. But, frankly, right now I am totally pleased with the Canon EF 70-300mm DO lens, it has surpassed my expectations for a light travel lens with excellent zoom range. And, more importantly, it is perfectly balanced when mounted on my Canon EOS 5D Mark II.

Summary, Pros and Cons

Pros

Very fast AF
Sharp images at all ranges of the zoom
Small
Light Weight
Black Color
Superb Bokeh
No Chromatic Aberration

Cons

Price
No weather sealing
Soft images when used with a tele-converter
Large lens hood

From time to time, my friends at Essential Photo Gear send me stuff to evaluate. Two weeks ago they sent me the Apex Bean Bag, a new product designed in large part by Chas Glatzer, master photographer and well-known columnist and photo tour operator.

I have made two trips to Africa, once in Tanzania where I had personal guide and driver, and the other to South Africa where I did all the driving myself. One of the biggest issues I faced on both trips was how to support my camera and telephoto lens when doing wildlife shots.

Good solid support of a long telephoto lens is absolutely necessary. And when one cannot use a tripod, the choice among most photographers has been to use a bean bag.

Photo Courtesy of Travis Peltz

Well, this bean bag is different in many respects from what I have used in the past.

First is its shape. Made like a horseshoe, the bag fits neatly over a vehicle door frame. And I must mention something here that is very important. Yes there are all kind of window mount alternatives. I own one, the Ergorest Multi-tripod, but the problem is that the mounts require you to roll up the window to fit the mechanism in place, that means that critical “headroom” for your tripod mount is lost and it means that the camera is often too high to use effectively. This is one reason that I love the design of this bag, the photographers who designed it have encountered the same issues I have.

And, as you can see in the photograph, that is one more large lens! Yet the bag supports it perfectly.

I often use a bean bag while doing photography in Florida. There are many areas where shooting from a vehicle is a distinct advantage as wildlife tends to pay no attention to a truck or car. And, almost always, I am either shooting early in the morning or late at night which means I need a really really solid support for my camera as it is likely that I am shooting at less then 1/50. As in the photograph that follows.

The Bald Eagle simply ignored me as I took shot after shot, all from my SUV window.

What I would have given five years ago to have had the Apex Bean Bag! It would have made a significant difference in my photography for years. So I am glad to see that the folks at Essential Photo Gear have introduced the bag and made it available to folks like me.

Not all photography is done from a vehicle. And I am repeatedly advising others that getting low, or getting on the same level as your subject is a fundamental thing one must do to get a great shot. And wouldn’t you know, the designers of the Apex Bean Bag made it work by turning it upside down to support a heavy lens while shooting prone, something I often do. As you can see, the lens fits perfect in the horseshoe turned up.

Photo Courtesy of Travis Peltz

The Apex Bean Bag is made of high quality materials and I am amazed at the attention to detail that went into its construction.

An aluminum plate comes with the bag to which is welded a tripod mounting screw. One simply inserts the plate into the top of the bag and the mount protrudes through a small hole in the bag. Two washers are included with the bag to protect the cloth from marring when the tripod mount is affixed to the bag. There is even a little sleeve on the side of the bag to store the washers. Details, I like that.

When I got the bag, my first task was to go to Sam’s Club to find earth friendly stuff to fill it with. My first choice was rice. A big mistake. Rice is small and thus heavy, really heavy. So, I bought a bag of pinto beans and mixed the rice with the beans. The result was a bag that weighed 20 pounds when filled. Yep, 20 pounds! Like an idiot, I did not read the instructions or follow the advice of those who made it. One needs to find lighter stuffing, but not to the detriment of what the extra weigh means. The whole idea here is to have a solid surface on which to mount a very heavy tripod mount (most photographers use a Wimberly with it), a very heavy lens and professional grade camera. A five pound bean bag configured like this won’t work very well. It has to be heavy.

There are some other nice features about the bag. It has two straps and buckle that allow one to anchor it to a door handle, or whatever seems handy. Why is that? Cause you don’t want to run into the assembly and have your $8,000 camera and $6,000 lens wind up on the pavement! Having a way to secure the bag to whatever then is a really good idea.

Photo Courtesy of Travis Peltz

Course there are many ways to use this bag because of its unique design. For example, it makes a great table top tripod. And, I can see it used on the ground for doing landscape photography as well. Or even on a car hood.

Photo Courtesy of Travis Peltz

Perhaps the most important feature of the Apex Bean Bag is that it is easy to pack for a long trip. One simply empties the earth friendly contents, rice, beans, or bird seed onto the ground and it all folds nice and flat, hardly taking up any room in my luggage. When I get to my destination, I fill it with whatever is available. That could be anything from pine straw to leaves, or dried beans bought at a native market. And if worse comes to worse, sand will do nicely as well, although that would be dern heavy!

My only regret is that this product was not available when I went on my last trip to Africa. I sure could have made good use of it while driving from one end of Kruger Park to the other, all 2,300 miles of my journey.

Ever since Essential Photo Gear got started, what has impressed me is that the stuff they sell is designed by photographers. Imagine that. And, each time I buy a product from the company I find the quality to be well beyond my expectations. In other words, a group of expert photographers with good business ethics and a friendly helpful attitude are making stuff that I can use because they have been at the same place I have and have faced the same issues I have. And they are making stuff that will last a lifetime.

In sum, if you have a need to support a heavy lens and camera from a vehicle, you should consider the Apex Bean Bag seriously, it is the perfect solution for such situations. In my view, if I am headed on a safari to Africa, this would be the first item I would pack. And frankly, I will use it in Florida repeatedly because I know that early one morning, some deer will pose for me in light that demands that I have a solid surface to support my lens and camera cause I am shooting at 1/20th of a second.

This product is not for everyone. It is for the photographer who wants solid, high-quality support for a heavy tripod mount, camera, and camera lens.

But, if it meets your needs, I highly recommend that you buy it.

Claire:

Some observations and thoughts about the Canon 5D MkII and up-grading from a 5D.

I bought my Canon 5D within months of it first coming on the market and I loved it from day one. At that time I was up grading from a 10D and the improvements were beyond doubt. The full frame capabilities for a landscaper who likes wide angle opened up whole new possibilities and a view on the world.

When the 5D MkII arrived on the market I wasn’t immediately convinced I needed it. I wanted it but did I need it? Eventually the decision was made on the basis the extra pixels would further help with the marketability of images in the arenas I sell. Plus I got a great part exchange deal, which won’t be possible a little longer down the line.

I had assumed that moving between these two cameras would be an easy learning curve. They felt similar in the hand and all the buttons were more or less where I was used to finding them.

I’ve now had the 5D MkII four months and taken it on two photo trips and also had one opportunity to really try it thoroughly with the 100-400mm shooting birds of prey. I’ve also done one commercial studio shoot that involved some challenging lighting.

I only now feel totally comfortable with it. The biggest frustration has been changing my workflow and resolving software issues. Straight from the box I couldn’t read the raw files in any of my usual conversion programmes and whilst the dedicated Canon software can do the job it doesn’t have the power of the professional packages. Once I’d paid the price of up-grading software there was more time needed to become familiar with them. It was at this point I realised I needed to up-grade my PC and buy yet more external storage and compact flash cards! Jumping from 12mp to 21mp files is a huge leap.

Bill:

My reason for purchasing the 5D Mark II differs with Claire.  I was using the Canon 1Ds Mark II, a 16MP camera, and frankly realized that it was time for me to upgrade to newer technology.  While the 1Ds Mark II is an outstanding camera, it was simply outdated with a small LCD panel, no live view, and no on-board sensor cleaner, something I hated about the camera.  So, the whole new experience of using the 5D Mark II was totally new, and its human interface was totally different than the 1Ds Mark II.

What I realized from the outset was that the 5D Mark II was a smaller camera, something that I really wanted to own.  And, after seeing some test shots done by professional reviewers, I was excited about what a 21MP camera could do for me.  Especially if down the road I want to do large prints or sell my shots to publications, since the 21MP size is what most publications want.

I had recently purchased a new computer with lots of storage and memory and had also purchased Adobe Photoshop CS4, so my workflow was not affected by the larger files, although I do realize that down that road I will be fighting with finding more and more disk space to store my files.

What I wanted was image quality.  That, in my mind is the first and foremost consideration.  And, even some of my first shots proved to me that the 5D Mark II would produce what I was after.  For example, the following shot is a 100% crop from one of my first shots, done hand held with the 300mm f/4L IS.

Click on Photograph to see the actual 100% crop.

What amazed me is that I took the shot of the Cormorant with default settings as I was on my way home just having purchased the camera and had no time to read the camera manual.  When I saw the shot I was ecstatic!

Claire:

Prior to going to Scotland in February I had been unable to source a second battery within the UK. With the 5D I had always travelled with two additional batteries. Only traveling with one was making me nervous. Bill came to my rescue and brought a device from the US with him that would enable me to recharge from the car. Days before leaving I managed to find a dealer in Hong Kong who was selling original Canon batteries and I ordered one (another £70). As it happened I never needed a second charge but then the weather was grim so opportunities slim. However, I have since filled nearly two 8gb cards in a day without needing the back-up. This is a considerable improvement. I’m not saying I’m happy Canon has made my old 5D batteries redundant but at least it is a superior, if expensive, product.

My style of photography means I use a tripod. I just didn’t take hand held shots, as I’m usually shooting in morning and evening light. However, this is changing, the reason being I have discovered that auto ISO in conjunction with a camera that had such amazingly low noise even at high ISOs gives you opportunities to experiment and get some interesting and sharp shots in moments when a tripod is unusable or the action is changing so fast a tripod slows you down. Having 3 custom setting buttons also speeds you up. I can be happily shooting on my tripod using my standard landscape custom setting, the mood changes and I see an opportunity for some experimental shooting, maybe into the light catching a wave and I want to freeze the action. I can take the camera off the tripod, move the settings to my second custom setting which is set up for auto ISO and within seconds be shooting. What also helps is the amazingly useful quick control screen (especially for the long sighted), this is a joy as you have instant access to all the settings you would want to tweak or check.

In the shot below I wasn’t willing to risk my camera on the tripod. It was a case of run in and run away and the camera’s auto ISO, in combination with some fast finger work on the quick screen, enable me to get this shot.

My third custom setting I have put ready for video. I’ve played with it but as yet haven’t had the time to really understand. The same goes for live view, my eye sight means I can see perfectly through a view finder but have problems with an LCD screen.

I’m in the process of getting files from my last trip and bird of prey shoot ready for my website. I think that the one aspect of the images that has shown me how responsive this camera is has to be that I no longer have to use the recovery tool to correct high-lights. I just haven’t burnt a pixel and I’m not using the hi-light priority function. Last weekend while shooting birds all cameras fell silent as the sun came out. I decided to carry on shooting as I was primarily there to see what the camera could do. Someone said “your whites will be burnt”. I thought yes, but my histogram was telling me otherwise. Since processing the files I can confirm that this camera can produce images I could not have considered shooting with the 5D. By spot metering from the hi-lights I also got some useable images in light that most would consider too harsh.

This image was taken under a dark pier with sunlight streaming under and catching the water and some of the dangling anemones.

The only way to see what this camera can really do is to print them large. I find that even sharpened images look soft when viewed as a slide show on a monitor (especially vertical), you have to zoom in to see the detail.

I find it even more important when saving to web to reduce the file in stages and add sharpening as you go.

The final observation is that the amount of information captured in the raw files is astounding. So much so I find that I am spending more time on my conversions and producing several versions from one image.

Bill:

I totally agree with Claire, the raw files are astounding, with details I have never seen before in any camera I have used.  And I have used many, including the 1Ds, the 1D IIn, and the 1Ds II.  None of those cameras came close to producing what the 5d Mark II will do.  And even cropped photographs retain wonderful details.  As in this shot, done in my backyard.

Click on Photograph for a larger version.

I have yet to have the opportunity to do landscape photography with the camera.  I should have that opportunity in June while in Scotland.  For now, my best efforts have been shots of Florida birds.  And yes, the 5D II can do excellent wildlife photography.

Click on Photograph for a larger version.

Claire:

I have a lens I love; it is old but has been my workhorse for years. It is the 17-35mm 2.8L. Whilst on the 5D I could live with the slightly soft corners but it is not really adequate with the 5D Mark II due to chromatic aberration – yes, I can use software to resolve this but I feel that it is time to exchange it to keep the quality of the images intact. I have yet to decide exactly which way to go – 24mm prime, Canon’s 16-35 f2.8 or maybe the Distagon. Whichever way – it will be expensive so I can only hope that my belief that more pixels will result in more sales is true.

The image below is an example of where CA would be a problem, I have cleaned it up successfully for the web but going large would show the impact to an eagle eye.

I am surprised at how well the 100-400mm works with this camera. I have a love/ hate relationship with this lens as I have never enjoyed the pull/push zooming and autofocus is slow. I have no intention of buying prime telephoto lenses as I so rarely use them. I did own a 300m 2.8 for a while but quickly sold it as I couldn’t cope with the weight. The fact the 100-400 can therefore prove useable is a bonus.

My 100mm macro works as expected and the extra cropping factor is a plus.

My walk around lens is a 24-105 L and chromatic aberration is an issue but it is more than useable.

In conclusion, it is a great camera but it has given me headaches as well as pleasant surprises. It isn’t a simple step up from the old version and as such anyone thinking of upgrading needs to be prepared to expend time and money to make the most of it.

Bill:

I agree with Claire about the need to own good glass to go with the 5D II.  I am fortunate to have lots of good glass, since I have always believed that glass is actually more important than the camera body.  Cameras come and go, glass is forever.

For example, here is a shot down with the 300mm f/2.8L IS, probably the sharpest lens made by Canon.

Click on Photograph for a larger version.

I am excited about using this camera in Scotland soon.  And that trip will likely result in my final review because I will be shooting daily under all kinds of different circumstances and all kinds of different subjects, including landscapes, red deer, puffins, and gannets.  Some shots will be done from boats.  It will be my test from the real world about how this camera works in the field.

For now, let me summarize some of my likes and dislikes about the camera:

Likes

1.  Stunning image quality.  For me this is the most important measure of any camera.  The Canon 5D Mark II is absolutely the best camera I have ever used.

2.  Good ergonomics.  It is easy to hold and use, with sensible buttons and dials.

3.  Easy to understand menu system.

4.  Superb LCD panel, great for looking at the sharpness of photographs in the field.

5.  Great HD video, if one can come to grips with what the camera is doing automatically.

6.  Live view can be useful for setting exposures, although it is a pain to do.

7.  Light weight. Perfect for use while hiking or long treks.

8.  No dust!  So far at least.  Thank you Canon, the dust cleaning system will save me thousands and thousands of hours during post processing.

9.  High ISOs that I can actually use!  The camera has opened up opportunities for shots I could never have done with a 1D series camera.  Absolutely.

Dislikes

1.  Build quality.  While a significant improvement over the Canon 5D, the 5D II still lacks professional camera status, particularly the battery door and the CF compartment.  While it feels substantial in my hands, it does not have the feel of a 1D series professional camera.  I worry about damage from using larger lenses with it, such as the 300mm f/2.8L IS, and I am very concerned about how well it will stand up in rain, saltwater, and other extreme weather conditions.  I worry about transport and already have ordered covers to protect it while traveling.

2.  Video shooting, while of great quality, is almost totally impossible to understand.  Apparently the camera is setting ISO, DOF, shutter speed, and other stuff automatically.  I like control of what I am doing and I have not idea what this camera is likely to do when I am shooting video, for example, if I set the aperture to f/16 it is not likely I will get f/16, it more likely I will get f/2.8.  And worse, the manual supplied with the camera is just about useless in the “how to” of shooting video.  On the good side is the superb shallow DOF the camera will produce with certain lenses.  Heretofore such capability would cost one tens of thousands of dollars to produce with a video camera.

3.  AF is slow even on the best lens Canon makes, the 300mm f/2.8L.  Although I must admit that I was able to keep flying terns in focus will little difficulty.

Recommendations on lenses for use with the camera:

1.  Canon 16-35mm f/2.8L II

2.  Canon 24mm f/1.4L II (Canon’s best wide angle lens).

3.  Canon 24-105mm f/4L (if I were to buy one lens this would be it).

4.  Canon 70-200mm f/4L (one of the sharpest zooms Canon makes and a perfect match for the 5D II).

5.  Canon 85mm f/1.2L (simply awesome for portraits, bokah like none other).

6.  Canon 300mm f/4L IS (great balance with the weight of the camera, superb quality, fantastic hand held lens).

7.  Canon 400mm f/5.6L (incredibly sharp, will work well with the 5D II because of weight).

I must remember, this camera is not one of Canon’s “professional grade” cameras.  It is aimed at the serious photographer, but not the professional.  I suspect though that many professionals will use it simply because of its superb image quality.  I can only image what the replacement for the Canon 1Ds Mark III will be like.  Whenever the Mark IV is announced, I will be looking for ways to buy one.

In sum, after a week long test of the camera, I am convinced it is the best I have ever used and that includes comparisons with four of Canon’s professional grade 1D series cameras.

We were totally blown away by his work.

We wrote Tom and asked him if we could display his video here and he kindly gave permission. Have a look.

Timescapes Timelapse: Learning to Fly from Tom @ Timescapes on Vimeo.
Tom used the Canon 5D Mark II to produce the video. It rivals and in some ways is better than the feature video that Canon proudly displays at its website.

Tom used an array of custom equipment to make this video. Many hours were required to produce it, which is testimony to how one photographer, through talent and determination, can produce something that is inspiring for others.

Tom has earned our abiding respect, we will be watching more of his stuff and trying to discern all that he is doing at each step of his work.

Make sure you visit his website at www.timescapes.org

Tom provides a tutorial on doing time lapse photography here.

To learn about time lapse photography, here is an excellent article.

By Bill

For a good while, I have been interested in acquiring a DSLR that also does video.  So far, my choices have boiled down to two or three options:  The Canon 5D Mark II, The Nikon D90, and the forth-coming Red Scarlet system.

Now Canon has just introduced the EOS Rebel T1i, aka the Canon 500D.  Offering two video modes, and priced at $799 (body only), the new camera is tempting to entry level DSLR buyers as well as to guys like me who want to explore doing HD video.

As Canon says: “The Rebel T1i SLR incorporates some of the best technologies from the EOS 50D and EOS 5D Mark II models into an entry-level juggernaut. With a 15.1 megapixel CMOS sensor and HD video capture.”

“The camera features 16:9 720p HD video capture at 30 fps as well as a Full HD 1080p video capture at 20 fps, and a third option to record 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps.”

Course, I am a little disappointed in the 20 fps HD capture, I would have preferred the 30 fps offered by the 5D Mark II, but, wow, what a difference in price, $2,700 for the 5D Mark II, and $799 for the new Rebel.  There are other differences as well.  The 5D Mark II at 21MP certainly will produce far better images than the  15.1-megapixel APS-C size CMOS image sensor in the Rebel.

Yet, one has to be impressed with the video output of the new Rebel.  See some sample videos at Gizmodo here.

One thing that I do love about the new T1i is the sensor cleaning system, which Canon says is “equipped with the highly acclaimed EOS Integrated Cleaning System. The Self-Cleaning Sensor Unit for the Canon EOS Rebel T1i has been upgraded with a fluorine coating on the low-pass filter for better dust resistance.”  If you are like me, dust is something that takes away from your workflow time and has always been my biggest complaint about DSLRs.

Course the bottom line here is that Canon will soon provide guys like me with another option to consider.  And my desire to get into HD video may just make me take the plunge in the months ahead.  Although, I must admit, I am very tempted to move in a new direction offered by Scarlet Red, a component system that would allow me to grow over time without replacing the entire camera body.  That is a concept I can love.  If you aren’t familiar with the Scarlet Red, go have a look here.

In the meantime, I hope to get my hands on the Canon T1i and find out for myself whether this new camera can satisfy my creative urge to produce high quality videos.

You can read the technical stuff here at Canon’s official site.

Rob Galbraith has a great review here along with some sample videos.

And the guys over at DPReview have some still shots posted here.

I had to go back through my images to work out when I bought this backpack and realised it was when I got my Canon 10D in 2003.  It still looks like new and has been on every trip with me in the last 5 years. When I bought it I thought it was expensive but this was an investment that paid off. It has been totally engulfed by incoming tides and kept my kit safe.

Size(Interior):
11W X 4.9D X 14.6H in./
28 X 12.5 X 37 cm

Size(Exterior):
12W X 12.6D X 15.9H in./
30.5 X 32 X 40.5 cm

When packing for a trip this backpack comes onboard the plane and carries all my valuables, from filters to camera. I can live without my clothes arriving but my camera gear stays with me. On one return flight my luggage was “lost” and in a fit of forgetfulness I’d put my downloader in it. Yes, all my photos for a trip were on it. Fortunately my case arrived a week later but it was a lesson learnt.

When flying to Inverness recently my hold luggage had a weight limit of 15kg (not much for a winter trip) and I got 9.96kg in the backpack (10kg being the limit). It easily passes the “it must fit inside this cage” test that some airlines have.

During this trip I carried on board my Canon 5D, a 100-400 lens, a 100mm macro, a 17-35 2.8L mm and a 28-105mm. All my Lee filters and accessories and a downloader were in there too. There was room enough left for a paperback. All paperwork and the stuff us ladies carry goes in the quick access front pocket.

For day trips my tripod fits on the back in the integrated quick-release tripod holder.

It is very comfortable to wear. The ergonomic harness features wide, padded shoulder straps and a sternum strap. With heavy loads I find the sternum and hip straps invaluable.

There are attachment loops for optional accessories.

I can’t envisage ever having to buy another backpack for landscape work (I do have the lowepro SlingShot 200 AW for travel in cities).