drc

Like Bob Royse says, i'd spring for the Foba. What the superball lacks in terms of the silky slick B1 smoothness, it makes up for in consistent, reliable and bombproof service. Oh, and i forgot to mention, it's a heck of a lot quicker to giddy up and use than most other ball heads. I've also noticed that when i'm done shooting, most of the other guys are still fumbling with their funky little nobbys. Nope i'm not going to give up my Foba Superballs, you'll just have to pry them from my cold dead hands!

Hans, i have the AR plates attatched to all of my cameras and lenses. Over many years i have never had any rig slip out when running around with a combo as big as a 600 F4 and motordriven camera slung over my shoulders. The trick is to be consistent and have a set routine in putting the lens or camera on the quick release. Always have your grip either on the tripod collar plate attatchment or on the camera, and dont let go until your 100% certain it's all secure. Sitting down and doing it over till it's second nature whilst watching your favorite TV program is an extremely worthwhile investment. As for quality and security, the Manfrotto's are not even in the same class as the AS system plates (when properly assembled), the best of the bunch being the RRS by a long margin. As the other posters have said, the ability to fine tune the balance of different lens/camera combinations is an extremely important feature.

This lens has been discontinued for many years Massimo, i have seen a couple and they are big, heavy, very expensive and even harder to find. The lens is extremely sharp wide open, and every person that i have met that has owned one raves about its versatility and optical ability. Photographer Art Wolfe had one, you might find information in one of his older books about this lens. Good luck.

Without a doubt, animal behaviour knowledge (and the paths to it) will greatly improve a photographers chances in aquiring satisfactory results. It's just like looking at a road map.When you know where and how far the road goes (or whats coming up), then you can plan and position yourself to be ready for what should happen, and be more prepared for the unexpected. I am also of the mind that this knowledge (and the passion to learn it), demonstrates respect and is reciprocated by your subjects in your experiencing more positive and productive photographic experiences with them. On the other hand, knowing and maximising your equipment and techniques ranks right up there, yet is easier to learn and master because of todays computerized and high tech "do it all" equipment. Last but not least Jose, is something that you did'nt mention, and that is "Aesthetics", the appreciation of beauty. I think that when you put your whole heart into learning and applying all three of the points above, then the road to mastery begins. Great question Jose, this should be an interesting discussion.

Andy, the 105 2.5 is one of the best lenses that nikon ever made, and you can pick them up for a song. The micro 105 2.8 is a very great lens, only much more expensive and somewhat heavier. I have both and use the former when hiking and use it with tubes for closeups for flowers and so on. If money is an issue get the 2.5, it's a tough call.

Michael, try an industrial bolt supply house for the next size rivets, or body shop supplys. Installing new bushings will tighten things up and give you the effect you are looking for.

Great sites David! i was familiar with the fine work of Bill Atkinson, but not the other two. Thanks for the heads up. Burkett and Fatali are also very fine and inspirational photographers!

Jeff, i might suggest you also take a look at the Kodachrome 200, Kodak allows you to push it to 500 asa (1 1/3 push), and it handles well (very sharp) although somewhat grainy. Some reciprocity failure will be noticeable at longer shutter speeds. I have sold some whitetailed deer photos for magazines and brochures which were shot at 500 asa with this emulsion.

We need more people who do this Frank, if only to help out the wildlife that is being shamelessly and vigorously harassed. A lot of this negative behaviour is cumulative and often results in the poor animal being destroyed down the road because of stupid and extremely selfish behaviour by (unfortunately) too many people. I will also let people know when they are clearly overstepping the line and try really hard to be nonconfrontational. I know one photographer who actually photographs offenders in national parks and turns the film into the warden office.

Actually Anthony i was'nt joking, and some of these somewhat unethical people i described had their work disqualified from their respective competions and (quite rightly) hid their toasty embarrased faces for quite a while afterwards. However, i dont agree, and i have done tests where it counts in the field (in real life conditions), and still i believe the Zeiss medium format we used optically outperform the equivalent 35 focal length versions. Beyond their outstanding optical resolution you also have to factor in the vastly superior performance of a qaulity leaf shutter in reducing vibration against the almost earthquake like performance of a 35mm focal plane. Further, and also working towards better resolution, are factors such as superior alignment and security of the film plane as a direct result of the finely engineered tolerances and design of the Hasselblad film backs, and generally in the build and fit of the whole camera in reducing vibration and subsequently improving image qaulity.Cheers!

Further to Johns comment about the Pro who relied on "the sheer size of the chromes". A judge at a local camera club complained of some of their members cutting down medium format slides to enter them into 35mm class contests, which at the time really shocked and offended me.

Some of these people should concentrate on aquiring good technique as opposed to falsely relying on a larger format to hide their poorer ones.

Sorry Ron, Ron and Bob!

Yeah, it's like Dan and Bob say, "birds in flight" or "depends on why they are'nt keepers" ? What are you having problems with, how is your technique etc?

Mike, you do have a better chance (all things being equal) with a larger format simply because they present or look better than a smaller 35mm version. A common first question i hear when i,m cold calling to some photo editors is "what format do you shoot", and if you reply "35mm", they'll often state that they only use medium or larger formats. This is where your sales side has to kick in (to get yourself an appointment) and hopefully they see great 35mm images in your portfolio, as a result of your professional disciplined shooting techniques and talent.

I spend lots of time way out in the middle of nowhere. Learned the hard way to carry a manual backup.

A few reasons i suspect, yes the world is big and diverse Chris, but if a photographer is selling this stuff for a living, he or she is going to shoot the overshot stuff because it pays to have these photos in your files (clients will try and give you the work cause they like you) even though its been done a zillion times by your competition. Secondly, we all want to try and maybe do a better version (being the competive little devils that we are) just to see if we can improve on it. And thirdly, how often do you get out to a national park say, and find that what attracts you the most are the landscapes that you see everywhere else that everyone else has shot, simply because that is the best an area has to offer? Just my two cents worth :-)

Passakorn, the 340 is my all round tripod, i shoot up to 700 (500+1.4x) with it in the field, "it's an oak". I also shoot with a 410 (same pod only bigger)when i don't have to far to hike etc. The 345 has an extra set of legs to open to get to full extension, why bother with that when you could be exposing film quicker with a 340?

It would be nice for any lens to be free of dust, but they really don't make a whole heck of a difference to your lenses performance.

Yep, slides expose for the highlights, Negs expose for the shadows.

You could try Waterton for Mule deer, they hang out and rut right down mainstreet (rut peaks Nov 24, 25, 26).

Patrick, Neils comments are right on the mark, the reason Gitzo discontinued this model is because under serious/heavy professional use the rivet attatchment at the plate/leg intersection work lose on all of the legs over time. Mine occurred in the middle of a six week shoot in Alaska the first time (taught me to always have a spare pod handy). Initially Gitzo repaired my offending leg section, but it would reloosen again overtime thereby ensuring this models discontinuation.

Hi Jeff, i just got back from Jasper yesterday, and right now there is plenty to see and photograph. The Elk rut is in full swing as peak estrus is about the 26th, the Moose are starting into their rut and you should start to see some pretty good action about the 1st week of October. Lots of berrys so be on the lookout for bears! Hope this stuff helps.

Kaf, the Xpan is as John says, a very nice piece of equipment. The optics are excellent, and the camera is very durable. The only two complaints i had where the position of the battery cover(when you use body plates they have to be removed to change batterys), and the Hassleblad rep keeps wanting the camera back.

Some people hate them, mine have improved overall viewfinder brightness substanstially on a couple of my nikons, works great for me!

Lionel, to have any chance at all, you are going to have to put in some heavy duty time on finding out all you can about your intended subjects and their needs. A densite, watering hole or semi static food source in conjunction with a strategically placed blind or hide will all get you somewhere within the ballpark. However, the wolves tolerance (or not) and your knowledge and respect of their protocols will be your biggest determinants in any success that you might have. A number of years ago i was invited to photograph a study group of wolves here in the Canadian Rockies, the site was an open and reclaimed gravel pit complete with blind, nearby densite and rendevous point. Researchers would put out winter road killed ungulates close to the blind in order to gain proximity for photography, i got (over time) some great shots, but it was extremely hard even though these wolves where somewhat habituated. If they dont want to be seen, you wont see them, its that simple. Good luck Lionel, let us all know how you made out. David Crossley/Crossley Photography.