The COVID19 lockdown has locked everyone and the present and the future looks uncertain as of now. However the positive side in the creative world is that the photographic community has come forward and has been very open in sharing knowledge in innovative ways. We started a discussion series bringing together the best of natural history photographers from across the globe to discuss various aspects of wildlife photography and for me it has a great experience interacting with all my international colleagues and recording some of these interactions.
Check out the first 3 episodes of On the Panel hosted by writer, film maker and journalist – Shatabdi Chakrabarti as she grills us on DSLR camera trapping, photographing wildlife after dark, creativity in wildlife photography, evolution of wildlife photography in India and much more.
On the Panel – Episode 1 : Evolution of Wildlife Photography in India
Panelists : Shivang Mehta, Rahul Sachdev & Prakash Ramakrishnan
On the Panel – Episode 2 : DSLR Camera Trapping
Panelists : Ben Cranke (Award Winning Photographer from South Africa) & Shivang Mehta
On the Panel – Episode 3 : Night Wildlife Photography & Usage of Flash
Panelists : BBC Wildlife Photographer of the Year – Wim van den Heever, Nature’s Best Africa Wildlife Photographer of the Year – Brendon Cremer and Canon EOS Ambassador and Siena International Photographer Award (Wildlife) Winner – Shivang Mehta.
- 45 cross type focus points – The moment I looked through the view finder of the Canon 90D the huge gamut of 45 cross type focus points which occupied a substantial area of the view finder caught my immediate attention. Composition and focusing becomes fun with this wide spread of focus points and I had a great time composing my subjects in various parts of the frame
- 32.5 megapixels – I am not a fan of cropping images and strongly believe in in-camera compositions. A camera packed with megapixels means that you get better details and that was the pick of the features for me. Even if you have to crop up 15-20% of the image you have enough data in the image to make a completely useable image.
- ISO performance – All cameras perform well in good light conditions. The challenge is when the light is tricky. In Manas I got the opportunity to test out this camera in two different light situations. A backlit capped langur and the results were satisfactory. I then encountered a herd of elephants and in hazy conditions I photographed this herd at various ISOs ranging from ISO 800 to ISO 1600. The noise at ISO 1250 and ISO 1600 was perfectly manageable.
- The Flip Screen – While shooting from a vehicle I usually struggle to take a low angle shot. A lot of times I am seen hanging out from the window at times with the camera attached to a monopod and a remote trigger to take wide perspectives of subjects close to the vehicle. I do get the results but its purely a hit and trial technique and the composition does go for a toss. With a flip screen life becomes easier as you do get to see the composition and frame when your eye is off the view finder and this feature was very handy.
- Focusing & Speed – I refer back to the capped langur troop that was moving in thickets with the sun hitting their backs. The limited openings in the tree meant that the camera needed to be fast in catching the focus and the burst firing at 10 fps was adequate enough for catching the fine moments on the tree.
The Dissection Technique for Portraits
The Cement Issue
The much awaited successor of the Canon 1Dx – the top end Canon camera for sports and wildlife photography – was announced and launched by Canon recently. Thanks to Canon India for giving me the opportunity to use the first sample unit of this new machine in the challenging field conditions of Indian forests. Having used the 1D predecessors like the Canon 1DM4 and Canon 1Dx extensively in the last 5 years, I was particularly intrigued to know more about the Canon 1DxM2 because for me Canon 1Dx was the complete camera and I wasn’t expecting an upgrade so soon.
Drawing a direct comparison between the Canon 1Dx and Canon 1DxM2, here are some broad level observations (please note that I tested the camera for still photography. The Canon 1DxM2 records 4K videos which is not covered in my field tests):
Muted Shutter Sounds
In comparison to the predecessors like the 1DM4 and the 1Dx the first thing you realise about the 1DxM2 is the relatively muted tone of the shutter. As per the tech specs an advanced mirror flapping system has been introduced which will probable and possibly reduce in-camera vibrations while firing bursts of 12-14 fps. Typically on a Canon 1Dx I tone done my fps to reduce in camera vibrations while firing a burst so that the probabilities of some images turning out to be tad soft goes down while shooting some fast action. I shot some fast Dhol action sequences in Pench National Park at 14fps in challenging low lights early morning and was pretty satisfied with the series in terms of image sharpness.
Expanded Viewfinder Grid
The 61 point AF grid through the Canon 1DxM2 viewfinder looks a bit more expanded as compared to the Canon 1Dx. It essentially means that your in-camera composition is better.
Low light performance
I pushed the Canon 1DxM2 ISO to a maximum of 3200 during some misty conditions at Dudhwa National Park and the noise was workable and can easily be removed using noise reduction tools.
View Finder Guiders
A feature which was introduced in the Canon 7DM2 has been pushed in the new Canon 1DxM2 as well. If you look through the view finder of this body, you can see some of your basic camera settings like White Balance, Metering Modes, AF Drive, Shooting Modes and a horizon stabilisation bar. The font colour is however black and the display works very well only when you are shooting with bright backgrounds.
Advanced AF for f8 lenses
Typically while using a Canon 1Dx with Canon 500mm or 600mm f4 lens and a 2x converter, only the centre focus points used to be active. A noted beneficial feature with the Canon 1DxM2 is that all 61 focus points remain active with f8 lenses (if you are using the new generation 1.4x and 2x converters). 41 of those points are cross-type, having both horizontal and vertical line sensitivity. 5 central points are dual cross-type and have wider baselines that offer high precision focusing for F2.8 and faster lenses.
While shooting using the Live View feature you can now touch the LCD of the Canon 1DxM2 to focus your subject. The feature is good for shooting videos as well.
Feel free to share your thoughts in the comments section…
Every day as I accompany photographers on the field, the sight of a tiger makes cameras go ballistic as triggers are pressed with sheer madness. Sitting in the hotel room when I see the days work of people the hard disks are full of similar looking images and then the ‘I wish’ list begins… I wish I had shot like this… I wish I had done this better…
I always wonder that when you as a photographer pick your camera to shoot say a spotted deer a lot of thought goes behind that image. You take the pain to place the deer properly in the frame, you experiment with compositions. Why does that happen? It is just because you consider the deer as a subject. Yes subjects like tigers are rare to find but the moment you get a control on your mind and start treating them as subjects you will end up maximizing your field productivity and make best use of the opportunities that nature presents in front of you.
Have you ever tried pondering on the following points?
- Removing your eye from the view finder to see the subject with your naked eyes and scan for elements which can be added or removed from the frame?
- You may be using the biggest prime lens in the world that will give you a razor sharp image. However are those sharp images needed every time? How about experimenting with varied focal lengths to create 4-5 different images of a moment as simple as a tiger sitting under a tree.
- Reading the light and pre-visualizing images for a certain light situation. You may end up forgoing some images but you will be better prepared for that particular lighting scenario
I got hold of the new and revamped Canon 100-400mm IS2 and rested my Canon 70-200mm f2.8 IS2. I used it extensively in Ranthambhore throughout last week. Here is an example from Ranthambhore where a tiger sitting under a tree was shot in 5 different ways as varied focal lengths.
It is monsoons and I am just doing some serious desk job before hitting the field again in August. Recently I recorded a 3 episode series for my close friend, journalist and India’s #1 travel blogger Ajay Jain for his initiative Kunzum TV.
So have you missed your bus to Masai Mara and other locations in Kenya this year? Is Kenya a destination for you in the future and you are still getting confused on what to choose amidst the crowd of packages being offered by different operators in the market? Watch the 3 part episode series on Kunzum TV to get an answer to all your WHYs pertaining to Kenyan locations like Masai Mara and plan your holiday to the Mecca of Wildlife.
A lot of ‘whys’ are put forward during my workshops and photo tours. Why did I use this lens to shoot a particular image? Why did I expose this image in this way? Why did I use a particular combination of ISO, shutter, aperture etc? My standard response is it all depends on what you as a photographer have envisioned for a particular image and what you want to create…
For this particular image here are a few responses to some of the Whys:
- Why did I go for a tight composition?
- Because the habitat in which the tiger was walking for full of clutter which wasn’t appealing for a wide shot. I had a choice of a Canon 400mm f2.8 IS2 and a Canon 70-200mm handy with me this time. My decision to go tight was mainly to deal with the clutter of a dense Dhonk vegetation which is omnipresent in a place like Ranthambhore.
- Why did I underexpose the image?
- Just to capitalize on the patches of cut light falling on the face while the subject was in motion. I did not shoot a lot of images when the subject was walking in the shade areas and was just preparing myself to shoot for the light patches. Even before the tiger started walking the light patches in the Dhonk forest something which I found interesting to play with. As soon as the subject started moving towards those light patches, I metered for those patches only. I did miss some moments when the subject was walking in shade areas but that was not the image I had created in my mind.
- Why did I compose vertically?
- Because it was too close and a horizontal composition may have resulted in some part of the leg being cut from the frame which would have looked odd. I knew there was little margin for error in the composition but it was worth the risk because it was this sort of an image which I had visualized in my head…Nature photography is all about visualization and knowing what you want out of something happening in front of you. The quicker you think the more comfortable you would be in answering you Whys…–
Equipment Used : Canon 1Dx, Canon 400mm f2.8 IS2, ISO 200, f4, 1/2000. Mounted on a NW BLite Bean Bag