john_n._wall

Get replacements, from your local dealer, from B&H, or from Nikon USA.

I own this lens and like it very much indeed. It is SUBSTANTIALLY cheaper than the Nikkor AFS lens -- $550 vs $1300 at B&H -- and is perhaps more comparable with the 35-70 f/2.8 Nikkor at $650 from B&H.

It has a wider zoom range than the 35-70 Nikkor and is a two-touch zoom, not a push-pull zoom like the Nikkor.

 

The 35-70 is a classic Nikkor zoom that sets standards for sharpness in zooms, easily comparable with primes in this range. The Tokina is of equal sharpness to my eye, and it was exceptionally well reviewed when it came out. Follow-up reviews from users have generally confirmed this, although there are always some nay-sayers. The Tokina lens is well built and I have every confidence that you can take professional-quality images with it. It also has the advantage of using a 77 mm filter, the same size as the 80-200 f/2.8 Nikkor and the 20-35 f/2.8 mm Nikkor. It is the only non-Nikkor lens I have in my bag.

 

On the other hand, Tokina is bringing out an updated version of the 28-70 f/2.8 zoom that should also be quite sharp and apparntly will be a bit cheaper than the 28-80. You might want to check that out as well.

I decided to get serious about photography a few years ago and bought a "bells & whistles" Canon A2e. I wear glasses. Soon I got incredibly frustrated with my inability to see through the Canon viewfinder. I could NEVER see the entire image at once, nor could I see the shooting data and the image at the same time. It was really, really annoying. Then I picked up a Nikon 8008s with that wonderful high eyepoint viewfinder and I've never looked back.

 

Nikon cameras seem well engineered to get the job done. That's the bottom line.

F3HP -- all the flexibility and quality of a pro Nikon body, a worthy successor to the F and F2. UNLESS you want to be able to switch into AF mode once in a while, and get three metering systems, built-in motor drive, and access to TTL flash in the bargain. Then get the F4.

 

To make it more like the F3, get the MB-20 battery pack which makes the camera much smaller and lighter.

 

See the F4 FAQ at

 

http://www4.ncsu.edu/unity/users/j/jnwall/html/f4faq.htm

 

for more details.

Another vote for John Shaw's books, as well as Larry West's HOW TO PHOTOGRAPH INSECTS AND SPIDERS (especially for help with flash in macro work) and I also highly recommend Paul Harcourt Davies' THE COMPLETE GUIDE TO CLOSE UP AND MACRO PHOTOGRAPHY. Davies shoots with Nikon gear and his book is a user's guide to macro with the Nikon system. He covers using reversing rings, extension tubes, bellows, and all the other ways of focusing close.

 

As far as getting into macro, I prefer using close-up diopters to using extension tubes. I highly recommend using the 3T, 4T, 5T or 6T Nikon close-up diopters to start, depending on which size filer your longest lens takes. the 3T & 4T diopters have 52 mm threads and the 5T & 6T have 62 mm threads. The old 75-300 zoom is a great macro lens with the 5T and 6T diopters. I understand that the new 70-300 also works well optically, although it lacks the tripod mount on the 75-300 which is extremely handy when doing macro (because, for example, you can go from horizontal to vertical format without moving the tripod head).

 

If you have the 80-200 f/2.8 Nikkor, it works well as a macro lens with the Canon 500D diopter.

 

Obviously, the macro lens is the ideal way to go, and there are alternatives to Nikkors. The Tamron 90mm macro is a great macro lens; you will NOT be disappointed with the results from this lens. Davies raves about it in his book and my experience ocnfirms his comments. I also understand that Sigma and Tokina have well regarded macro lenses in their line. From Nikon, the Nikkor 105 macro is the happiest combination of macro ability and focal length.

 

Macro work is fun to do because it teaches you new techniques, poses a challenge (especially in regard to depth-of-field), and gives you the opportunity to discover bunches of new gear that is fun to have.

I highly recommend books by John Shaw.

Conventional wisdom about how lousy teleconverters are is not always helpful. There are plenty of us who are having excellent results using the Kenko/Tamron PRO 300 2x TCs. The key is to start with high quality primes or zooms and to use good technique.

 

For a thorough discussion, check out http://www.nikonlinks.com/lenstest.html

 

Also see George Lepp's books BEYOND THE BASICS volume 1 and volume 2 about using TCs well, including using more than one TC at a time, to get exceptional results.

 

I would think the challenge with a 3x TC would be the light loss -- with a 180 mm lens and a 3x TC you do get over 500 mm but you are down to f/8, which is probably not going to let you AF and you have a really dark viewfinder for focusing. Given good technique and the right supporting equipment, however, we might be really surprized at how well the images turn out.

Kenko does make a 3x TC in their Pro TC line. I have no idea of the quality.

First of all, make sure the medical folks are OK with your shooting. Ask the OB or midwife about photos, flash, etc. There may be rules to observe. I think most folks are OK these days with a more casual delivery room, but the moment of birth is no time to get into an argument with the attending medical folks.

 

Second, make sure you do not miss this moment with yr spouse and child while fiddling with exposure, film, etc. You have the rest of your life to photograph this child. The birth moments are opportunities for rare communication with yr spouse and child.

 

Especially, as one commenter put it, since yr spouse will be going through a major life experience for a woman, at some discomfort.

If you are taking meter readings while she is going through transition, she might grab yr camera and shove it somewhere personal for you.

 

Third, think about yr spouse's role in this and who you are gonna show these images to. Make sure she is OK with your shooting her when she is working really hard and probably not all that well dressed. I had friends once, and the husband took lots of shots in the delivery room throughout delivery. He had the process documented -- baby's head crowning and the whole thing. He showed them around to a bunch of folks, most of whom really didn't want to get to know his wife all that well. I think his wife got really tired of it after a while. They aren't married any more.

 

I suspect you will be pretty excited about the process that's going on -- not a good frame of mind in which to be thinking about composition and f/stops. The best documentary shots of delivery are probably taken by people not closely invested in what's going on.

 

On the other hand, after the birth, when baby and mom are settled in together, that's a good time to record the moment.

For more information on use of the F4, see the F4 FAQ at

 

http://www4.ncsu.edu/unity/users/j/jnwall/html/f4faq.htm

The Kenko PRO TCs in both 1.4x and 2x flavors work great with this lens and preserve AF too. Do not believe the old saw about 2x TCXs by definition not working well with this lens. Consult this website for a detailed test:

 

http://www.nikonlinks.com/lenstest.html

 

I own the Kenko PRO TCs and use them with this lens; my results are the same as those reported in this test.

People seem to be wanting you to go inland from the Outer Banks, which is great, but in the summer, the Outer Banks are teeming with shore life -- gulls, terns, crabs, and the like. You will want to visit the Hatteras National Seashore and the large sounds that separate the Outer Banks from the mainland. Dramatic sunrises and sunsets, because there is big water both ways.

 

Other kinds of wildlife include people hang gliding off Jockey's Ridge, one of the world's largest sand dunes. Dramatic shots are possible.

One of the great things about John and Barbara's clinics is that they give you printed copies of the notes at the beginning so you can just listen and watch the images without having to try to take notes. They do a great job. Wish they'd come back to our area. But Rod Planck does a great job too. Rod was a Nikon shooter when he came through here a couple of years ago; has he changed to Canon?

 

Also recommended is the weekend event run by the Rocky Mountain School of Photography. They bring in several speakers and cover nature photography but also lots of other kinds of photography as well. They have 3-4 sessions running simultaneously; fortunately, they repeat most of them at least once during the weekend. A TRULY great weekend of classes.

May people believe the F4 is the best manual focus camera Nikon ever made. See the discussion at the F4 FAQ:

 

http://www4.ncsu.edu/unity/users/j/jnwall/html/f4faq.htm

 

The F4 works for me as a first rate MF body (and its got AF when I want it). Works great with Nikkor MF lenses -- provides matrix metering and compatibility with most all MF Nikkors.

I highly recommend Rocky Mountain School of Photography (http://www.rmsp.com/). They have a variety of workshops at their home base plus workshops in the field. You should find any kind of opportunity you are looking for here.

Interesting story in today's NY Times (Tuesday, July 31) about a

camera set up for taking pictures of wildlife without being present.

Of course, the rig involves a weatherproof camera and an infrared

trigger. The story is at

 

http://www.nytimes.com/2001/07/31/science/life/31TRAP.html

 

The camera gear is at

 

http://www.trailmaster.com/prod5.htm

 

The camera itself seems to be an Olympus point-and-shoot. Anyone tried

this gear?

Just thought of another site: the Yates Millpond area south of Raleigh. The Mill has been reconstructed, I believe, and the pond is a lovely site.

Mark, first you need to know about the Capital City Camera Club (see website at http://home.nc.rr.com/cccc/). We meet on the first and third Mondays at 7:30 at Sertoma Arts Center. The website gives our meeting schedule for the summer (a bit erratic, but we resume our regular schedule in September). We have a strong nature contingent, and our meetings are great places to swap locations.

 

Otherwise, I think immediately of Umstead Park. I don't think of it as a place joggers go and there is a lake and some nice creeks. You might want to try the Reedy Creek side of the park (accessible from I-40) instead of the side accessible from US 70.

 

Also, the Eno River Park in Durham gives you a river that is accessible from the city, but isolated from it. Or Falls Lake, north of Raleigh.

 

Also, there is a really nice natural area near UNC in Chapel Hill that is owned by the university. NC State's arboretum near the fairgrounds in Raleigh is lovely but small, and gives you some great flower shots, although it is primarily about gardening.

 

For REAL wildness, there is the Carnivore Preservation Trust near Pittsboro, which shelters about 250 wild animals, including tigers, leopards, and the like.

 

Will try to think of others!

 

John Wall

I HIGHLY recommend Larry West's book How to Photograph Insects & Spiders, which provides "expert instruction on super close-up and fill-flash techniques, complete with great images of butterflies, dragonflies, scorpions, grasshoppers and more to illustrate every point."

 

This book is filled with techniques and guides to use of gear. Larry is a master at the kind of shooting you want to do and this book is the central guide.

 

And the answer to the basic question is, no you do not need to use a tripod. In fact, getting free from the tripod is one of the major reasons to use electronic flash in macro situations. The flash is so quick that image blur ceases to be a problem.

 

And Larry will tell you how to use flash in macro and not get black backgrounds.

 

JN Wall

There is a good bit of information on this subject out there, without too much looking around. John Shaw's Business of Nature Photography : A Professional's Guide to Marketing and Managing a Successful Nature Photography Business is a good place to start.

 

Also Charles Campbell's Backpacker's Photography Handbook has a good bit about how he got into the business. Some of Galen Rowell's books talk about how he got into the business.

 

I will second the programs of the Rocky Mountain School of Photography -- they run an intensive summer workshop on technique.

 

John Gerlach's workshops contain some information on getting into the business, including advice on submitting photos and using stock agencies.

 

The general impression I get is that most people are not making much money. I heard once that an average is 20,000 - 30,000 after expenses.

 

The good money comes through getting name recognition that will give one opportunities to write books, give workshops, sell posters, sell gear with one's name on it (John Shaw's pocket guides, for example), lead tours, make videos, and the like.

 

You cam probably count up the names of those folks on the fingers of only a couple of hands. The way to that name is through getting published repeatedly in the major places, which means having a VERY large file of first rate shots that are widely circulated. AND be very, very lucky.

 

Some people seem to work out a regional market. In my area (southeastern USA) there are three or four guys (George Humphreys, Kevin Adams, and a couple of others) who seem to hae a lock on the regional book and calendar market.

 

This business may be like the horse business. Someone once said that you can get out of the horse business with a small fortune, but only if you go into it with a large fortune. I don't think too many people are making big bucks.

 

You have to stay on the road most of the time, which is hard on family life. I remember an article somewhere a few years ago that talked about the high divorce rate among nature shooters, and the advantages of having a spouse who was also a nature photographer, or one who didn't mind staying home and running the business while the shooter was out on the road to glamorous places.

 

Oh well.

Print film is great for starting out but you will probably want to at least try slide film at some point. Print film is more forgiving, thus you get rewarded more when you are starting out to learn about photography.

 

I've taken some wonderful nature shots on print film. My favorite is Fuji Reala, but any of the Fuji Superia films can be wonderful. A strong case can be made for shooting with Superia 400 or 800, rating the film one full stop slower -- that is, use Superia 400 and rate it at 200, or use 800 and rate it at 400.

 

But don't tell the processor what you did, so they will process the film normally. This has a way of giving additional saturation and vividness to the colors, and of reducing grain in faster print films.

 

Give it a try, and have fun!

I strongly recommend Kevin Adams' North Carolina Waterfalls: Where to find Them and How to Photograph Them (or someting like that). AVailable through Amazon.com, I think.

 

This is a great guide to finding waterfalls and also to shooting them, from a first-class photographer. He's also got a great book on photographing Southern mountain wildflowers.

 

Best, he has photographs of most of the falls he describes, rates them in terms of their photogenic character, and tells you how hard it is to get to them.

I believe you are looking for an item called a "Plamp" which is made by Wimberley and sold by LL Rue, among other places.

 

Check out

 

http://www.rue.com/pclamps.html

 

Looks like a neat item. I hope to get one for Christmas.

Part of the confusion centers around the fact that Tokina has

introduced a new lens at this focal length -- a 28-80 f/2.8 lens.

 

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This lens has gotten very positive reviews -- just this month in Pop

Photo, for example -- and there has been lots of positive comments

about it on the web.

 

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The consensus seems to be that it is truly a pro quality lens in every

respect -- sharpness, contrast, speed, build quality.

 

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I don't know about the older Tokina (28-70 f/2.8) versus the Sigma,

although I know many people swear by that Tokina. Some people argue

that the old Tokina is a good enough lens and a bargain right now with

the new one coming out.

 

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In general, some people argue that Tokina has a better quality

construction and materials than Sigma, although the top-end Sigmas

have their defenders on this score.

 

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This new Tokina is supposed to be better than the old Tokina. I have

one of the new Tokinas and like it VERY much.

Check out Really Right Stuff and Kirk Enterprizes -- I think both make/sell focusing rails.

 

For a cheaper alternative, I think Kirk makes a focusing slide. Instead of having a knob to turn to move the rail and focus, here you loosen the QR head and slide a long bar to which your camera is attached.

 

I have one. It works quite well. And it was a LOT cheaper.