Issues when shooting in the tropics: Hawaii

<p>As I mentioned in another thread, here's what I plan to take on our next trip to Kauai, essentially, a three-lens, FX kit:</p>

<p>Nikon D800E<br />Sigma 12-24mm f/4.5-5.6 HSM (general-use, daylight exteriors; my <em>new</em> 99% lens)<br />Sigma 35mm f/1.4 (dusk, night interiors, available-light)<br />AF 80-400mm f/4.5-5.6D VR (compression shots)<br /> x2 ThinkTank lens pouches<br />Compact carbon-fiber travel tripod<br /> Rosco lens tissue/lens fluid<br /> <br /> Here's a list of Items I neglected to take last time, but will be bringing along this time:<br /> Hoodman 3x loupe (to check exposure/focus on the rear LCD)<br /> Nikon SB-600 Speedlight (to light foreground flora)<br /> 10' remote TTL cable<br>

PortaBrace 5" x 7" white balance card (to use as a handheld lens shade)<br /> microfiber lens cloths</p>

<p>Upon our last trip the Kauai, I encountered a number of issues. I'll try to document the most notable ones in this thread in subsequent posts. Hopefully, I'll also be able to include a few solutions to some of the most common problems I encountered.</p>

<p>Issue No. 1: The Waterfall Shot</p>

<p>After a very long hike, we reached this waterfall near the Na Pali coast on the island of Kauai. Aside from being a bit fatigued while attempting to capture these images, a number of additional issues compromised this shot:</p>

<p><img src="http://studio460.com/studio460/kauai14-3.jpg" alt="" /><br /> Nikon D800E + AF Nikkor 14mmm f/2.8D</p>

<p>1. Shutter speed too slow (1/80th).<br /> 2. Incorrect hyperfocal setting.<br /> 3. Bad time of day (sun at 2 o'clock).<br /> 4. Overcast sky resulted in a dull, low-contrast scene.<br /> 5. Contrast and sharpness lowered due to constant "misting" on lens from falling water droplets--needed some microcloths.<br /> 6. Lens should've been shaded (flagged) to prevent purple lens flare in lower left, and to improve overall contrast.</p>

<p>Note that the tripod was precariously perched upon a slippery rock, just above the water-line, so virtually 100% of my attention was committed to trying to avoid dumping my $3,300 camera into the water. Fatigued, dehydrated, and distracted, I made several mistakes.</p>

<p>Issue No. 2: Flash needs to be off-camera + warmed with CTO</p>

<p>Due to the tropics' clearer atmosphere, as the sun sets on the horizon, the light becomes warmer in color temperature--more so than in more hazy climates like Los Angeles, where I live. I needed to warm up my on-camera flash to match the setting sun's warmer light. Better yet, I should've brought a full-sized flash, plus a remote TTL cable.</p>

<p>I should've brought an SB-600 with several grades of CTO (Lee, "color-temperature orange," a tungsten correction gel). Likely a half-CTO, with an off-camera (handheld) SB-600, on a long TTL cable would've done the trick for more convincingly filled foliage seen in the immediate foreground:</p>

<p><img src="http://studio460.com/studio460/kauaiflash-1.jpg" alt="" /><br /> Nikon D800E + AF-S Nikkor 24mm f/1.4G; ISO: 100; f/5.6 @ 1/320th; on-camera flash fired.</p>

<p>1. Bring full-size Speedlight.<br /> 2. Bring long remote TTL cable.<br /> 3. Bring 1/4, 1/2, 3/4 CTO gel swatches for flash head.</p>

<p>Issue No. 3: Using fill-flash at dusk</p>

<p>A full-CTO gelled, off-camera flash would've also helped this dusk shot by both spreading the light more naturally, and by preventing a lens shadow:</p>

<p><img src="http://studio460.com/studio460/kauaiflash-2.jpg" alt="" /></p>

<p>Warming the flash would've also allowed me to balance to a cooler color temperature, exaggerating the orange hues in the sunset as seen in this un-flashed shot:</p>

<p><img src="http://studio460.com/studio460/kauaiflash-3.jpg" alt="" /></p>

<p>Issue No. 4: Dust or oil on the sensor</p>

<p>A dirty sensor from multiple lens changes in the field revealed dozens of dust spots in this high f-stop sunburst shot:</p>

<p><img src="http://studio460.com/studio460/kauaidust-1.jpg" alt="" /></p>

<p>Corrective actions:</p>

<p>1. Have your sensor cleaned just prior to your trip.<br /> 2. Either avoid changing lenses in the field, or reduce the day's lens inventory to a single lens.</p>

<p>Issue No. 5: Environmental self-portraits</p>

<p><img src="http://studio460.com/studio460/kauairemote-1.jpg" alt="" /></p>

<p>1. Bring a carbon-fiber tripod to shoot well-framed snapshots of yourself.<br>

2. Bring a wireless shutter release--this took <em>forever</em> to shoot without one.</p>

<p>"being a bit fatigued"<br /><br />Issue No. 6: Mimic other photographers obtaining great images while shlepping less gear.</p>

<p>Reminder No. 1: Don't forget to shoot "normal" stuff.</p>

<p>Not really an "issue," but I realized that "normal," more documentary images were as rewarding to remember the trip as the scenics:</p>

<p><img src="http://studio460.com/studio460/normal2.jpg" alt="" /><br>

Lihue Airport, just after we landed.</p>

<p><img src="http://studio460.com/studio460/normal1.jpg" alt="" /><br>

Our hotel room nightstand on the first night.</p>

<p>John said:</p>

<blockquote>

<p>Issue No. 6: Mimic other photographers obtaining great images while shlepping less gear.</p>

</blockquote>

<p>This is my day-pack for the next trip:<br /> <br /> Nikon D800E + Sigma 12-24mm f/4.5-5.6 HSM.<br /> Wireless shutter-release.<br /> Carbon-fiber tripod slung on my back like a rifle.<br /> Hoodman 3x loupe around my neck.<br /> Rosco lens tissue/lens fluid/microfiber lens cloths.<br /> Disposable shower caps (cheap rain/sand covers).<br /> <br /> So, basically one body and a single lens. The 35mm f/1.4 will stay in the room most of the time, and will be used almost exclusively at the hotel or at dinner (although I may stash an AF Nikkor 35mm f/2.0D in GF's backpack). The 80-400mm I may ditch completely, but it's so compact for such a long lens, I may take it and leave it in the hotel room just in case. The flash gear will stay in the car.</p>

<p>Miscellaneous issues:</p>

<p>1. Our first trip to Kauai was to enjoy our vacation--photography was secondary. All photo gear was left at the hotel on the days we went to the beach or went snorkeling.<br /> 2. A number of overcast days rendered flat, low-contrast scenes--obviously, I have no control over this.<br /> 3. Time-of-day for shooting was entirely dependent on our non-photographic activities. As a result, many scenics were shot mid-day, in the worst possible light.<br /> 4. Since now I have the benefit of essentially a "location scout" from our previous visit, we can now better plan on skewing more of our days' schedule toward arriving at certain vistas closer to golden hour.</p>

<p>Issue No. 7: Hydration</p>

<p>I almost died of exhaustion and dehydration (not literally, I just felt like I was dying--more like just really hot, tired, and thirsty) on the hike back from the Na Pali coast trail. GF bought me a CamelBak hydration pack for Xmas last year. Don't underestimate your water requirements for long hikes in hot weather. I don't remember exactly how much was recommended, but it was a <em>lot</em> more than we took (check with park ranger, hotel, tour book, etc. before leaving). River water isn't good for drinking, even in Hawaii. There are bacteria and viruses living in it which will make you sick.</p>

<p>Issue No. 8: "Waterproof" cameras</p>

<p>Digital "waterproof" point-and-shoots, sometimes, <em>aren't</em>. The Nikon waterproof point-and-shoot I bought wasn't even "water-resistant." It leaked-in water everywhere (lens, battery compartment, etc.), <em>immediately</em> after immersion in just a few inches of water after only a few seconds. Underwater housings, <em>are</em> (Gates, Ikelite, etc.).</p>

<p>I think the Nikon in particular was problematic (was it the AW100?). I remember reading reports from others who had similar experiences. So far **knock on wood** my Olympus Tough-series camera has done really well in water, sand, mud, and snow. </p>

<p>Aren't you shooting in Raw and converting to JPEG in some program like Lightroom or DxO? If so, why are you worrying so much about color balance when you can adjust it in Raw conversion. Yes, you want to arrive at the best times of day for the light, but you can adjust color balance, apply an S-curve, straighten a horizon, add contrast, all in Raw conversion and seem to have failed to do that.</p>

<p>Those first two images, in particular, would have benefited quite a bit with some judicious adjustments to bring up shadows, adjust colors and add contrast, even with the other flaws.</p>

<blockquote>

<p>"A number of overcast days rendered flat, low-contrast scenes--obviously, I have no control over this."</p>

</blockquote>

<p><br />Isn't that good sometimes? Avoiding nasty contrast for lush scenes of vegetation, people pictures with interesting backgrounds and so on? You seem pretty talented, I'm not sure why this one is an issue if it isn't overcast too much of the time.</p>

<p>Rob said:</p>

<blockquote>

<p>I think the Nikon in particular was problematic (was it the AW100?).</p>

</blockquote>

<p>Yup! I believe that's the one! Bought the night before the trip at Target for $99. After I came back, I read some reviews of other waterproof point-and-shoots, and some users complained of similar failings of other brands as well. STAY AWAY FROM THE NIKON AW100!</p>

<p>David said:</p>

 

<blockquote>

<p>Aren't you shooting in Raw and converting to JPEG in some program like Lightroom or DxO?</p>

</blockquote>

<p>Yes, images were shot RAW, and processed in DxO Optics Pro Elite for OS X. The resulting .JPGs were posted here. The images looked far worse before processing.</p>

<blockquote>

<p>If so, why are you worrying so much about color balance when you can adjust it in Raw conversion.</p>

</blockquote>

<p>Even if shooting RAW, light sources of differing color temperatures still need to be corrected at the time of acquisition to match the ambient light (e.g., a Speedlight at 5,600K vs. say, a 3,000K setting sun). If your strobe is uncorrected at the time of acquisition, in post, you would only be able to correct for one or the other.</p>

<p>Josh said:</p>

<blockquote>

<p>Isn't that good sometimes? Avoiding nasty contrast for lush scenes of vegetation, people pictures with interesting backgrounds and so on?</p>

</blockquote>

<p>Sure! Softer lighting is commonly considered more flattering for shooting people. But, when shooting scenics, lighting that's too flat tends to lack contrast which can attenuate apparent sharpness and lower overall acutance. Of course, ideally, you want "just the right amount" of flat (base light), and direct sunlight, so that the entire scene's brightness range fits perfectly within your camera's dynamic range (yet, still has enough direct rays to create some contrast and contouring).</p>

<blockquote>

<p>You seem pretty talented, I'm not sure why this one is an issue if it isn't overcast too much of the time.</p>

</blockquote>

<p>Gosh, thanks! But this isn't my best work--these are essentially the "fails." That's the reason for the thread--to show where I messed up, and to analyze my mistakes, and develop solutions for our next trip.<br /> <br /> What I'm looking for in scenics are those contrasty, raking streams of sunlight to better reveal the relief of the landscape. Of course this light only occurs when the sun is very low in the sky. One of the problems is that at these times, there was often too much cloud cover on the island, and my late-afternoon shots often appeared to be shot just in open-shade, rendering very low-contrast scenes, without any "snap."</p>

<p>I said:</p>

 

<blockquote>

<p>STAY AWAY FROM THE NIKON AW100!</p>

</blockquote>

<p>Correction: I did <strong><em>NOT</em></strong> buy the AW100. It was a much cheaper Nikon waterproof model.</p>

<p><strong>Vacation equipment list v2.0:</strong></p>

<p>Paring down the package even further, I'm going to ditch the somewhat bulky Sigma 35mm f/1.4, mainly because I just remembered that it doesn't auto-focus correctly with my D800E! (It works fine with my D3s bodies, but apparently needs a firmware update for the D800E). If I take my old AF Nikkor 35mm f/2.0D instead, I'll be giving up one full-stop of light-gathering ability, but in exchange, I'll have a very compact package.<br /> <br /> I'm still on the fence about taking the 80-400mm. I did shoot with it some last time, but not very much. Also, I was hoping to reduce lens changes in the field to "none," since I think the tropical humidity just tends to trap more dust on the sensor when changing lenses outdoors.<br /> <br /> Body and lenses:<br /> Nikon D800E<br /> Sigma 12-24mm f/4.5-5.6 HSM + Sigma lens cap + Sensei cap-keeper.<br /> AF Nikkor 35mm f/2.0D<br /> <br /> Accessories:<br /> x2 camera batteries + charger.<br /> x2 64GB CF cards.<br /> Nikon SB-600 + CTO swatches + roll of Scotch tape.<br /> x12 'AA' batteries.<br /> Nikon SC-29 remote TTL cable and/or PocketWizard TT1/TT5.<br /> Hoodman 3x loupe<br /> Full-sized, carbon-fiber tripod with a new compact ball-head.<br /> Wireless shutter-release.<br /> White-balance card (to be used as a lens shade).<br /> Rosco lens tissue/lens fluid/microfiber lens cloths.<br /> Disposable shower caps.<br /> CamelBak hydration pack.</p>

<p>I decided to take a full-sized, carbon-fiber tripod, since most of the time I'm shooting self-portraits with it, and am usually extending the legs to their maximum height. I do want to buy a lighter ball-head, however. I also saw a really compact travel tripod that seemed extremely sturdy at Samy's booth at a recent photo show. I may consider that one instead. Anyone have a favorite travel tripod? I'm looking for ultra-stable, over "lightest possible," or "smallest possible" (i.e., a happy medium), with a maximum of three leg extensions.<br /> <br /> Shopping list:<br /> Additional 64GB CF card.<br /> Sensei lens cap-keeper (for special, non-captive Sigma 12-24mm lens cap).<br /> Compact ball-head, or new compact tripod.<br /> Pack of microfiber lens cleaning cloths.<br /> Sheet of 1/2 CTO.<br /> One roll, Scotch tape.<br /> 24-pack of 'AA' batteries.<br /> Photovision 6" mini one-shot digital target or 3.5" x 6" WhiBal card (to use as lens shades).</p>

<p>About the cap-keeper: I don't usually use lens caps at all (I just clean my glass frequently), but the Sigma ultra-wide's front element bulges out precariously, and is easily susceptible to damage (especially while hiking over rough terrain without a camera bag or case). The Sigma cap works great, but is only held on by slight friction. The cap-keeper is a key accessory I don't want to forget to order.</p>

<p>good shoes<br>

1 x body<br>

2 or 3 lenses<br>

small tripod<br>

map<br>

phrase book</p>

<p>brief</p>

Ian, what sort of "phrase book" do you have mind? More importantly, why would there be a need of one?

 

.

time

.

passes

.

 

Did you mean a Pidgin-English phrase book? If so, please ignore my previous query.

<p>Issue No. 9: Canyons</p>

<p>I think shooting canyons present special challenges: A.) You need something in the foreground to communicate scale; B.) You may have a significant amount of atmospheric haze to shoot through, which will reduce your scene contrast. The out-of-camera .JPG of this image (this image has been processed in DxO) is very flat and dull-looking due to the atmospheric haze visible from such a vantage point, where you have an unobstructed view for many miles.</p>

<p><img src="http://studio460.com/studio460/waimea1.jpg" alt="" /><br /> Waimea Canyon, Kauai, HI<br /> Nikon D800e + AF Nikkor 14mm; ISO: 250; f/9 @ 1/320th</p>

<p>I'm not claiming to be an expert landscape photographer--I'm not--these are just the observations I made through my own (limited) experience:</p>

<p>1. Include something of a known size (e.g., people) in the foreground for scale.<br /> 2. Canyons are often windy--use a sturdy tripod and weight its center-column (e.g., use your camera bag). You can also "flag" your camera from the wind with your body.<br /> 3. Wait for a windy day for the clearest atmosphere to improve contrast.<br /> 4. Partially cloudy skies are your friend--the "slices" of sunlight rendered will help lend shape, contrast, and interest to the scene.<br /> 5. Use your camera's built-in level, if so equipped (or use a cheap hot-shoe level, or the level in your tripod head).<br /> 6. Composition: be aware of which "half" is more interesting--sky or surface, and favor your horizon-line to emphasize that two-thirds of the frame (or, four-fifths, or whatever floats your boat).<br /> 7. Even though you're shooting a long, wide thing, sometimes the vertical shot is better (especially if you have a cloud-filled sky--shoot both just in case).</p>

<p>My biggest mistake? I thought this was a "throw-away" frame because those "darned people" were in the shot. As it turns out, the only shots which worked are the ones with random tourists in the frame (see tip no. 1). In retrospect, I should've directed GF or others to stand in a particular spot to improve their placement in my composition. I mean, duh . . . I read this "tip" in an old Time-Life photography book like 3,000 years ago, yet, on the day, I totally forgot about it.</p>

<p>Also, the bottom part of the frame is more interesting than the sparsely clouded sky--I should've moved my horizon line to the upper-third, instead of the not-quite-at-lower-third position I chose. I'm not happy with where I placed the horizon in this shot--again, I thought this was a "throw-away." I just wish there were more clouds on that day.</p>

<p>Darkening the sky would improve the shot, but I don't own those software tools at the moment. Why didn't I use an ND grad you ask? Well, I was using the Nikkor 14mm with its bulging front element (no front filter threads), so I would need one of those fancy rigs to hold a 4" x 5" ND grad (although, I suppose I could just tape one on, or handhold it for the shot). Aha! I think I just added another item to my shopping list--a 4" x 5" ND grad and some gaffer's tape!</p>

<p>Don't think I'd split the frame in two. However, you could have used 80-400 w/pola...flipped into vert. position and create a pano (not necessarily extensive). You could still show some clouds (15-20% @top of the frame)...and start the sequence to the right of the people in the frame.....and go to the left as far as you wished. You could trim (in edit) the frames that would make the people off balance and too much to the center. Anyway, you could decide which mm's work best and how tight the whole thing would look. The 14mm, by default, makes everything look far away....so it's difficult to grab the 3D textures and tonalities of the canyon. Most likely a 90 or 105 prime would be better for this, but with diligence it's possible to pull this off. In this type of situation the manual settings rule.</p>

<p>Also, it helps to have decent edit tools, since it allows you to pull shadows to your desire, tweak contrast, etc. and LR would do this fairly easy. I mean, I'm quite sure my antiquated CNX 2 can pull off similar trix.</p>

<p>No need for ND or grad ND's.</p>

<p>Les</p>

<p> </p>