stacy_egan

Wow, beautiful gallery! Thanks for sharing!

I like your choice of lenses...I like that combo myself.

 

A guidebook I've found very helpful for tips on photographing the southern Utah parks is "Photographing the Southwest", available typically in visitor center bookstores or through http://www.phototripusa.com/. Great sunrise icons to photograph include Landscape Arch in Arches and Mesa Arch in Canyonlands. Great sunset icons to shoot include Delicate Arch and Balance Rock in Arches. There tons of photo-ops in those two parks! Have a great trip!

I'll chime in and echo other's recommendations. I have 2 GND's: a 2-stop soft and a 3-stop hard, both HiTech brand, and they seem to cover the bases for me. I've used my 2-stop soft for desert sunsets, where I want the desert vegetation to still come through in the exposure. I use my 3-stop hard more frequently than the 2-stop soft, however. I would think the 3-stop hard would be nice in the Grand Canyon because the rim is mostly flat. I've used the 3-stop in Zion, where you have sharp shadows being projected onto the sandtone cliffs at sunrise and sunset, since you are down in a canyon. And the 3-stop hard is indespensible at the ocean.

 

I hate to be a filter snob, but I recommend a HiTech over Cokin. I have a Cokin GND, but once I bought those 2 HiTechs, I've never used my Cokin. It's an issue of color cast, which the Cokin tends to impart.

I like the Velbon 343E for backpacking with my 20D + 17-40 lens. I did replace the native ballhead with a more secure Velbon head. I've used this setup on a couple backpacking trips with good success.

 

When I really want to go light, as I will this weekend in the Grand Canyon where I will be taking backpacking AND rock climbing gear (we're climbing Zoroster Temple), I will take my new Canon G9 + Ultrapod II.

There's a raptor show at the Desert Museum here in Tucson that I enjoy photographing on occasion. I agree totally with the advice above. I use my Canon 20D with 300mm f/4 lens exclusively and that has worked out well for me. I tried using a tripod, but I prefer handheld when I'm trying to capture a bird in flight. For flying birds, I get a better result when I have the camera set to "AI Servo" autofocus, and keep the focus point on the bird as I decide when to press the shutter. As far as flash goes, I prefer to not use it (because I lack the proper skill), but in the case of the Desert Museum I can see where fill flash would be nice, as the light is typically harsh and in the mornings the birds are backlit relative to the spectators.

For sunset lighting, the only thing I can say is watch for clouds and be there, ready with camera and tripod. This calls for repeated outings. Many times I'm busy doing something else, then I notice the blazing sky, and I rush to get my camera. In those unprepared times my choices are limited in terms of "desert setting".

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I like to try and capture lightning during the summer monsoons. The easiest time to do this is at night because you can have longer exposure times, thus increase your chances of lightning happening when the shutter is open. I set up my camera on a tripod, point the lens (usually a wide or normal lens) towards the storm, set focus to infinity, ISO to 200, f/8.0, 8s, and keep pressing the shutter. Depending on how active the storm is, you will have MANY shots without lightning in the image. But with a digital camera, who cares? Just delete those shots. But occasionally you can get some nice lightning shots, making it all worthwhile.

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<a href="http://www.pbase.com/segan/sky" >Example gallery</a>

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Just be careful out there to safeguard yourself against lightning strike! Your car is a relatively safe shelter, providing the cab is totally encased in metal.

A tripod goes a long way towards sharp images. That 50mm of yours is about as sharp a lens as you can get, stopped down. I am not familiar with the other lenses. I would say technique is the biggest key to sharp pictures. Even so, I always post-process my images, sharpening using unsharp mask in PS, and this always makes a satisfying improvement.

Yes, getting photos off via my low-end card reader is much slower than getting the photos off through a direct connection with the 20D.

You are going to have a wonderful time! I did the 14-day oar/paddle trip through AzRA in 2004, and that trip was what inspired me to get a DSLR (film loading problems with our old 35mm SLR caused us to lose shots). So I have often thought about, if I were to go again--and I intend to someday--what camera gear I would take. Here is what I advise:

 

1. I think the 70-200 over the 100-400, for reasons you've stated (weight) and I think it's adequate. You can use the 70-200 from the shore if you have an opportunity to photograph other boats going through the rapids, or candid shots of the people at camp, or flora/fauna you'll see. I really think, especially with your 10D, this lens has enough reach. If you have a 1.4X, all the better.

2. I'm thinking you may want the 17-40 on your hikes with the 5D (in addition to, or occasionally instead of, the 24-105). The reason I say this as in Red Wall Cavern, for example, you may want to be able to capture the entire cavern. Also, at bottom, the canyon walls are high.

3. Special sights: Red Wall Cavern, Nankoweap, Little Colorado River, Elves Chasm, Havasu Canyon.

4. Other opportunities to watch for: big horn sheep along water's edge, early morn/late afternoon sun on canyon walls (may need ND grad so the shadowed canyon bottom won't be too dark).

 

Another thing...lots of CF cards or portable hard drive, and spare batteries.

 

Oh, and another thing. Maybe a waterproof bag (~$10) for your camera on the hikes. Some hikes are along creeks, sometimes fording them, and if you slip and fall and drop your camera...:( Or if it rains on you...We used one for our camera on our trip and it was especially handy on our hike up Havasu Canyon to Moody Falls, where there is lots of creek fording, up to chest level!

 

Have a great trip!

I also photograph rock climbing and am always interested in learning technique. One forum I've found that has some information is:

 

http://www.rockclimbing.com/forum/climbing_photography

 

My climbing gallery:

 

http://www.pbase.com/segan/rock_climbing

 

I do not know too much, except these basic things I try for:

1. Avoid "butt shots" taken directly below the climber.

2. Try to get side-on to the climber, better if at the same level (sometimes the ground rises along the cliff, equal to the climber).

3. Try to capture the dynamics, when the climber is trying a tough move. Try to get the climber really extending him/herself.

4. You'll notice in my attempt to do #3 I tend to frame tightly on the climber. I've seen others advise that it's good to get some rock and/or distant backdrop too.

5. Don't center on the climber (for shots including some of the rock)...try for composition following "rule of thirds".

6. Photographs of lead climbers are generally more interesting than of top-ropers.

7. Lighting on climbers is often difficult. Their faces are shaded, most climbing is during mid-day, etc. In order to properly expose the climber, I sometimes end up with a white sky...I'm not sure the solution for that, but one is to correctly expose for the sky and let the climber be a silhouette.

 

I've never roped in on a neighboring route to catch a shot, but I guess that is one way to do it. I've had an occassional opportunity to photograph from above. This is great for perspective and facial expression. Just be sure and anchor yourself in, and hook your camera into your own harness too! I use a runner looped around my camera strap, hooked to harness loop with locking carabiner.

 

Like I said, I don't know much and would like to learn more myself.

I bought the black tripod collar which is meant for the 200 mm/f2.8 but fits just fine on my 70-200 f/4 and is cheaper than the white one. I found it made a huge improvement, but then I did not have the sturdiest of tripods and ballhead (Velbon 343E--camera is 20D). Now I have a much better tripod and ballhead (Kirk BH-3) and I tend to agree with other folks comments, that you may not need it. So in my opinion, it depends on how good a ballhead you have.

One thing I forgot to add was that the advantage of the f/2.8 over f/4 is you can use faster shutter speeds. I found it needs to be quite fast to stop a tennis ball! To compensate with an f/4 lens you can set a higher ISO.

I believe the pros use 300 or 400 f/2.8. I am not a pro, and therefore have not spent the required $$ for lenses like that, but I did photograph at the Pacific Life Open 2006 using my 20D and predominantly my 300 f/4 IS lens. When I was high in the stands on stadium court I added my 1.4X TC. I started out using my 70-200 f/4 but found that to not have enough reach...I like the players to fill or more than fill the FOV. Even practically on the sidelines on some of the smaller courts I preferred the 300 over the 70-200.

 

The results of my effort are in the following Web address (each shot lists what lens was used):

 

http://www.pbase.com/segan/indian_wells

The one time I've taken my 20D to a party I used the inexpensive but sharp, small, and light 50mm f/1.8 lens. I know some have advised that on a 1.6 crop camera they consider 35mm too long. However, if you want face shots, or you have some stand-off distance (10-20ft) from your subject, I think the 50mm is great. So if you go with the 17-40 f/4 (great for landscapes!), you could also buy this lens ($80) for natural light party pictures.

I will second Dan...I use my 17-40 as my "walk around" lens on my 20D. I'd like the 24-105 but it would not be wide enough for what I want to shoot.

I've only set out to shoot lightning a couple times but have some tips I've learned:

1. 8 seconds, f/8, ISO 200 seemed to be a good formula for exposure at night. Shutter speed obviously has to be shorter during the day, decreasing your chances that lightning will be in the FOV when taking a picture.

2. Camera on tripod, focus near or at infinity.

3. As someone said, keep shooting, one after the other, and expect to delete 99% of your exposures. An active storm helps.

4. My attempts were in JPG which didn't allow me to control white balance in post-processing...next time I set out to photograph lightning I'll try raw. The downside is that I won't be able to expose as many photos before filling my 2 CF cards.

 

My resulting lightning photos:

http://www.pbase.com/segan/sky

 

Stacy

Perhaps a 3rd battery for your 300D and you'll be set. An inexpensive battery source, but an excellent battery, can be purchased from www.sterlingtek.com.

 

I like someone's recommendation on getting more memory cards. They are more hardy and lighter weight than an external harddrive, and require no batteries. You could be selective on what you shoot with in Raw vs. JPG to save CF space.

Yes, I noticed pros use the huge lenses (i.e. 300/2.8). I went as a spectator to the Pacific Life Open last march and took most of my shots with my 300 f/4 IS, many times with the 1.4X teleconvertor. My camera is a 20D so take into account the 1.6X crop. I did not bother with a monopod but rested my elbows on my knees as I sat in the stands. Resulting photographs are in: http://www.pbase.com/segan/indian_wells

Oops.. "hotshoe level" not "horseshoe level"!

 

Anyway, this soft-side cooler I use is sized large enough to hold my 20D, 5 lenses (including a 300mm f/4), cleaning supplies, filters, etc...so it's possible to fit all your stuff in such a beast.

For trips (in a car) and storage around the house, I use a soft-sided cooler (made for drinks and food), purchasable at stores such as Walmart for a low price. Besides it's low price, another advantage is that it doesn't scream "camera gear" for someone looking through a car window.

 

For walk-around for my 20D + 17-40 (or 50mm or even 100mm macro) I like the Orion Mini waistpack. It's even got a cute little front pocket where I keep a spare battery, flash card, and horseshoe level. An inner pocket in the lid keeps my circular polarizer.

 

Of course as many have stated, choice of bag is an individual preference.

I'm another in the 300 f/4 IS (+1.4X on occasion) happy campers. I love this lens! And surprisingly I do not find the fixed focal length a limitation. Though I bought it mainly for birds and other fauna, I've used it also for flowers and sports. I've hiked with it too, even up to 8 miles.

 

I can't speak to the 100-400 except to say I've seen another use it and I was amazed at how long the barrel extends to!

 

For me the decision was between the 300 f/4 IS and the 400 f/5.6. I chose the 300 because I already had the 1.4X to give me effectively a 420 f/5.6, and it gave me IS.

 

Stacy Egan

I don't know about 3rd party lenses. How about primes like the Canon 50 f/1.8 ($80) and the 85 f/1.8 ($315 after rebate)? It sounds like many of your pictures are people pictures and these lenses may work for the portraits and candids, and are fast to deal with lower light if need be.

Like Alistair, I used the Velbon 343E as my primary tripod for over a year (but just this weekend ordered the Velbon Carmagne to use as my primary). As someone mentioned, the 343E weighs less than 2 lbs and folds up to 15" long (without head). It is "ok" stable for it's size and weight, better than hand-holding for sure. I would slip it into the side pocket of my daypack for hiking. But I felt I wanted a more substantial tripod (and I hope the Carmagne will be that) for everyday use, and especially for macro work.

A web site of other's photos with this lens that inspired me to choose lens for myself is: http://www.treknature.com/photos.php?cat=lens&id=20

 

There are more samples from this lens at: http://www.pbase.com/cameras/canon/ef_100_28_macro_u

 

A review of this lens: http://www.the-digital-picture.com/Reviews/Canon-EF-100mm-f-2.8-USM-Macro-Lens-Review.aspx

 

I have not mastered macro technique, but I offer a couple of links to my photos with this lens:

http://www.pbase.com/segan/image/58686022

http://www.pbase.com/segan/image/58678711

 

Stacy

Your posting caused me to drag out my photo album of the JMT hike my husband and I took in August 1999. The entire JMT is scenic you can't go wrong anywhere. It depends on what you like, whether it be the lush beauty of a pine forest or the stark beauty of the higher elevation lakes and passes. My favorite forested region: Rush Creek (in the Tuolumne-Red Meadow segment, I believe). I also liked the San Juaquin River Gorge for it's iron-rich rock and the river itself. For stark high-altitude beauty, I liked Muir Pass and Forester Pass (you can see forever!).

 

Of course snowpack concerns for June crossed my mind as well. I hope by July it would be clear enough for you to enjoy.