PHOTOGRAPHYSAFARI

FEATURING:The complete guide for all your safari photography and binocular needs.

TIPS & TRICKS

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CONTENTSTABLE OF

WHICH CAMERA IS RIGHT FOR YOU?

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TECH SAVVY

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BINOCULARS

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CHOOSING THE RIGHT CAMERA

Camera Technology has become so advanced in recent years that it is easier than ever for amateurs to take professional-quality photographs. Digital 35mm SLR (single lens reflex) cameras are more often used than film cameras. Camcorders with freeze-frame options are easy to use and are also very popular with safariers.

You need to ask yourself what you are going to do with the

photographs you take on safari. If you are going to try and sell them to a magazine or book publisher, then you need high-quality optics and good quality transparency (color slide) film or a professional digital camera. If you are going to make an electronic album to email to friends, then a reasonably priced digital zoom will be ideal. Print film is preferable to slides, if you plan to make an album, but the old-fashioned home slide show still has

great appeal for many. Many people prefer the idea of capturing movement and sound and with video camcorders being so compact and easy to use, this is an obvious choice.

The huge advantage of digit al cameras is the tiny size of the picture-storing apparatus ? this eliminates the need for bags and bags of film. In addition, unwanted frames can be deleted right away, making room for all the other great shots you need to take.

Modern equipment helps, fast autofocus, excellent exposure metering and most importantly, not running out of film every 36 pictures.

Video cameras and camcorders in themselves are great fun, and many a happy memory can be captured on the video that would simply be impossible to depict with a ?still? camera. Another great advantage is that they operate very well in low-light conditions.

Camera Technology

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IT IS SLIGHTLY MORE IMPORTANT TO HAVE A QUALITY LENS THAN IT IS TO HAVE A QUALITY CAMERA

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One danger of having a video is that often one is tempted to try and film too much and a huge proportion of your safari is seen through the viewfinder! If you bring a camcorder or video recorder, be sure to bring at least three extra batteries and a charging unit and converter (Africa uses 220-240 volts). Batteries can usually be recharged at your lodge or permanent camp while the generator is running or from your vehicle while you are being driven around.

Compact cameras with a small, built-in zoom lens and flash

are great for pictures of your tents, the vehicles, people on safari, etc., but because of their limited zoom and light-gathering properties, generally their use in wildlife photography is very limited, and the results can be somewhat disappointing. In addition to your 35mm equipment, consider bringing along a compact camera and a small camera that takes panoramic shots.

Digit al Camera Digital photography and cameras have in fact overtaken traditional slide and

print photography. The very latest digital cameras from Canon and Nikon are able to produce the same quality photographs as traditional slides or print cameras. The advantage with these new digital cameras is that they use the same lenses as the normal Canon SLR cameras, but you have the advantage of instant feedback and you can correct your mistakes on the spot while shooting in the field. When you get home you already know you have perfect photos.

If you want to take high quality photographs, a

recommendation is that you spend your money first on a good lens and second on a camera. It is slightly more important to have a quality lens than it is to have a quality camera. If you just want memories of your safari, nowadays, many of the new "all-in-one" (ie, no removable lens) digital cameras take excellent shots, as animals are often within close enough range of the vehicle for these cameras to capture good images.

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Lenses

Don't assume that you'll be using telephoto lenses exclusively. Bring whatever lenses you like to use, from wide angle to medium telephoto. Consider a minimum of two lenses, one for scenery and one for more distant subjects. A good, balanced system of lenses would be an auto-focus zoom lens (come in a variety of ranges), a 28-70mm and a 100-300 or 100-400mm. Zoom lenses are an excellent choice to cover over a wide range of local lengths, and these are especially useful

for photographing scenery, or activities and people in safari camps and lodges.

When it comes to lenses and focal length, around 300mm to 400mm are ideal for good wildlife photography. This is especially true in the private concession areas in Kenya and Tanzania where off-road driving is permitted. This means that it is often possible to make very close approaches to some of the wildlife. The 80-400mm f4.5-5.6 is a great lens. However if weight is an issue then the 70-300mm f4.5-5.6 is also recommended.

Fixed-length lenses are generally more

expensive and, of course, have less flexibility, but they have the advantage of better light-gathering qualities than zoom lenses can provide. Lenses with built-in digital image stabilizers are highly recommended.

If you are a serious photographer, you probably have several lenses and may be two camera 35 mm bodies. Two camera bodies are very helpful ? they can save precious time in changing lenses. Also consider purchasing a tele-converter that will increase the power of your lens by a multiple of 1.4, 1.7, 2.0 etc. ? depending on what

you purchase. The downside is that they lose the same proportion of light as well (i.e. a 1.7 converter will lose you 1.7 ?stops? of light).

www.bandhphoto.com

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SNAP THE PERFECT PIC

Photography Techniques

SHOOT LIKE CRAZY" "

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Here are a couple of digit al photography t ips:

1. Take a lot of extra batteries and a battery charger. Digital photography can drain batteries fast.

2. Take large CompactFlash (CF) memory cards for the camera so that you do not run out of storage space for your photographs (at least an 8GB card is recommended)

3. You may wish to carry an iPod, or even a laptop, onto which you may copy your files and these instruments also allow you to better preview and edit photographs or video clips on the spot,

4. Try to shoot your photos with the camera settings that offer the greatest quality (i.e. shoot in a large/fine quality format), and

5. Shoot like crazy in all sorts of different settings and then delete the photos you don?t like.

6. Pack the memory cards in your hand luggage. 7. Never leave your camera in the sun. 8. Use filters, the UV or clear filter as protection for your lenses. A scratch on the filter is

relatively inexpensive compared to a scratch on your lens! 9. You'll encounter a lot of dust on safari. Carry a supply of plastic in which to keep your

camera, lenses and film.

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Photographic Guidance f rom Specialist Guide. Nic Polenakis

I personally have a preference for Nikon gear and have done so for many years. I find them tough and reliable and can with stand the rigors of the African outdoors.  In saying this I feel that Canon is also on a par so either would suffice. My camera of choice is the Nikon D3 however although amazing can be an over kill.  I used to own the Nikon D300s which is also an amazing camera and great value for money'.

I use the Nikon 80-400mm f4.5-5.6 lens. This lens is extremely versatile though a little heavy.  However if weight is an issue then the 70-300mm f4.5-5.6 is also great, although it does not give you as much reach as one would like'.

I personally love to capture action shots and in the wild this can happen in a split second. It may be an idea to learn to shoot on continuous high shutter mode at all times so that when the action unfolds you do not miss ''the shot ''.  The one thing that photographing animals in the wild does not afford one is time. Generally things happen fast and one has to work at the same speed to have any chance of capturing that special image. I want my photographs to show the animals in their environment, I want to know from the look of the habitat where the image was taken

Whether you are using an SLR or a basic digital camera it would be a good idea to bring along either big zip lock bags or water proof bags so as to keep the dust off your camera and lens whilst on game drives. Your camera will still be easily accessible however it will be protected from the fine dust which at times can cause some difficulties for the cameras and lenses. (Nic Polenakis was selected by National Geographic Traveler as one of the ?10 Great Tour Guides? for 2011)

Pat ience is the key to good wildlife photography. Many of the animals in game parks and reserves are used to vehicles and people, allowing close approach at times. However, even the most tolerant usually react nervously at the first approach of a vehicle. By switching off the engine and sitting off a while, most animals relax and return to normal activity, allowing better photographic opportunities.

by author

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From a composit ional point of view , the most interesting photographs are very often those that depict the animal in its natural habitat and for this reason it is important to pay attention to some fundamentals of picture composition:

- Avoid ?placing? the subject in the dead center of the picture frame (a common mistake) because this can result in a lifeless picture. A subject set on one side of the frame suggests movement ? the viewer?s eye automatically drifts from the point of interest to the space and back again.

- Try to pick your best angle for lighting when you're approaching an animal, then stop at the most favorable spot.

- Maneuver yourself or the vehicle that you are in, in such a way that the background does not clash with the subject. For instance, if there is a beautifully shaped acacia tree directly behind a group of zebra, move forward until the animals are to one side of the tree; this will also create a sense of distance. Checking your background is very important because a photo is often spoiled by a pole, a sign, animal or vehicle being where it should not be.

- One of the most wonderful things about Africa is the huge skies ? often deep blue and cloudless or piled with dramatic cloud formations. By getting back from your subject or using a wide-angle lens, you can make these skies part of the picture in such a way that they add atmosphere without competing with the main subject.

- Look for and photograph t he small or less obvious things as well: butterflies, flowers, clouds or even tree bark textures. Incorporate them deliberately into your compositions.

- Take note of your horizon at all times; a photo is often ruined by a sloping horizon. - In low light, your shutter speed should be at least as high as your focal length (1/250 of a

second at 250mm); if not, use your monopod or beanbag. - When you photograph a sunset, and to create a silhouette, meter off the sky or sun and focus

on the subject you want silhouetted. - When photographing a living creature that is close, try to get the eye in focus ? the rest does

not matter as much. - When taking a picture of scenery or a subject with interesting light - try to bracket (take a few

pictures at different exposures), as this will help assure that one will be great.

The photography of t radit ionally dressed people is a sensitive issue and you should talk to your guide about any intentions you have. While it may be tempting to take candid, ?natural? photographs of tribal people going about their lives, this is regarded as rude and unacceptable by the majority of rural communities. Many people expect to receive a small fee for having their photograph taken, but this often results in a frozen, ?staged? expression. A good approach is to settle on a reasonable fee for multiple photographs at a whole village, and then spend a fair amount of time waiting for relaxed expressions. Some people who have their picture taken may request a print be sent to them and this is a good way of developing and maintaining trust in the long term.

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Afr ican governments are highly sensitive about certain structures being photographed or filmed, so do not take pictures of airports, bridges, military or police installations and personnel or telecommunications installations.

In terms of technique, you need to develop as quick a response as possible. Much of the animal action you will want to try and capture will happen suddenly, so you need to be ready at all times. Familiarization with your equipment is critical to this end, so make sure you test out a new camera or video well before you get to Africa.

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l ights, camera, action

LIGHT AND EXPOSURE

Light is what makes or breaks a photograph and light is always best when the sun is lower in the sky. Softer, warmer light and less intense shadows exist between 6:00 a.m. and 9:00 a.m. and again after 4:00 p.m. Early morning and late afternoon provide the best lighting for most subjects

If, for example, you want to try and photograph all of the mammal species you see, then it is advisable to photograph the common/frequently

seen species (your guide will tell which these are in a particular place) only when the light is at its best, whereas you?ll photograph the rare species whenever the opportunity presents itself. Photographs taken in the middle of the day are invariably disappointing, but you never know what may turn up unexpectedly. A polarizer helps cut glare and is especially effective when you have a lot of sky and water in the photo.

A polarizing filter is very useful for scenery, darkening and intensifying the color of the sky. The maximum effect is achieved when

shooting at an angle of 90 degrees to the azimuth of the sun; the effect is minimal when shooting toward or 180 degrees away from the sun. Be sure to remove polarizing filters when shooting wildlife. The polarizer will have almost no effect on most subjects and more importantly, such filters soak up almost 1 1/2f ? stops of light. You may need extra amount of light gathering, especially when using fast shutter speed to capture moving animals. A primary cause of blurred photographs is vibration from a running car motor, so

always ensure that your guide or driver switches off when you are taking pictures. This is also true for video work where you want to capture the natural sounds of the bush, not a diesel engine! Repeated starting of engines and movement of vehicles to jockey for better position causes even the most tolerant animals to eventually leave. Many cameras have a built-in flash system, but you?ll need a more powerful, add-on unit for serious nighttime photography of nocturnal animals.

ISO SUGGESTIONS

Digital photography has the advantage of being able to give you all sorts of light settings and a range of ISO settings, so you can even shoot indoors and in very low light situations.

- You should try to shoot in the 100 to 200 ISO range. - ISO 200-ISO 400 is often needed in early mornings and late afternoons, especially when

using telephoto or zoom lenses. - With very low light, use a flash or ISO 1000 or higher film. - ISO 1600 may be necessary when photographing gorillas in the dark forests.

1. Use lower rather than higher ISO settings whenever possible (ie, such that you are able to get sharp images based on the light and lens combination).

2. ISO 400 is actually quite close to 200 in quality; so don?t be afraid to use it. ISO 400 gives extra shutter speed (to get tack-sharp images).

3. Use ISO 800 and above only when you really need the increased shutter speed, but expect a slight loss of color saturation and increased noise in large color blocks, such as skies. A properly exposed ISO 800 image is far better than an underexposed image at ISO 400. Underexposure at this ISO level will definitely introduce substantial noise in the shadows that you would not find at lower ISO?s. If possible, opt for longer shutter speeds rather than increasing the ISO.

4. Expose to the right. Here?s the reason: Digital camera sensors capture light in a linear fashion. Our eyes do not. A scene with twice the number of photons reaching the camera's sensor appears twice as bright; with our human eyes, this scene appears brighter, but not nearly twice as bright. If it did, we?d experience overload when we move from shade to bright sunlight. Thus, our eyes see light in a non-linear way... and this is what a gamma curve is intended to do... model human vision.

There are several digital SLR cameras (Canon EOS-1DS, EOS-1DS Mark III, Canon EOS 5D, Nikon D3 and Nikon D700, and others) which offer a ?full frame? digital sensor. These cameras have 24x36mm image sensors. Simply put, a 16-35 mm lens on a ?full-frame? digital SLR?s will provide the exact same field of view as it would on a ?traditional? SLR with film. Note that these are top-of-the-line cameras ? not inexpensive.

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Cheetah - Nikon D4s, Nikon 200-400mm. ISO 800. 1/2000sec. @f4

Waves across the Desert - Nikon D3s, Nikon 28-300mm. ISO 400. 1/500sec. @f4.8

Survival - Nikon D4, Nikon 200-400mm. ISO 800. 1/500sec. @f4

Tree of Life - Nikon D3s. Nikon 14-24 f2.8. ISO 400 f4 @ 30 sec.

On these two pages is a f ine col lect ion of photos taken by © Dana Al len

Each image has the camera, lens and metadata for each image; Shutter Speed (1/30th of second), ISO (exposure) and Aperture (f-stop).

www.photosafari-africa.net founded in 1991 his company PhotoSafari has produced hundreds of thousands of images of Africa published worldwide. 

PhotoSafari  is dedicated to producing the f inest images of Africa available online to purchase.

Number 30,001- Nikon D4s, Nikon 200-400mm. ISO 800. 1/180sec. @f4

Chacma baboon in deep thought- Nikon D4s, Nikon 200-400mm. ISO 800. 1/2000sec. @f5.6

Jao f loodplain - Nikon D4, Nikon 28-300mm. ISO 800. 1/1200sec. @f6.7

Stand tall - Nikon D4s, Nikon 20mm. ISO 800. 1/1250sec. @f11

Wildebeest One in a Mill ion - Nikon D4s, Nikon 200-400mm. ISO 800. 1/16000sec. @f4.8

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SUNRISE AND SUNSET PHOTOS:

Africa has the most spectacular sunrises and sunsets of nearly any place on earth. To capture the grandeur of these events, here are a few tips.

1. Use a telephoto or zoom your zoom lens to its longest focal length. This makes the sun larger in size for a more dramatic shot.

2. Take advantage of any landscape elements for dramatic silhouettes. A graceful acacia tree or any possible wildlife will enhance the composition of you picture.

3. Don't set your exposure for the sun itself. The resultant picture will probably be far too dark. Instead, aim the camera away from the sun, to the right or left and meter off the sky. Then lock the exposure setting and recompose the picture with the sun where you want it in the frame.

4. You may also want to bracket a few exposures; that is, make shots slightly underexposed and slightly overexposed.

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CAMERA SUPPORT:

When using telephoto lenses, it 's vital to have good support because these long lenses magnify every slight movement, creating possible blurring of the image.

The rule of thumb when hand-holding a camera is to use a shutter speed that is at least as fast as one over the focal length of the lens. For example, if you are trying to handhold a camera with a 200mm lens, you will need to have the shutter speed set for 1/200 or faster in order to maintain sharp focus.

Typically, the use of some solid form of support (tripod, beanbag, etc) is essential to hold the camera completely still while you take your shot (especially with larger/heavier lenses). Space and weight restrictions may limit you carrying a tripod.

In a safari vehicle a simple

beanbag can be the best camera/ lens support. It should be made of heavy enough cloth to withstand being tossed around, stepped on, snagged on door edges and so on. Be sure that it 's large enough; useful dimensions: about 12 inches long, about 9 inches wide and about 4 to 5 inches thick when filled. Simply pack an empty bag, and upon arrival find beans, rice or corn (sand in a pinch) and fill into a zipper plastic bag and then into the bean bag.

Unless you know your safari vehicles well it is best to choose support systems that are simple and offer options.

Beanbags work in open-roof vehicles / pop-top vehicles (the photographer is standing in this type) found in Kenya and Tanzania to put over the window or on the roof. In open game drive vehicles a beanbag can be placed on the seat back or bar rail in

front of you. Monopods (one-legged support) are useful, especially in open vehicles and on walking safaris. A nice ball mount head attached to a good monopod works best in an open vehicle placed on the floor. Try a monopod with clamp which can be fixed onto the seat back or vehicle door.

A small t r ipod placed on the roof can help steady your camera when filming on safari in a roof-hatch vehicle.

In an open vehicle, a larger t r ipod with moving ball head that can be set up around your seat (2 legs on floor and the 3rd leg into the seat). This gives more freedom than a fixed tripod.

www.Reallyrightstuff .com

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Storing images to a Laptop Computer Consider storing your images to a laptop. The advantages are that you can edit your images on the laptop's screen and upload images onto the laptop's hard drive. The disadvantage is that a laptop adds signif icantly to the amount of gear you are bringing along.  You will also need to purchase a CF Card Reader device to upload your images.  The card reader is plugged into your laptop and the CF card is inserted into the card reader.  This allows you to copy images from the CF card to your laptop's hard drive.

POSSIBLY THE BEST ADVICE WE CAN GIVE IS TO HAVE FUN TAKING PHOTOGRAPHS! ""

BINOCULARS Each person should bring their own binoculars in order to get the most out of every safari. Sharing binoculars, even with children, means that there will be times when a person/child will not be able to see clearly.

Binoculars are something that is often overlooked but we feel that every traveler should have a great pair when going on safari. Binoculars range in price from $180.00 to $1425.00, a small price to pay for seeing the Africa ?up close and personal?. Each binocular has two numbers; the f irst number is the magnif ication and the second number is the diameter of the objective lens in mill imeters. For example; 10 x 40 = 10 x magnif ication with a 40mm objective lens.

If you choose a higher magnif ication then you will sacrif ice a litt le brightness in the image and the viewing area will slightly narrower. This is less discernible in the higher end binoculars. If you choose a larger objective lens you will notice a brighter and sometimes clearer image. Therefore, it becomes a personal and subjective decision on which is the correct combination for you.

Some other important terms:

Field of View: is the width of the area that you can see from left to right.

Eye Relief: is the distance that your eye can be from the eyepiece while stil l allowing you to see the full f ield of view. (If you wear glasses, you want at least 15mm.)

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