Outdoor Photographer - April 2022

IMPRESSIVE NEW MACRO LENSES FOR CANON & NIKON MIRRORLESS

SC E NIC WI L DL I FE T R AVEL S P ORT S

SpringFlowers

OUTDOORPHOTOGRAPHER.COM +
OUTDOORPHOTOGRAPHER.COM
MACRO
APRIL 2022
Gear & Tips
Social Media Pakistan 0345-6738217

Reach Farther. Sports
Pack Lighter.
150-600mm F5-6.3 DG DN OS | S

A telephoto made for adventure, with outstanding image
quality, fast autofocus, and optical stabilization in a
lightweight, weather-sealed build. Capture everything
while sacrificing nothing.

Field-tested and ready for your next adventure.

• Get blur-free handheld shots thanks to 4 stops of
optical stabilization.

• Capture incredible close-ups with a minimum
focusing distance of 23 inches.

• Available in L-Mount and Sony E-Mount.

Learn more at All lenses protected by a
sigmaphoto.com 4-Year USA Warranty

Social Media Pakistan 0345-6738217

CONTENTS

VOL. 38 NO. 3 | APRIL 2022

FEATURES

30 THE UNIVERSE
AT OUR FEET
Macro photography allows us
to explore new worlds—and
create our own

Text & Photography
By Don Komarechka

38 CREATURE CLOSEUPS
Capturing the fascinating
details of arthropods through
high-magnification images

Text & Photography
By Thomas Shahan

44 AMONG THE FLOWERS
Finding photographic
satisfaction in commercial
and curated gardens

By George D. Lepp
with Kathryn Vincent Lepp
PHOTOGRAPH BY DON KOMARECHKA

outdoorphotographer.com April 2022 1

Social Media Pakistan 0345-6738217

38 12 COLUMNS TOP IMAGE: THOMAS SHAHAN; BOTTOM IMAGE: MELISSA GROO
26
24 THE BIG PICTURE
Hearing the silence of nature

Text & Photography By Amy Gulick

26 WILD BY NATURE
Value your work—and
others will, too

Text & Photography
By Melissa Groo

DEPARTMENTS

6 COVER SHOT

8 IN THIS ISSUE

10 SHOWCASE

12 NEW GEAR & TECH

16 CANON RF100MM F2.8 L
MACRO IS USM

20 NIKKOR Z MC 105MM
F/2.8 VR S

28 FAVORITE PLACES

51 CLASSES, TOURS
& WORKSHOPS

54 BEHIND THE SHOT

56 LAST FRAME

2 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

outdoorphotographer.com

Wildflower Photography Tips

How to create bold, vibrant images of wildflower scenes. By Kevin McNeal

On Landscape Assignments Tip Of The Week

William Neill’s column on the fine art Share your best shots in our weekly Available on our website—or delivered
of landscape photography explores “Assignments” photo challenges. directly to your inbox—our “Tip of
thoughtful approaches to composition Submit images that fit the week’s the Week” provides shooting and
and creativity. theme—you may be our next processing techniques to sharpen your
Assignment winner. photography skills. Sign up today.

Connect With Us Newsletter Subscribe today for updates on

Get the latest news and be inspired by great photos the latest features, how-to articles and photography
from the Outdoor Photographer community. news. outdoorphotographer.com/newsletter

4 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

cover shot

outdoorphotographer.com

Pictured: The American Landscape Photographer: George D. Lepp OPERATIONS
2021 Grand Prize Winner Location: Canby, Oregon
Pat Rose’s Equipment: Canon EOS R, Canon EF Cheyenne Corliss
“Enchanted Forest” 11-24mm f/4L USM with Mount Adapter Operations Director
EF-EOS R, Canon Speedlite 600EX-RT
THE Situation: Each September, my wife, Tou Zong Her
AMERICAN Kathy, and I cross the Cascades to Senior Client Services & Media Analyst
LANDSCAPE visit the Swan Island Dahlias farm and
demonstration garden. The site is pho- Darren Cormier
2022 tographer-friendly and beautifully arrayed Client Services Associate
Photo Contest with acres of bushy plants covered with
magnificent blooms of every conceivable Amanda Joyce
Enter By color and exquisite design. Accounting Director
May 31st!
Nonetheless, photographing the same Tina McDermott
bit.ly/op_tal22 subject every year means you need to come Accounts Payable Associate
up with new creative ideas or you’re just
Presented by: repeating yourself. I tried a new perspec- Wayne Tuggle
tive with my Canon EF 11-24mm extreme Accounts Receivable Associate
wide-angle zoom lens. The lens focuses to
11 inches at 11mm, with unlimited depth of DIGITAL OPERATIONS
field at ƒ/22, thus capturing a close-up sub- Ryan Gillis
ject within its sharply focused environment
and all the way to the horizon. The catch? Audience Development Analyst
When photographing that closely, you’re Mike Decker
working in shadow, and a camera-mounted
flash won't cover the foreground. Kathy Senior Digital Designer
stepped in, following my lead, and, holding David Glassman
a diffused flash above the lens (but out of
the wide-angle frame), balanced the fore- WordPress Developer
ground to the ambient light.
EXECUTIVE
That afternoon, insects were active, and
we began to seek a bee-on-blossom com- Jeffrey C. Wolk
position. As we “danced” along the edges Chairman & Chief Executive Officer
of the field, chasing bees and laughing at
our own antics, it all came together with Courtney Whitaker
this shot—a beautiful moment in the life Chief Operating Officer
of one busy bee and one lucky couple.
Jason Pomerantz
–George D. Lepp VP, Consumer Marketing

Matt Martinelli
Content Director

NEWSSTAND DISTRIBUTION
Weekly Retail Service

In memory of Susan Fitzgerald, COO, 1966-2018

Corporate Headquarters

Madavor Media, LLC
35 Braintree Hill Office Park

Suite 101
Braintree, MA | 02184

Social Media Pakistan 0345-6738217

outdoorphotographer.com

Wes Pitts SALES & MARKETING
Editorial Director
(617) 706-9110, Fax (617) 536-0102
Kristan Ashworth
Managing Editor Ed Feldman
Director of Media Solutions
George D. Lepp
Field Editor Bob Meth
Media Solutions Manager
COLUMNISTS
Melissa Groo, Amy Gulick, [email protected]
Dewitt Jones, Ken Kaminesky,
George D. Lepp, William Neill Genny Breslin
Media Solutions Manager
CONTRIBUTING EDITORS
Jason Bradley, Josh Miller, [email protected]
Glenn Randall, William Sawalich
Andrea Palli
PROFESSIONAL ADVISORS Media Solutions Associate
Michael Forsberg, James Kay,
[email protected]
Robert Glenn Ketchum,
Marc Muench, Susan Norton, Client Services
Dave Showalter, Chris Steppig [email protected]

ART & PRODUCTION Tim Doolan
Scott Brandsgaard Marketing Director
Senior Designer
Tommy Goodale
Senior Marketing Associate

Carly Noyce
Marketing Associate

Anthony Buzzeo
SEO & Content Marketing Supervisor

Samantha Thomas
Content Marketing Associate

For information about available usages, license fees and award seals,
contact Wright’s Media at [email protected].

PRINTED IN THE U.S.A. Learn more at

Outdoor Photographer (ISSN: 0890-5304) – Vol. 38 No.3 – is published monthly except bimonthly Jan./Feb., June/ sigmaphoto.com
July and Oct./Nov. by Madavor Media, LLC. Executive, editorial and advertising offices: 35 Braintree Hill Office Park,
Suite 101, Braintree, MA 02184, 1-800-437-5828. Periodicals Postage Paid at Boston, MA, and additional mailing All lenses protected by a
offices. Single copy price—$7.99. Annual subscription in U.S., Possessions, APO/FPO—$15.97. Canada—$25.97;
other foreign—$30.97, including postage and taxes. Payable in U.S. funds. For orders, address changes and 4-Year USA Warranty
all other customer service, phone toll-free (800) 283-4410. Outside US: 760-496-7575. POSTMASTER: Send
address changes to Outdoor Photographer, PO Box 460700, Escondido, CA 92046. OutdoorPhotographer@
pcspublink.com. Canada Post Publications Mail Class Agreement No. 1559788. Email us (editorial matters only)
[email protected] or visit our website at www.outdoorphotographer.com. Copyright ©2022 by
Madavor Media, LLC. No material may be reproduced without written permission. This publication is purchased
with the understanding that information presented is from many sources for which there can be no warranty
or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding
that the publisher is not engaged in rendering product endorsements or providing instruction as a substitute
for appropriate training by qualified sources. EDITORIAL SUBMISSIONS: Outdoor Photographer assumes no
responsibility for solicited or unsolicited contributions and materials. We do not accept original transparencies
or negatives. Otherwise, insurance for such materials, in transit or in our possession, must be the responsibility of
the writer or photographer. Outdoor Photographer does not accept or agree to the conditions and stipulations
printed on delivery memos, packing slips and related correspondence as they are presented without
prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part
of Outdoor Photographer must be prearranged, executed in writing and signed by both parties
prior to the shipment of materials in question. All submissions must be accompanied by a self-
addressed, stamped envelope (SASE) with sufficient postage to cover the cost of return. The class of mail and
insurance coverage for returns will be determined by the amount provided for on the SASE. SUBSCRIBERS: Any
obligation we owe to you, including delivery of your magazine, is contingent upon you providing us with your
correct mailing address. If the Post Office notifies us that your magazine is undeliverable, we have no further
obligation to you unless we receive a corrected address from you within two years of the Post Office notification.
BACK ISSUES are available for a minimum one year prior to the current issue. To order visit the eStore and select
single issues: outdoorphotographer.com/print-magazine.

Outdoor Photographer is a registered trademark of Madavor Media, LLC. Copyright ©2022 Madavor Media,
LLC. All rights reserved. Reproduction in whole or in part without permission is prohibited.

To Subscribe Or For Subscription Questions: outdoorphotographer.com or (800) 283-4410
or email [email protected]

Social Media Pakistan 0345-6738217

in this issue

A curling tendril from a cucumber vine can be at any angle you The season for adding closeup compositions
chose. Two droplets, one well defined and one adding color to to your portfolio, with spring blooms in
the spiral, were placed with a syringe. UNIVERSE abundance at commercial and botanical
➤ Panasonic LUMIX GX9, Laowa 50mm f/2.8 2X Ultra Macro gardens. These cultivated landscapes are
APO (100mm equivalent). Exposure: 1/250 sec., ƒ/8, ISO 200. at OUR FEET a favorite of George Lepp’s for macro
creativity, and he and his wife, Kathy,
30 Outdoor Photographer outdoorphotographer.com Macro photography allows us to explore new worlds—and create our own return to them year after year. “To expe-
rience and photograph colorful fields of
Let’s spring into the details of closeup Text & Photography By Don Komarechka wildflowers is a photographer’s dream
nature photography. As we were come true,” Lepp says, “but the problem
planning this issue, George Lepp, a outdoorphotographer.com April 2022 31 is that massive blooms are increasingly
master macro photographer himself, told rare, and when they do appear, they are
us we had to include the work of Don develops an appreciation for the lives overrun by people seeking to experi-
Komarechka. His new book, Macro Pho- that often go unnoticed within them. ence them first-hand or decimated by
tography: The Universe at our Feet, is a Thomas Shahan has an affinity for livestock grazing on vulnerable public
definitive guide to the subject, Lepp said, arthropods, species that are often treated lands.” That’s why Lepp is a proponent
and in its nearly 400 pages, Komarechka as a nuisance or even feared. His par- of local gardens for access to stunning
covers everything from technical basics ticular fascination with jumping spiders floral subjects. In “Among The Flowers,”
to virtually every type of macro imag- around his home in Oklahoma led him to he explains the etiquette and techniques
ing imaginable, like stereoscopic 3D and a deeper interest in macro photography you’ll need for successful photography
ultraviolet lighting. In his feature story, as a medium for better understanding in these locations.
he curated fundamental tips to prompt them. “Once you can see the beauty
you to investigate the genre. “The natural and incredible behavior of these tiny Also in this issue are hands-on reviews
world has unending beauty to explore animals, it’s difficult to fear or loathe of the latest pro macro lenses for Canon
through photography,” Komarechka them,” Shahan says. “To meet them on and Nikon full-frame mirrorless sys-
observes. “As near as your backyard, an such an intimate level can really change tems. Photographers who have made the
unexpectedly vast collection of other- one’s view of these oft-misunderstood investment in these systems are being
worldly subjects is right at your feet.” animals.” In his article, “Creature Close- rewarded with advancements in lens
ups,” Shahan shares his field techniques, design, including lighter weight, quieter
Discovering these new worlds equipment preferences and advice for and quicker AF performance and custom-
the unique challenges of macro photog- izable shortcut buttons and control rings.
raphy with living subjects. Mirrorless cameras, with features like
in-body image stabilization and manual
This time of year is an excellent focus peaking display, have some advan-
tages over DSLRs for macro work, so
it’s exciting to see these next-generation
optics from Canon and Nikon. We hope
this issue will motivate you to try some-
thing new with macro, too.

–Wes Pitts, Editor

contributors

Don Komarechka is Thomas Shahan is an George D. Lepp is field
known for photo- artist and photographer editor of Outdoor
graphs that reveal a specializing in high-
deeper appreciation magnification macro Photographer and a
of how the universe photography. He has regular contributor
works. He has worked on films from served as a co-instructor of BugShot
National Geographic, BBC, Discovery macro photography workshops and since the magazine’s
and CBC, and his images have been imaging specialist for the Oregon first issue. He was one of the original
featured on Canadian currency. See Department of Agriculture. See more members of Canon USA’s Explorers
more of his work at donkom.ca. of his work at thomasshahan.com. of Light program and is now a Canon
Legend. See more of his work at
georgeleppimages.com.

8 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

EXPLORE. SHOOT. LEARN.

Falklands, South Georgia, Antarctica • Namibia • Death Valley • Patagonia
Lake O’Hara • White Sands • Olympic • Kenya • Oregon • Vietnam • Paris
Katmai • Yellowstone • Yukon • Tanzania • Norway • Atacama • Botswana
Big Bend • New Zealand • Tuscany • Alaska • Svalbard • Iceland • Greenland
Morocco • Adirondacks • White Pocket • Smoky Mountains • Newfoundland

Wyoming • Antarctica • Pyrenees and Camargue • Tombstone • Zambia
Mongolia • Scotland • New Mexico • Galápagos • Dolomites • Monument Valley
Utah • Canadian Rockies • Badlands • Caddo Lake • Bisti Badlands • And More!

+1 866-745-7300 • [email protected] • muenchworkshops.com

Social Media Pakistan 0345-6738217

showcase

Our premier annual photo contest, The American
Landscape, is now underway. Here are a few of our
favorite finalist images from last year’s contest.

Swirling Vortex
By David Swindler

“Lake Powell has been a magnet for outdoor enthusiasts for decades with its
vibrant blue water juxtaposed against flaming red cliffs, monoliths and swirling
sandstone. In fact, I would say it is a quintessential view of the great American
Southwest.

“This particular evening, we hiked up some steep sandstone inclines to reach
this ridge. It was very windy, and we ended up having an incredible sunset at
last light. However, I liked this shot the best, taken just before the light disap-
peared as it illuminated the interesting vortex and the background cliffs.
Definitely a memorable night with some great friends.”

➤ Sony a7R IV, Sony FE 16-35mm F2.8 GM at 24mm, polarizing filter, Fotopro
tripod. Exposure: 1/4 sec., ƒ/14, ISO 100.

10 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Swamp Thing
By Don Pelliccia

“Each of these old cypress
trees have so much character
to them, but this one really
stood out among its peers.
The more I sat there staring
at this tree, the more I felt
like it was a creature staring
back at me.”

➤ Sony a7R III, Sony FE 24-
105mm f/4 G OSS at 96mm.
Exposure: 1/80 sec., ƒ/7.1,
ISO 100.

Fall Sunrise in
Vermont #3
By Lewis Abulafia

“I had been to Vermont and
New Hampshire several times
over the years looking for the
classic image of fog rising
from the water, with colorful
trees in and around the water.
On this October morning, my
friends and I found this lake
and saw the fog rolling over
the hills in the background.
The temperature wasn’t cold
enough for much fog, but as
the sun came up and side lit
the scene, it was just enough
to create a stunning view. The
soft lighting only lasted a few
minutes but was very beauti-
ful while it did.”

➤ Canon EOS 5D Mark lV,
Canon EF 100-400mm f/4.5-
5.6L IS II USM at 188mm, Really
Right Stuff tripod and ballhead.
Exposure: 1/8 sec., ƒ/16, ISO
100.

outdoorphotographer.com April 2022 11

Social Media Pakistan 0345-6738217

new gear & tech

OM SYSTEM DEBUTS OM-1 FLAGSHIP

OM Digital Solutions, formerly known as Olympus,
has introduced its first camera under the new OM
SYSTEM brand. Though the Olympus name remains
on the OM-1, the company states that this is a nod to
the company’s history and that future OM SYSTEM
cameras will not include Olympus branding.

The OM-1 is an advancement
of the Olympus OM-D E-M1 series
cameras, similar to the E-M1 Mark
III and E-M1X in design but with
enhanced capabilities. The
20-megapixel Micro Four Thirds
sensor is a new Stacked BSI
(backside-illuminated) type and is
paired with the latest TruePix X
image processor that’s three times
faster than its predecessor. The
combination enables an increase
in maximum ISO to 102,400 and
improved dynamic range com-
pared to previous models.
Sensor-shift image stabilization
is built in, providing up to 7 stops
of correction with the camera
alone and up to 8 stops with
select lenses.

Another highlight of the OM-1
made possible with the new
processor is an evolution of the
system’s computational photogra-
phy technologies, which make
possible features like in-camera
focus stacking, HDR and hi-res
composites up to 80 megapixels.

The OM-1’s AF system is also
new, with 1,053 cross-type focus
points and the ability to calculate
focus and exposure fast enough
for 50 fps continuous shooting
with full AF/AE tracking. With
the focus and exposure locked
on the first frame, the camera’s
burst shooting increases to an
incredibly fast 120 fps at the
camera’s full resolution.

Like previous models in the
system, the OM-1 incorporates
extensive weather sealing. It's
freezeproof to 14 degrees Fahren-
heit and meets the IP53 dust- and
splashproof standard. List price:
$2,199 (body only). Contact: OM
Digital Solutions, getolympus.com.

Social Media Pakistan 0345-6738217

FIRST SUPER-TELE PRIME
FOR NIKON Z

Nikon officially introduced the
NIKKOR Z 400mm f/2.8 TC VR S
telephoto prime, a key lens for
wildlife and sports photographers.
It’s the longest prime available yet
for the Z system, though an 800mm
is in development.

The most exciting feature of the
new lens is its built-in 1.4x telecon-
verter, which extends the focal
length to 560mm. The lens can also
be paired with Nikon Z TC-1.4x and
TC-2x teleconverters to get all the
way out to 1120mm. Technologies
making their debut in this lens are a
newly developed Silky Swift Voice
Coil Motor (SSVCM), which Nikon
states allows “high-speed, high-ac-
curacy AF with near-silent opera-
tion,” as well as Meso Amorphous
Coat for the best reflection control
available in a Nikon lens, superior to
that of Nikon’s Nano Crystal Coat.

Nikon achieved a significant
reduction of weight in the design of
the NIKKOR Z 400mm. At approxi-
mately 6.5 pounds, it’s about 2
pounds lighter than the NIKKOR
AF-S 400mm f/2.8FL ED VR for
DSLRs. That’s an attractive advan-
tage for photographers who want to
shoot handheld to react more quickly
when tracking wildlife or sports
action, as is the optical Vibration
Reduction system, which is capable
of up to 5.5 stops of correction.

As you’d expect of a premium
professional NIKKOR lens, it has
extensive weather sealing and a
durable magnesium alloy body.
It also includes customizable
function controls on the barrel. List
price: $13,999. Contact: Nikon,
nikonusa.com.

Social Media Pakistan 0345-6738217

cambridgeworld.com

TOKINA $599.00 TOKINA $399.00

16-28MM F2.8 OPERA 100MM F2.8 MACRO
AF AUTOFOCUS ZOOM LENS AF AUTOFOCUS
FOR FULL FRAME CAMERAS MACRO LENS

HEADQUARTERS!!! SEKONIC
EXPOSURE LIGHT
Large selections of NEW &
USED LEICA binoculars, range METERS
finders, cameras, lenses, filters
and accessories at low discount SEKONIC SPEEDMASTER
prices. ASK for Joseph
L-858D-U LIGHT METER $599.00
NEW AND USED
SEKONIC LITEMASTER PRO
POLAROID and KODAK
instant film and digital L-478D-U LIGHT METER $339.00
cameras and films
SEKONIC L-308X-U FLASHMATE
$219.00
LIGHT METER

SEKONIC L-208 TWIN MATE

$126.00

SEKONIC LITEMASTER PRO

L-478DR-U LIGHT METER $399.00

SEKONIC C-800 SPECTROMASTER
$1599.00
COLOR METER

SEKONIC L-398A STUDIO

DELUXE III LIGHT METER$210.00

360 DEGREE WIDE ANGLE VIEW 650-2600MM
ZOOM LENS
SECURITY CAMERA VIVITAR ACTION
DIGITAL PAN-TILT DIGITAL CAMERA $219.99
ZOOM WITH 5 WAY BICYCLE MOUNT
INTERCOM HELMET MOUNT
VIVITAR 110F
$49.99 $49.99 point and shoot
camera pink color
camera Drop in Loading

$9.99

30mm F1.4 ART .................499.00 35mm F1.2 ........................1499.00

10-20mm F3.5.....................329.00 45mm f2.8...........................549.00

17-50mm F2.8.....................369.00 56mm F1.4 ..........................429.00

17-70mm F2.8.....................339.00 1.4x ......................................349.00

18-35mm F1.8.....................639.00 2x .........................................399.00

18-200mm F3.5...................399.00 28mm F1.4 ........................1399.00

18-300mm F3.5...................399.00 35mm F1.4 ..........................699.00

50-100mm F1.8.................1099.00 40mm F1.4 ........................1399.00

12-24mm F4.0...................1599.00 50mm F1.4 ..........................949.00

14-24mm F2.8...................1199.00 70mm f2.8...........................449.00

24-35mm F2.0.....................999.00 85mm F1.4 .......................10 99.00

24-70mm F2.8...................1079.00 105mm F2.8........................469.00

24-105mm F4.0...................779.00 105mm F1.4..................... 1599.00

60-600mmF4.5..................1759.00 135mm F1.8..................... 1399.00

70-200mm F2.8 sport .......1259.00 500mm f4.0...................... 5999.00

100-400mm F5.0.................609.00 24-50mm F2.8.....................129.50

120-300mm F2.8...............3099.00 24-70mm F3.5....................109.99

150-600mm F5.0 28-70mm F2.8.......................89.99

SPORT...............................1699.00 28-80MM f3.5......................69.50

150-600mm F5.0.................899.00 28-105mm F3.8.....................99.99

200-500mm F2.8.............25999.00 28-135mm F3.8...................129.99

8mm F3.5 ............................899.00 28-200mm F3.8.....................99.99

14mm F1.8 ........................1599.00 35-135mm F3.5.....................79.99 500-1000mm VIVITAR
Series 1 super telephoto
15mm F2.8 ..........................699.00 60-200mm F4.0.....................89.99
lens outfit for SLR
20mm F1.4 ..........................899.00 70-210mm F4.00...................89.99 DSLR and MIRROR-
LESS cameras with
24mm F1.4 ..........................849.00 50mm F2.8 macro...............149.50
case $129.99
16mm F1.4 ..........................399.00 400mm f5.6.........................199.99

30mm f1.4...........................289.00 600mm f8 mirror.................199.99

Social Media Pakistan 0345-6738217

BUY • TRADE • SELL

LARGE SELECTION OF ALL MAJOR AND MINOR BRANDS

NEW Cameras • Lenses • Filters USED
ITEMS! Binoculars • Sports Optics ITEMS!

Much more available…

60-600mm f4.5-6.3 DG OS 24-70MM f2.8 DG DN ART FUJINON
HSM ZOOM lens ZOOM LENS
The Absolute ALL-ROUNDER A complete ALL around FAST BINOCULARS
10x ZOOM zoom lens
package complete with Package complete with case 7X50 FMTR-SX POLARIS BINOCULAR.................$699.95
case and lens shade and lens shade 7X50 FMT-SX POLARIS BINOCULAR................... $679.99
7X50 FMTR-SX POLARIS BINOCULAR................ $699.95
$1,999.00 $1,099.00 7X50 FMTRC-SX POLARIS BINOCULAR..............$849.95
7X50 WP-XL MARINER..............................................$199.95
10000+ Call or Email Us and 7X50 WPC-XL MARINER WITH COMPASS...........$229.99
FILTERS You will Save $$$$$$ 8X42 HYPER CLARITY...............................................$799.99
10X42 HYPER CLARITY........................................... $849.99
IN STOCK! (800) 221-2253 • [email protected] 10X50 FMTR-SX POLARIS BINOCULARS............ $849.99
10X70 FMT-SX POLARIS............................................$949.95
718-858-5002 • 212-675-8600 • FAX 718-858-5437 10X70 MT-SX................................................................ $519.99
12X28 TS1228 TECHNO-STABI IMAGE..................$649.99
12X40 S1240D TECH STABI -IMAGE.....................$4999.00
14X40 TS1440 TECHNO-STABI IMAGE................$1299.99
14X40 TSX1440 TECHNO-STABI IMAGE.............$1499.99
15X80 MT BINOCULARS WITH MOUNT............ $3999.95
16X28 TS1628 TECHNO STABI IMAGE ................. $699.99
16X40 1640D TECHNO -STAB-IIMAGE ................$5499.99
16X70 FMT-SX POLARIS..........................................$1049.95
25X150 MT-SX ............................................................$6499.99

OUR EXPERTS “Exactly as described. SCHNEIDER
Excellent pack & ship service. KREUZNACH
have been serving XENON FF PRIME
photo enthusiasts for Thank You!” DG PENFIEL, NY LENS CINE LENSES
MADE IN GERMANY
OVER 50 YEARS!
18mm T2.4 in CANON EF MOUNT...............................................................................$6370
Top Quality Experienced 18mm T2.4 in NIKON MOUNT......................................................................................$6370
18mm T2.4 in PL MOUNT...............................................................................................$6370
REPAIR SERVICE at 18mm T2.4 in SONY E MOUNT.....................................................................................$6370
DISCOUNT PRICES 25mm T2.1 in CANON MOUNT.....................................................................................$3470
25mm T2.1 in NIKON MOUNT......................................................................................$3470
VISIT our 25mm T2.1 in PL MOUNT...............................................................................................$3470
New York Store 25mm T2.1 in SONY E MOUNT.....................................................................................$3470
at 60-18 Fresh 25mm T2.4 in SONY E MOUNT.....................................................................................$3470
35mm T2.1 in CANON MOUNT.....................................................................................$3470
Pond rd. 35mm T2.1 in NIKON MOUNT......................................................................................$3470
Maspeth/Queens, 35mm T2.1 in PL MOUNT...............................................................................................$3470
50mm T2.1 in CANON MOUNT.....................................................................................$3470
NY 11378 50mm T2.1 in NIKON MOUNT......................................................................................$3470
50mm T2.1 in PL MOUNT...............................................................................................$3470
50mm T2.1 in SONY E MOUNT.....................................................................................$3470
75mm T2.1 in CANON EF MOUNT...............................................................................$3470
75mm T2.1 in NIKON MOUNT......................................................................................$3470
75mm T2.1 in PL MOUNT...............................................................................................$3470
75mm T2.1 in SONY E MOUNT.....................................................................................$3470
100mm T2.1 in CANON EF MOUNT.............................................................................$3470
100mm T2.1 in NIKON MOUNT....................................................................................$3470
100mm T2.1 in PL MOUNT.............................................................................................$3470
100mm T2.1 in SONY E MOUNT...................................................................................$3470
6 ES in CANON MOUNT NEW 18mm 25mm 35mm 50mm 75mm 100mm.......... $25,250
6 ES in NIKON MOUNT NEW 18mm 25mm 35mm 50mm 75mm 100mm........... $25,250
6 ES in PL MOUNT NEW 18mm 25mm 35mm 50mm 75mm 100mm.................... $25,250
6 ES in SONY E MOUNT NEW 18mm 25mm 35mm 50mm 75mm 100mm.......... $25,250

COLLECTORS CAMBRIDGE
ITEMS WORLD

AVAILABLE! cambridgeworld.com

Social Media Pakistan 0345-6738217

Canon RF100mm F2.8L
Macro IS USM

Macro moves forward for Canon’s EOS R system

By George D. Lepp and Darrell Gulin

I n photography, the term macro is Above: Big Bokeh. In a field of sunflowers, Lepp saw an opportunity to sharply
defined as a “life-size, 1x, 1:1 or showcase one bee-adorned blossom with a background of soft colors. Spherical
larger” rendering of a subject on film Aberration control unique to the Canon RF100mm 2.8L Macro IS USM lens,
or sensor. Any magnification less than 1:1 coupled with the EOS R5’s electronic viewfinder, allowed him to view all the
is considered “close-up” photography. A creative focus options before capturing the image. Photo by George D. Lepp.
100mm macro lens that captures images Exposure: 1/750 sec., ƒ/2.8, ISO 100, SA +2.
at 1x without accessories has been avail-
able to Canon users since 1979, begin- Opposite: Big Detail. Lepp’s obsession with revealing intricate details of nature
ning with the Macro FD 100mm f/4. A not usually seen by the naked eye came into play in this garden photograph of
faster ƒ/2.8 upgrade designed for the EF a hibiscus blossom. The Canon EOS R5’s focus-bracketing capability and the
mount came in 1990, a version with the RF100mm 2.8L Macro IS USM lens enabled the capture of the blossom’s complex
ultrasonic motor (USM) was released in structure at 1.4x with extraordinary detail. Photo by George D. Lepp. Ninety-
2000, and image stabilization was added four focus-stacked images composited post-capture in Zerene Stacker software.
in 2009 with the EF 100mm f/2.8L Macro Exposure: 1/30 sec., ƒ/8, ISO 100,
IS USM.

16 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

Above: Butterfly Wing. Gulin saw Canon’s 2021 version, a part of the mir- supported by up to 8 stops of image sta-
the beauty in the intricate patterns rorless revolution, is itself revolutionary: bilization when used with EOS R camera
and color of the scales comprising The RF100mm F2.8L Macro IS USM bodies having in-body image stabilization.
the wing of a spicebush swallowtail offers capabilities that have never before Finally, the RF100mm Macro offers a
butterfly. It was easy to capture with a been available to macro photographers. new capability, Spherical Aberration (SA)
long exposure at 1.4x with the Canon The 100mm macro may be an old standby control, to expand creative options.
RF100mm 2.8L Macro IS USM. Photo for nature photographers, but this newest
by Darrell Gulin. Exposure: 2 sec., lens is a big step forward in every sense We both used the RF100mm Macro
ƒ/32, ISO 1250. of the word. with the Canon EOS R5 mirrorless cam-
era body, a lightweight, stable and agile
Opposite: Set in Stone. Look closely To give this new optic a true field test, combination when handheld but also well
at one of Gulin’s favorite macro Canon made the lens available to us for adapted to tripod use, especially with the
subjects, the “prudent man” agate, a joint project. We are both professional optional lens collar that enables quick
and a miniature landscape comes to nature photographers with long-estab- and precise vertical-to-horizontal adjust-
light. The delicate color and design lished relationships with Canon, but when ments. The lens weighs approximately 1.6
are revealed with this capture. Photo faced with the same subject, we usually pounds and accommodates 67mm filters.
by Darrell Gulin. Exposure 0.7 sec., have different visions and approaches that The lens aperture of ƒ/2.8 yields a bright
ƒ/16, ISO 800. yield distinctive results. This review will and informative image to the viewfinder.
cover Canon’s newest macro lens from a This is maintained even at 1.4x, another
broad range of photographic objectives. advantage of the mirrorless EVF that
compensates for the light loss at higher
The Essentials magnification (not the case with DSLRs).

The RF100mm F2.8 L Macro IS USM Studio & Field
has three important new features. First and We each worked with the RF100mm
foremost, its maximum magnification is Macro lens to photograph a variety of
1.4x without any additional accessories, subjects and situations, including studio
and yet it will focus to infinity. That’s a setups for minerals, insects and floral
real game-changer. Handheld work is

18 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

specimens, and in the field for wildflow- EOS R5. Although the lens’s sharpness is disabled by a lock on the side of the lens.
ers to wild landscapes. We learned a lot slightly better than the already-stellar pre- For video, the lens has some very desir-
about the new lens’s capabilities, and you vious Canon macro lenses, it’s probably
can see how we individually applied some not that noticeable unless you pay partic- able qualities: Autofocus is very quiet,
of these specific features and techniques ular attention to test charts. Nonetheless, quick and precise, and that unique abil-
in the images that accompany this article. this improved sharpness can be important ity to focus from 1.4x to infinity truly
when working at the higher magnification enhances versatility.
The RF100mm Macro came to hand of 1.4x where details matter.
very nicely and has a quality feel. While Beyond Basic Macro
it weighs slightly more than its immediate While there are not currently any Can-
predecessor, the EF 100mm f/2.8L Macro on-made accessories available to take this A macro lens is standard equipment for
IS USM for DSLRs, the added features lens past 1.4x, some third-party extension
more than make up for it. At 67mm, the tubes designed for the RF lens mount will most nature photographers, but this lens
filter size is the same as for EF 100mm increase the magnification and even allow
macro lenses, so with a 67mm adapter, the addition of the RF1.4x or 2x extenders. goes well beyond the basics. If you are
the RF100mm Macro works with pre-
viously issued accessories such as the One of the RF100mm Macro’s most a nature photographer new to the Canon
Canon Macro Twin Lite and Macro Ring innovative features is Spherical Aberration
Lite. The optional tripod collar is strongly control, which allows the photographer to EOS R mirrorless system and RF lenses,
recommended for higher magnification adjust the shape and character of back-
work in the studio. ground and foreground focus for creative the RF100mm Macro should be near
results. A control ring on the lens barrel
The RF100mm Macro’s 1.4x capability selects the different effects, which the pho- the top of your wish list for new glass.
is a significant upgrade for single-capture tographer can preview in real time in the
and focus-stacked macro work. The latter camera’s viewfinder. We found this feature Whether your goal is precise detail work-
technique, which expands depth of field to be particularly useful when working in
for critical detail, is greatly facilitated the field but note that it works best when ing with a tripod in the studio or handheld
by in-camera focus bracketing available the lens is at its widest aperture. For max-
in Canon mirrorless bodies such as the imum sharpness, the SA option can be artistry in the field, this lens offers a range

of magnification, focus and versatility that

will do the job for you. OP

George D. Lepp is a member of the
Canon Legends and field editor of
Outdoor Photographer. Darrell Gulin is
a Canon Explorer of Light. See more of
their work at GeorgeLeppImages.com
and GulinPhoto.com.

outdoorphotographer.com April 2022 19

Social Media Pakistan 0345-6738217

NIKKOR Z MC
105mm f/2.8 VR S

The premium macro lens for Nikon’s
Z mirrorless system is sharp, balanced
and incredibly fun to use

Text & Photography By Wes Pitts

Nikon’s expanding lens collection larger and heavier but with the longer its price. It features extensive weather
for its mirrorless Z system now focal length that many macro pros prefer sealing, sophisticated coatings to reduce
includes two macro options, the because it allows you to shoot at a greater reflections and ghosting, and a fluorine
NIKKOR Z MC 105mm f/2.8 VR S and distance from your subject. (Wider lenses coat on the front element to repel dust and
the NIKKOR Z MC 50mm f/2.8. The like the 50mm require you to be really water, which is particularly helpful when
50mm is light and compact, can focus close to achieve maximum magnification, you’re getting so close to your subjects.
as close as 0.53 feet, and, with its wider increasing the chances that you’ll scare
focal length, is a great option as an every- off live subjects.) The 105mm is also The great thing about macro photogra-
day lens with macro capabilities. an “S-Line” lens, Nikon’s designation phy is that you don’t need to go far to find
for its premium optics, which contrib- subjects. Practicing the art of macro—a
The NIKKOR Z MC 105mm f/2.8 VR utes to its size and weight, as well as challenging skill to perfect—is some-
S is the system’s pro telephoto macro, thing you can do just about anywhere.

20 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Our typically mild, sunny climate in Cali- minimum focusing distance (about 11.5 Above: The elegant spiral of
fornia means there’s almost always some- inches) to just under 20 inches. Using this a fiddleneck flower. Shooting
thing in bloom in the garden, allowing setting for macro work will help reduce handheld allowed me to refine the
me to try out the NIKKOR Z MC 105mm the likelihood of the AF system hunting framing of the flower to my liking
f/2.8 VR S with a variety of subjects. for focus. from an angle I wouldn’t have been
able to achieve easily on a tripod.
The lens feels substantial but not Another noteworthy feature on the bar- Single frame capture. Exposure:
heavy. It’s actually about 12 percent rel is the Lens Info Panel, a mini LCD 1/800 sec., ƒ/20, ISO 2000.
lighter than its DSLR sibling, the AF-S that can be toggled to display reproduc-
VR Micro-Nikkor 105mm f/2.8G IF-ED, tion ratio, focus distance and aperture Opposite: Honeybee on jade
though an inch longer. Like many NIK- setting. Its placement at the top of the flower. Using the Z 6’s subject-
KOR Z lenses, it includes programma- barrel makes it especially useful when tracking AF with the lens’s focus
ble controls that weren’t available on shooting on a tripod, with your composi- limiter enabled, I was able to quickly
DSLR lenses. There’s the L-Fn button, tion locked in, as you experiment with the lock and maintain focus on the bee
which can be customized as a shortcut effects of fine-tuning focus or adjusting as it moved about collecting pollen.
to a favorite setting, and a Control Ring depth of field. Single frame capture, handheld,
that can be set to adjust aperture, ISO or cropped to show detail. Exposure:
exposure compensation without taking I shot primarily handheld with the 1/2500 sec., ƒ/9, ISO 1000.
your eye from the viewfinder. The Con- NIKKOR Z MC 105mm f/2.8 VR S and
trol Ring has a texture and size that are my Nikon Z 6. It’s a personal preference,
distinct from the focusing ring, making but I generally prefer working handheld
them easy to distinguish by feel. as I find a tripod to be an anchor when I’m
playing with composition. That’s easier to
Additional controls on the lens barrel get away with when shooting wide-angle
are an AF/manual focus switch and an landscapes but more of a challenge with
AF focus limiter that, when enabled, con- macro subjects where even tiny camera
strains the AF system to a range from its movements are magnified. Though I did

outdoorphotographer.com April 2022 21

Social Media Pakistan 0345-6738217

Above: The graceful symmetry of this use a tripod for focus-stacked compos- with focus peaking turned on for station-
Coppertone stonecrop sedum bloom ites, I found that the lens’s 4.5 stops of
reminds me of a floral bouquet. Vibration Reduction, combined with a ary subjects, but that’s a more difficult
Single frame capture, handheld. fast shutter speed, eliminated the need
Exposure: 1/4000 sec., ƒ/9, ISO 1800. for a tripod for single-shot photographs approach for moving subjects like hon-
in decent light.
Opposite top: Leaf detail, Canary eybees. Instead, I found the AF perfor-
Island date palm. Don’t limit Speaking of focus stacking, it’s a great
your macro photography to literal technique for overcoming the very shal- mance of the lens and camera combo
documentary. Experiment with low depth of field inherent to macro
abstract compositions that highlight work. Nikon Z cameras can automati- to be very fast and precise with subject
forms and lines. Even a mundane leaf cally shoot a series of frames, slightly
can reveal beauty in the right light. shifting focus for each, which can then tracking enabled while using the lens’s
Single frame capture, handheld. be combined in Photoshop or specialty
Exposure: 1/320 sec., ƒ/32, ISO focus-stacking software. Though the focus limiter function.
12800. NIKKOR Z MC 105mm f/2.8 VR S can
be stopped down to apertures as small I had a lot of fun working with this
Opposite bottom: Sweet alyssum as ƒ/32 to maximize depth of field in a
flower grows wild around my home single frame, that might result in sharp lens, exploring my garden from a totally
and for several months each year details in areas of the frame where you
displays these white puffball flowers. don’t want them. By shooting at larger new perspective, and practicing my
Closer inspection reveals the bright apertures in combination with focus
yellow anther of its stamen. The stacking, you can achieve sharpness macro technique for the next time I’m
sharpness of this focus-stacked where you want it in the composition
composite is impressive, despite while background elements have a further afield. The best gear handles
the persistent breeze that rarely left dreamy bokeh.
the flower stationary. One hundred smoothly and practically disappears,
focus-stacked frames, shot from a I’m accustomed to focusing manually
tripod. Exposure: 1/4000 sec., ƒ/4, allowing you to focus on your photog-
ISO 140.
raphy, and that’s been my experience

with Nikon’s Z system, including the

NIKKOR Z MC 105mm f/2.8 VR S. The

lens is impressively sharp from edge-

to-edge, exhibits minimal vignetting

and is reasonably priced, relative to

its performance, at $999. And though

I used it exclusively for macro photog-

raphy, this is also a great focal length

for portraiture, adding to the value of

the investment. OP

22 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

the big picture

The Songs
Of Streams

Hearing the silence of nature

Text & Photography By Amy Gulick

The narrow creek is twisty and so Decades ago, when I foreign language learned long ago but
tight that sometimes my kayak first ventured deep into seldom heard. The whispers of wind,
bounces off the banks like a pin- wild country on foot, I murmurs of mountains and songs of
ball. Walls of grass above my head block thought that silence meant streams are part of the universal human
any sense of the greater surroundings. I the absence of all sound. language taught in nature’s classroom.
come to a fork in this watery maze and Gone was the wailing of We become fluent by listening.
don’t know which way to turn. But the emergency vehicles, the
salmon know. They pass me right and rush of rolling tires on In a world of automated voices, ring
left as well as under the kayak, and the pavement and the drone tones and synthesized sounds, why do
motion of hundreds of fish beneath the of jet engines—the din we need places where nature speaks?
surface creates a silent wave. I follow the of civilization. Camped Turns out that it’s good for us. The health
salmon and turn left. Ahead, I spot yellow above tree line and swad- benefits of time spent in nature are well
paddle blades skimming the top of the dled in silence, I watched
golden grass as I catch up to Michelle the night sky erupt in
Ravenmoon. Michelle is Dena’ina Atha- stars. Maybe, I thought,
bascan, and she is showing me her home this is what being in
stream in Alaska. space sounds like—noth-
ing. Funny thing, though.
“Can you hear them?” asks Michelle. The more time I spent
I’m not sure what she’s asking me since in what I thought were
I don’t hear anything but the ambient places devoid of sound,
sound of wilderness. “The salmon,” she the more I could hear the
says upon seeing my puzzled face. “You whumpf of snow released
can hear them.” from cedar branches, the
laugh of a kingfisher and
Other than a splash of water made by the swirl of dry autumn
a spooked fish or the hollow thunk when leaves.
one torpedoes my kayak, I don’t know
what other sounds a salmon can make. So conditioned are we
I listen hard. Nothing. Another wave of to living with unnatural noise that it can
salmon passes by. And then I hear it. A be unsettling when we experience a nat-
faint rumble just beneath the calm surface ural soundscape. I hear city dwellers say,
of the creek. A rolling thunder of fish pass- “It’s so quiet, I can’t sleep,” when trans-
ing over the gravel bottom. The swish of planted from the grind of a metropolis to
fins and tails, like the whoosh of feathers a wilderness. Deep in a canyon or high
made by a flock of birds. The strange thing atop a glacier, I’ve imagined sounds that
is that I’m able to hear these underwater weren’t there—the whine of an airplane,
sounds from above the surface, but only a barking dog and even human voices.
because Michelle, at home and in tune It takes time to return to our inner state
with her world, helped me hear my heart- of being. It’s like trying to remember a
beat in the quiet of the creek.

24 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

documented: lowered blood pressure, bees are drowned out or, worse, disappear. Amy Gulick is a founding fellow of
decreased stress levels and improved It would be a sad world if the rich language the International League of
sleep. We feel good in a forest, on a beach of nature faded from our collective ears. Conservation Photographers. Her
or near a pond—peaceful places where latest book, The Salmon Way: An
the mind’s spinning hamster wheel can Just as there are designated dark sky Alaska State of Mind, is the winner
stop for a while. parks free of light pollution, there ought of both a Nautilus and Independent
to be places free of noise pollution. Nat- Publisher Book Award and has been
I worry, though, that natural soundscapes ural places where people can go but enter named a Best Indie Book by Kirkus
are becoming difficult to find due to the as one would a sacred space, with rever- Reviews. See more of her work at
invasion of man-made noise, the destruc- ence. Places to recharge and reconnect to amygulick.com.
tion of wildlands and the decline of wild- our true being. Places where we can hear
life. The trills of birds and the buzzes of salmon and the songs of streams. OP

outdoorphotographer.com April 2022 25

Social Media Pakistan 0345-6738217

wild by nature

Protecting Your Images
In The Digital Age

Value your work—and others will, too

Text & Photography By Melissa Groo

As wildlife photographers, we know don’t add a copyright symbol. However, Image Search and TinEye. You simply
getting our photos seen by other enforcing those rights is another thing upload the image you’re interested in
eyes is paramount. It’s how we altogether. Although you can legally tracking, and both services do a quick
build community, make money, market collect damages, it will be at the “mar- scan and create a list for you to look
ourselves and simply share our love of ket value,” meaning actual damages through. It’s a good idea to regularly
nature with others. This is true whether we rather than statutory damages. But if search for uses of photos that you par-
are posting our photos on social media or your image is registered with the U.S. ticularly prize and have copyrighted. One
licensing images for publication. Copyright Office, you can be awarded up advantage of TinEye over Google is that
to $150,000 for a willful infringement, it doesn’t save your image searches, and
With the proliferation of online visual along with legal costs. you can add a browser extension for it.
platforms, along with forums devoted
to the love of wildlife photography and The U.S. Copyright Office provides To capitalize on the need for image
countless Facebook groups and Instagram a fairly straightforward and relatively searches and legal action, image protec-
hubs, getting your photo “ripped off” is inexpensive online process. You can tion services like Copytrack and Photo-
extremely common these days. Perhaps find countless tutorials online on how Claim have sprung up that will do the
it’s happened to you: A photo of yours was to navigate it. You’ll need to fill out an work for you, including fighting copy-
shared without permission or without your application form, pay a filing fee and pro- right infringement through legal chan-
watermark because you’d neglected to put vide a digital copy of each photograph, nels. If infringement is proven, these
it on there, or someone actually cropped it as well as a list giving a title, file name companies typically take a healthy por-
out. And maybe, perhaps worst of all, an and publication date for each photo. You tion of the compensation—almost half.
image of yours was shared by someone can submit as few or as many as you'd
implying—or even claiming—that they like, up to 750 total. Charging For Your Work
took the photo! One of the greatest banes to our exis-
Short of registering a copyright, sim- tence as photographers is the offer of
These situations are, sadly, all too fre- ply placing a watermark on your photo exposure rather than payment for the use
quent. I have a particular photo of a least does at least ensure that no one can claim of a photo. In what other artistic—or
tern mother on the beach, two chicks ignorance of your ownership. And it may any—field is this such a chronic prob-
hidden under her wings, that continually very well keep people from using the lem? Maybe you’re not looking to earn
makes the rounds on social media. A few photo. Note that the official copyright money with your photos. Perhaps wild-
years ago, someone cropped out my sig- notice has three parts: the © (“c” in a life photography is your hobby, and you’d
nature on the photo, and that version is the circle), the year when the work was first love nothing more than to see your work
one that circulates. Each time it’s shared on published and the name of the copyright shared or published. The consensus out
Facebook, it then gets reshared thousands owner (e.g., ©2022 Melissa Groo). If there is that it's an ethical responsibility
of times—all without my name attached. being extra careful, you can place the we all hold to the profession to charge a
It’s extremely frustrating, particularly as watermark in such a way that cropping fee for any use of our images, certainly
this image is one of my personal favorites. it would really detract from the image. to all for-profit companies and to most, if
Reducing the opacity of the watermark not all, nonprofits. Giving away images
So how can we best protect and best can be a great way to soften its presence. is severely harmful to the profession of
value our work? wildlife photography because it causes
Tracking Your Work consumers of our work to undercut and
Copyright Registration There are many ways to search for the undervalue what we do. Why should any-
& Watermarking instances where your images appear one buy a photo if they can get it for free?
Just by taking a photo, you establish online. The two most popular are Google
certain rights to that image, even if you

26 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Wild American flamingo
in Great Inagua, Bahamas.

At the very least, request a token fee. donate our photos? I believe that there Craft a simple licensing agreement that
Knowing how to price your work can are but that one must be very judicious
about it. Try selecting just one or two states the exact usage you’re agreeing
be a tough one. There are a couple of organizations whose mission you're
online tools that can give you industry passionate about. If it’s a nonprofit that to, the date and the fee to be paid. If
rates for a vast array of uses. Perhaps has absolutely no budget for licensing
the best-known one is the well-respected images, consider asking for an in-kind it’s just for a one-time use, make sure
fotoQuote, which does require a one-time exchange, such as access to private land
payment. As far as a freebie, I find that or special events. If appropriate, offer to you state that. Recently, a snowy owl
stock agency Getty Images can be helpful do an Instagram takeover if they have a
for a very specific usage. I simply go into large following that will then be turned photo of mine resurfaced in a Connecti-
the site as if I’m a client looking for a on to your photography. This kind of
photo. I choose a random photo, plug in organic exposure may result in paid work cut newspaper that I had licensed it to
the terms of usage, and see what the going down the line.
rate is for that specific scenario. That can years ago. I had neglected back then to
at least provide a ballpark figure. I volunteer at a local wildlife hospital,
and in exchange for my donated photos of create such a written agreement, and
You could always go with what my the wild patients that come in, I’m able to
friend and conservation photojournalist tell conservation stories that I care deeply that was sloppy of me. They had simply
friend Doug Gimesy will sometimes say: about, and if the patients recover, I'm
“If the people working where my work is welcome to attend the animal’s release added it to their photo database and
to be used are on a salary, or anyone in to the wild—an occasion that’s one of
the organization wanting to use my work my greatest joys to document. then reached for it again when they
is on salary, or indeed other suppliers are
getting paid, then I feel it is only fair that Crafting Careful Licensing Terms had a need for it.
I should also be paid something for my Get the important details in writing
work, as I hope you are for yours.” once you’ve agreed to an image use. In sum, it’s up to you to care for your

Is there ever a time that we should hard work and artistic vision. It’s your

responsibility to the profession, but most

of all to yourself, to do your best by it. I

direct this partly to myself as I need to

follow through with some of the advice I

offer here. In fact, I've moved copyright

registration of some select images to the

top of my to-do list. OP

To see more of Melissa Groo’s photog-
raphy and learn about workshop oppor-
tunities, visit melissagroo.com.

outdoorphotographer.com April 2022 27

Social Media Pakistan 0345-6738217

favorite places

Lake Moultrie

Berkeley County, South Carolina

Text & Photography By Joseph Rossbach

Location Late fall through wide-angle lens. The telephoto is great
Lake Moultrie is South Carolina’s early spring brings for isolating single trees or small groups
third-largest lake and was created in the the best weather of trees out in the water against the
1940s. It’s fed by its larger neighbor, for photographers. ever-changing skies over the lake. On
Lake Marion. Lake Moultrie has shallow The winters in a calm morning or evening when lots of
swamps, black water ponds and in some South Carolina are clouds cover the sky, get in low and close
areas is still dotted with bald cypress usually very mild to the water’s edge with a wide-angle lens
trees, making it a great location for nature and can be a great to capture epic landscape images. OP
and landscape photographers. time to visit in the
off-season. Early See more of Joseph Rossbach’s work at
Most photographers who visit the March to mid- josephrossbach.com.
area will want to use Charleston as their April will bring
base camp of discovery. Charleston has the best weather
many affordable hotels and restaurants and light to the
and some of the best photography spots region for scenic
along the South Carolina coast, including landscape images.
Magnolia Plantation, Folly Beach and
Botany Bay, to name just a few. Photo
Experience
Plan on driving about one hour north- Photographing
west of Charleston to reach Lake Moul- Lake Moultrie will
trie. While most of the shoreline is private be a challenge as
property, there are a few good areas from most of the best
which to photograph, including water- trees for good pho-
front in the town of Cross, the Amos Lee tography are further out in the water from
Gourdine Boat Landing, Sandy Beach the shore of the lake. A kayak, canoe or
campground and others if you’re willing small boat will allow you to explore more
to drive and scout from the road for lake areas of the lake for the best composi-
access points. It’s a huge body of water, tions. There’s a spot in the town of Cross
so set aside several hours in the midday on the lake’s western shoreline that has
when the light isn’t optimal for photog- many bald cypress trees close to the edge
raphy to find your perfect spot for sunset of the water, making this location a great
and sunrise shooting. place to shoot from a tripod.

Weather I suggest you bring a medium tele-
Late spring to early fall can be swelter- photo in the range of 70-200mm and a
ingly hot and muggy in South Carolina.

28 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

SOUTH Best Times
CAROLINA Sunrise and sunset can be equally good times for photography. The lake’s
often-calm waters will provide the opportunity to capture mirror-like reflections
amongst the ghostly form of the cypress trees.
Contact: South Carolina Department of National Resources, dnr.sc.gov/lakes/
moultrie/description.html.

➤ Nikon Z 7, NIKKOR Z 14-30mm f/4 S at 15mm, NiSi 2-stop Soft Graduated
ND. Exposure: 1/4 sec., ƒ/13, ISO 31.

outdoorphotographer.com April 2022 29

Social Media Pakistan 0345-6738217

A curling tendril from a cucumber vine can be at any angle you
chose. Two droplets, one well defined and one adding color to
the spiral, were placed with a syringe.
➤ Panasonic LUMIX GX9, Laowa 50mm f/2.8 2X Ultra Macro
APO (100mm equivalent). Exposure: 1/250 sec., ƒ/8, ISO 200.

30 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

The

UNIVERSE

at OUR FEET

Macro photography allows us to explore new worlds—and create our own

Text & Photography By Don Komarechka

outdoorphotographer.com April 2022 31

Social Media Pakistan 0345-6738217

The natural world

has unending beauty to explore through photography. It’s easy to conjure
up images of stunning waterfalls, landscapes and night skies in exotic
locations. With an infinite travel budget, you can explore it all. But as near
as your backyard, an unexpectedly vast collection of otherworldly subjects
is right at your feet. With a few simple techniques and the right equipment,
you can begin to discover the enchanted realm of macro photography.

Macro photographers often play by a exclusively on the background flower? flowers, we encounter one of the chal-
different rulebook of lines, shapes and col- While some macro photography is lenges of macro photography: uncontrol-
ors. Rarely in other genres of photography lable elements. Whether you are chasing
do you have such flexible control over the purely documentary, the genre can also a honeybee or trying to find the perfect
fundamental building blocks of an image. include visual artistry that occurs even sparkle of sunlight, you’re likely going
before you pick up the camera. Construct- to require more images than you think.
• You are not always beholden to ing a water droplet refraction scene is a
gravity. perfect example of this. The “creation” This is not “spray and pray” shooting
of a subject comes first, followed by the but rather a hedging of your bets. Taking
• Your perspectives will inherently be evolution of the photograph. Droplets more images in continuous bursts, from
unique. can either be carefully positioned with multiple angles and varying focus points
a syringe or randomly dispersed with a is key to overcoming the chaotic variables
• The closer you get to your subject, mist bottle. The more spherical the drop- at play. It’s not uncommon to require over
the more challenging things become. let, the better it will act like a tiny crystal 100 images to land on a photograph in
ball. Place something in the background, the field where everything connects per-
• Your shooting choices often have and it’ll appear within the droplets as a fectly—focus, composition and narrative.
a significant artistic impact on the refraction through the tiny water lenses. While you can control water droplets in
resulting image. a studio, the wind under an insect’s wing
I understand that such creations might does not take direction from you.
For example, with no horizon line in the not be respected by purists who prefer to
frame, how far can you rotate a composi- document the world as it is encountered, Apertures For Macro Work
tion in any direction before reality feels as it “really is.” There is plenty of natural As you continue to explore macro pho-
broken? Twenty degrees? Forty-five? wonder in the universe at our feet worth tography, one thing will become obvious:
Ninety? I constantly require reminders documenting, but such documentary work The tiniest details become fascinating.
of macro’s photographic superpower to is inherently from a perspective different The closer you get, the more there is to
disregard the precise direction of gravity. from our own. How does an ant see the see. Increasing your magnification is one
world, looking up at the flowers? “Real- of the most frustrating components of
My photograph of dandelion seeds is a ity” is in the eye of the beholder, intrinsi- macro photography since it also amplifies
perfect example of this. Why not choose cally subjective, and our cameras allow us the challenges you will face.
to place diagonal lines in the corner of the to explore these otherworldly narratives.
frame rather than at the bottom? Either way Unless you are actively seeking an
is an acceptable version of reality, such as Looking up at a stand of Shasta daisies ethereal softness to your images, most
it is seen within the frame. That “reality,” can be a humbling experience to photo- macro images are shot with mid-range
however, is highly subjective and created graph as they bend in the wind, intersect- apertures. The bulk of my work is cre-
for the purposes of the image. Where in ing with the sun overhead. As the wind ated at ƒ/8 or smaller, and the reasoning
nature would you discover perfectly posi- gently and constantly repositions the
tioned, crossed dandelion seed stems in
front of an ornamental poppy in full bloom,
at the perfect distances with illumination

32 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

is simple. The closer you are to your typically find their “sweet spot” between Shasta daisies growing up toward the
subject, the shallower your depth of ƒ/8 and ƒ/16. sun. Carefully placing the sun behind a
field becomes. You can compensate by flower head allows for the connection
shooting with a smaller aperture to some Controlling The Light of these two elements without
degree, but the complexities of light will The greater your magnification, the more overpowering the flowers.
prevent you from getting crisp details if important your lighting conditions will
you choose apertures beyond ƒ/16. become. It’s one thing to use sunlight to ➤ Canon EOS-1D X, Canon EF
frame a butterfly feeding on a flower and 24-105mm f/4L IS USM at 40mm.
This is a gross oversimplification. You quite another to photograph a snowflake Exposure: 1/640 sec., ƒ/13, ISO 200.
can research terms such as “effective on a cold winter night. My first year with
aperture” and “diffraction limiting” for a macro lens was filled more with apa-
a greater understanding of why tiny aper- thy than enthusiasm, mostly due to poor
tures and high magnification combine to results caused by motion blur and poor
create blurry images, but the overarch- subject separation. I had nearly given up
ing point is that macro photographers

Social Media Pakistan 0345-6738217

Careful placement of flower petals and water droplets with a clear line-of-sight to the gerbera daisy placed in the
background allows for refractions to fill each droplet like a crystal ball.
➤ Panasonic LUMIX G9, Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH OIS. Exposure: 1/10 sec., ƒ/11, ISO 200.

34 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

on such subjects entirely when I discov- how do you create a depiction of the sub- A green immigrant leaf weevil on
ered the value of controlling the light. ject in focus from tip to tip? a barberry leaf, covered with water
droplets that refract the image of a
Imagine a fictional scenario where a Focus stacking is the answer, a tech- gazania flower in the background. Such
camera is entombed in a black room with- nique that allows you to combine mul- things would be impossible to discover
out a single stray photon of light. Even a tiple slices of focus together to create a in nature without artistic effort.
10-minute exposure would yield noth- composite image with increased depth. If
ing since there is zero light to capture. In you have Photoshop, you already can do ➤ Canon EOS-1D X Mark II, Canon
that same scenario, fire a flash during the this. Dedicated software such as Helicon MP-E 65mm f/2.8 1-5x Macro Photo.
exposure. How long would the exposure Focus and Zerene Stacker exist, but in my Exposure: 1/250 sec., ƒ/11, ISO 250.
really be—10 minutes, or the duration of experience, Photoshop is the most forgiving
the flash firing? Technically both, but the
light source is the one we care about. At
close range as in macro work, flash power
is often decreased, and thereby the “dura-
tion” of the flash is lesser. A 1/20,000-sec.
flash duration is not uncommon, which is
faster than the mechanical shutter speeds
of most cameras. Even if the shutter speed
of the camera is set to the flash sync
speed of roughly 1/200 sec., if there is
little ambient light contending with the
flash, we’ll mostly experience the image
presented by the flash.

Especially when handholding the
camera, using flash can offer a major
improvement. There are several options
to consider, but a ring flash has always
been my tool of choice for working
quickly in the field. Easy to adjust, either
on the end of your lens or positioned off
to one side, a ring light provides the dif-
fuse and even lighting that works well for
most subjects. Just don’t attempt to use
one with water droplets or any spherical
subject, or you’ll get an ugly ring-shaped
catchlight staring back at you.

With certain subjects, the angle of light
is critical. Snowflake imagery is a great
example of this. Like glare off a window,
the angle of incidence equals the angle
of reflection into the camera lens. When
photographing on such an angle to capture
untold beauty from the surface of a sky-
borne gem, we also encounter one of the
biggest frustrations macro photographers
push against: a depth of field so shallow that
it cannot be overcome with a single frame.

Focus Stacking For Depth Of Field
The laws of physics don’t bend to our cre-
ative pursuits. Depth of field will forever
be annoyingly shallow at high magnifi-
cations, and snowflakes regularly require
magnifications between 3x and 10x mag-
nification to fill the frame. If you can only
get a tiny slice of focus in any given image,

outdoorphotographer.com April 2022 35

Social Media Pakistan 0345-6738217

for handheld operations. Explore which gather as many slices of focus as possi- we’ve all experienced. “Glow Night” at the
options work the best for you; there will ble. The data can be sorted through later, bowling alley is a classic example, but you
be a significant amount of experimenting and it can be done without complex and might be surprised by the altered perception
ahead. intimidating hardware. of flowers and insects in a dark room with
a UV flashlight shining on them.
You might think that such activities The average snowflake photographed
need to be buttoned down on a focusing using this technique requires about 40 You need no special filters, no exotic
rail, calculated with mathematical preci- separate images stacked together. What if lenses or camera modifications. What
sion and processed with scientific fault- I need more, or what if I shot the wrong you’re capturing is effectively visible light
lessness. This is certainly one way. Focus 40 images, and there are gaps? Drasti- emitted by your subject itself. When high-
stacking can also be accomplished by cally overshoot to ensure complete cov- er-energy ultraviolet light hits the atoms
handholding your camera in the field and erage. Anywhere from 100 to 300 images in certain subjects, the electrons in those
slowly moving the entire camera forward of the same crystal might be shot, with atoms get excited and rise to a higher orbit
and back while continuously shooting to the majority of them hitting the digital for an instantaneously brief period before
recycle bin at the end of the day. falling back to their original orbit. The
Two dandelion seeds carefully placed decay releases energy, but some is lost
to cross each other, sprayed with a Creative Lighting in the movement, and lower-energy light
mist bottle and a large poppy in the With so much to explore at home and in is then emitted in the visible spectrum.
background that refracts through the every season, it’s no surprise that macro We call this “ultraviolet-induced visible
droplets. Even though many droplets photography has been growing in popu- fluorescence,” or UVIVF, and to the casual
cannot reveal an image of the poppy larity, and there are even more avenues observer, it can look like magic.
clearly, they still offer distinctive lines to explore. One requires little more than
and color contrast. a specialized LED flashlight to transform Succulents or any flowers in the butter-
the mundane into the supernatural. What cup family are more likely to showcase
➤ Panasonic LUMIX GH5, Panasonic happens when you expose the natural an impressive fluorescent response, and
Leica DG Macro-Elmarit 45mm f/2.8 world to unnatural light? there is a significant amount of trial and
ASPH OIS. Exposure: 1/250 sec., ƒ/8, error involved. Cicadas and some larger
ISO 200. Ultraviolet fluorescence is something dragonflies have wings that will glow a

Social Media Pakistan 0345-6738217

science fiction shade of blue. The trick be seen in nature are all perspectives photography. Like Alice in Wonderland,
is to have almost no ambient light and beyond our own reality but accessible
ensure that your flashlight is high quality with the aid of our cameras, macro lenses down the rabbit hole we go. OP
and doesn’t bleed visible light. Convoy and a dose of imagination.
brand lights do well. Don’t forget UV See more of Don Komarechka’s work at
safety glasses if you do not already have Reality is subjective. Our cameras “see” www.donkom.ca.
prescription eyewear. Even longwave UV the world differently than we do. We can
light can cause damage over time. use our imaging tools to explore alternate Ultraviolet fluorescing succulent
versions of the world around us—and play blossom. These flowers appear
Create Your Own Macro Universes an active role in creating new ones. The completely transformed when they
Filling your frame with a snowflake, con- possibilities are limitless, and there is only emit light of their own creation.
structing a sculpture of water droplets so much that can be covered in a single
and flowers or illuminating a view of the article. If you want to learn more, my ➤ Panasonic LUMIX S1R, Panasonic S
natural world that could never normally book, Macro Photography: The Universe 24-105mm f/4 Macro O.I.S. at 105mm.
at Our Feet, details every aspect of macro Exposure: 10 sec., ƒ/18, ISO 2500.

Social Media Pakistan 0345-6738217

CREATURE
CL SEUPS

Capturing the fascinating details of arthropods through high-magnification images

Text & Photography By Thomas Shahan

o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o

Macro photography gives you the realization that such beauty, intelligence fascinating, beneficial animals if the mes-
power to magnify and observe and diversity could exist in just one fam- sage is wrapped up in a pretty package.
the world around you with much ily of spiders was a revelation. With large I’m literally trying to cast spiders in a
greater detail than possible with just inquisitive eyes, wild ornamentation and flattering light.
your unaided eyes. This is an incredible, curious behavior, they stood out from
singular power, capable of completely other spiders I had seen. And better yet, It’s easy to go through life not noticing
changing your perspective on life and the they were everywhere. I’ve found nearly the small things and get detached from
natural world around you. To be able to 60 species of jumping spider just here in the natural world. Macro photography
see clearly into lives smaller than your Oklahoma, including five new (to me) allows me to get closer to nature, both
own is an extremely enlightening and species just this last year. It’s a never-end- optically and by encouraging me to get
humbling experience. ing quest, like an unquenchable thirst out into wild areas more often on “bug
for more spiders, and I owe it largely to hunts.” Spending more time outside
I’ve always loved arthropods. The macro photography, which allowed me to pursuing subjects has been a rewarding
phylum Arthropoda includes insects, see them more clearly, document species journey for me. Every single time I go
arachnids and other related invertebrates I saw and share this beauty with others. out, I see and learn something new, often
with an exoskeleton. Once you can see gathering more questions than answers.
the beauty and incredible behavior of Changing The Narrative
these tiny animals, it’s difficult to fear Through Art Field Techniques
or loathe them. To meet them on such an For me, photography was a great way My hunts for subjects usually lead me to
intimate level can change one’s view of to not only get closer to bugs but to areas with native plants and woodlands,
these oft-misunderstood animals. There’s explore creative interpretations of color but you can find interesting bugs almost
untold beauty all around us deserving of and composition to make them more anywhere. (I use “bugs” loosely to refer
a closer look. approachable. I could use what I knew to most invertebrates.) I walk carefully,
about art and design to make impact-
It wasn’t until I started turning lenses ful photos that could hopefully reach a o-o-o-o-o-o-o-o-o
backward in high school that a deep larger audience and persuade more minds
interest in entomology and arachnology about the beauty of arthropods. There’s Ommatius sp. robber fly. Focus
took root. Specifically, it was notic- so much fright and misrepresentation of stack of five shots.
ing local jumping spiders for the first them that it felt necessary to illustrate
time—probably Phidippus audax, the them in an attractive, positive way. It’s ➤ Pentax K200D, reversed SMC
“bold jumper”— that got me hooked. easier to sell the idea that spiders are Pentax-M 50mm F1.7 on extension
After making eye contact with one of tubes, off-camera diffused flash.
these amazing spiders, I was in love; the Exposure: 1/180 sec., ƒ/11, ISO 200.

38 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

scanning over earth, foliage and trees for I try to pack light because it can be These tend to fall apart in the rain or
anything of interest. Once I spot a sub- physically difficult to chase bugs around get dirty over time, so lately, I’ve been
ject, I approach very slowly, cautiously outside for hours at a time, and having building a new one each season.
trying not to startle it with my big white needlessly heavy gear can be a real pain,
flash diffuser, which happens a lot. Each especially in hot climates. It can get very Once home, I review my images in
subject can require a unique approach hot here in Oklahoma during the summer, Adobe Bridge, culling any unusable
and different shooting method. Although and I have to prioritize water. shots and highlighting any that might be
I am usually arachnid-focused in the field, keepers. The bulk of my editing happens
I’m really searching for any life that’s too I generally don’t use tripods for macro in Adobe Camera Raw, which mostly
small to be easily seen with our own eyes. photography in the field; they’re just too consists of cropping, white balance
bulky and cumbersome when pursuing adjustments, cloning out sensor dust and
Despite a deep interest in entomol- subjects outside. Getting a stable, sharp sharpening. I’ll do more advanced pro-
ogy and arachnology, I am not a scientist shot without a tripod, even in the wind, cessing like focus stacking or selective
and do not collect or keep specimens. I isn’t much of an issue because the major- noise reduction in Photoshop. My focus
simply am fascinated by arthropods and ity of the light in my exposure comes stacks are usually relatively small, maybe
would like to document and share the from a diffused flash. Flash freezes what- two to three shots on average. Deeper
diversity I see. Ideally, my photographic ever subject I’m photographing with an stacks with more images are possible in
process should have the least impact or incredibly brief pop of light. Flash also the field but are difficult to pull off hand-
interruption of a subject’s life as pos- ensures consistent lighting, which is held with live subjects and no focusing
sible. Disturbing or harming a subject helpful when focus stacking. Most often, rail. On the rare occasion I need to stack
is never worth the shot. Occasionally, I I use a twin flash dialed back a bit with a large batch of photos, I’ll use Zerene
will briefly capture a subject (in a plastic both heads at about 1/8th output for a Stacker instead of Photoshop.
vial) to shoot on site before releasing it. faster recycle time—and briefer pop. To
Increasingly often, I’ve been shooting soften the light and wrap it around the The Challenge Of
exclusively “in situ” images of subjects subject, I use an ever-changing array of Moving Subjects
as found and including host plants, asso- experimental homemade diffusers made Bugs will move, and there’s nothing you
ciated species and so on, as this offers a of tracing paper, packing foam and pack- can do about it. Aside from learning how
better natural history record. ing tape, with which I’m never satisfied. to work with them and being patient, you

Social Media Pakistan 0345-6738217

can find some techniques that will make them. They’ll move about, antennae Above: Phidippus mystaceus jumping
shooting them a bit easier and hopefully will wave and palps will wiggle. No spider. Focus stack of three shots.
increase your success rate. problem, though, as a flash freezes this
movement, creating a separate faster ➤ Pentax K-x, reversed SMC
Taking handheld photos at high mag- exposure within the time your shutter Pentax-M 50mm F1.7 on extension
nifications can be quite difficult. You is open. Even super active bugs can tubes, off-camera diffused flash.
lose a lot of light, depth of field becomes be imaged sharply without exposure Exposure: 1/100 sec., ƒ/11. ISO 200.
razor thin, autofocus hunts around, and blur using a flash. With a diffused flash
little shakes from your hands become right over the subject, I can isolate it in Opposite: Phidippus regius female
amplified, making it easy to take dark a soft patch of light, keep my shutter jumping spider grooming.
and blurry photos. To overcome the light speed brief and my ISO low. Above all,
loss, I rely on flash, as natural light is not patience and persistence are key. ➤ Pentax K-x, reversed SMC
only unpredictable but is often insuf- Pentax-M 50mm F1.7 on extension
ficient at higher magnifications, espe- Macro Gear Can Be tubes, off-camera diffused flash.
cially with the lens stopped down. To Light & Affordable Exposure: 1/100 sec., ƒ/11, ISO 200.`
increase the depth of field, depending When I first got started in macro, I used
on the lens and magnification, I’ll stop primarily extension tubes and reversed o-o-o-o-o-o-o-o-o
down to between ƒ/5.6 and ƒ/16 to find prime lenses I would pick up at garage
a nice tradeoff between increased depth sales. This lasted me for years and was an
of field and avoiding diffraction. I find inexpensive way to learn macro photog-
autofocus to be imprecise for macro work raphy. Once macro lenses that could go
and prefer to focus manually. Focusing beyond 1:1 magnification became widely
for me is done by presetting the desired available for my Pentax mount, I mostly
magnification and then simply moving switched over to offerings from Venus
closer or further away from the subject. Optics—notably the Laowa 60mm f/2.8
2X Ultra-Macro, which I still use on a
Live subjects are often skittish and regular basis.
not always cooperative. It takes time to
learn their behavior and how to approach

outdoorphotographer.com April 2022 41

Social Media Pakistan 0345-6738217

Above: Leaf-mimic katydid, Belize. I prefer macro lenses with focal lengths video on certain Canon cameras), but
less than 100mm because their tighter
➤ Pentax K-30, SMC Pentax-M 50mm working distance means I can get my eventually, I started using it for macro
F1.7, off-camera flash behind the flash diffuser closer, out and over subjects
subject. Exposure: 1/125 sec., ƒ/8, for softer lighting. This means I might stills due to its small size and weight.
ISO 100. scare away more subjects, but the tradeoff
for better lighting is worth it for me. I Last summer, I paired my EOS M with
Opposite: Female Tabanus horse also appreciate the simplicity of cheaper
fly. Focus stack of three shots. lenses: no shake reduction, no autofocus, the 7Artisans 60mm F2.8 Mark II macro
no electronic coupling. These things are
➤ Pentax K200D, reversed SMC nice but just add weight and cost and are and a little Meike MK-300 flash for a tiny
Pentax-M 50mm F2 on extension not necessary to take nice macro shots.
tubes, off-camera diffused flash. macro setup. Though the camera is older,
Exposure: 1/125 sec., ƒ/11, ISO 100. For a long time, I was wholly reliant
on the pentaprism viewfinders of bulky, and I don’t especially like its ergonomics,
o-o-o-o-o-o-o-o-o heavy DSLRs, but due to how dark it
is through an optical viewfinder while the body is very lightweight and compact,
shooting stopped down, I started using
my camera’s live view more and more which makes a huge difference on a long
to frame and focus my shots. This shift
toward using live view convinced me I hot day in the field. Lugging around my
should probably finally invest in a mir-
rorless camera. Being frugal, I bought a heavy Pentax rig was literally becoming
used Canon EOS M body on eBay for
$150. Originally, I had planned on pri- quite painful, so more than ever, I’m see-
marily using it for video work with Magic
Lantern (a firmware add-on that would ing the benefits of lightweight lenses and
allow you to take uncompressed RAW
bodies. Something as simple as being

less burdened by a heavy camera in the

field can help you stay out longer and get

more successful shots.

I like to think of a macro system as an

inexpensive view into an alien world—

an overlooked alien world that’s right

here on Earth, all around us, and weirder,

wilder and more beautiful than one might

imagine. OP

See more of Thomas Shahan’s work at
thomasshahan.com.

42 Outdoor Photographer outdoorphotographer.com

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

FlowersA M O N G T H E

Finding photographic satisfaction in commercial and curated gardens

By George D. Lepp with Kathryn Vincent Lepp

T he memory seems almost like dedicated to the work. But if you love to charge for parking and possibly require
a dream. I walk alone among photograph flowers as I do, sometimes scheduled tickets for entrance to control
great fields of vibrant lupine we must wake up to reality and look for crowds; it’s well worth it.
and golden poppies, photographing mag- places that are more predictable and less
nificent landscapes of brilliant color set wild—but still rich with creative oppor- Sometimes we’re so focused on trav-
against red-rock peaks and intense blue tunity. Here, we’ll explore locations such eling to remote locations that we are
sky. Then I look closely, go to my knees as commercial and botanical gardens and unaware of the photographic opportuni-
and spend an hour capturing all the deli- some of the techniques I use to achieve ties in our own communities. In our small
cate intricacies of individual columbine, unique and satisfying images in those city of Bend, Oregon, the public gardens
the background a soft pigmented blur. more controlled environments. are seeded around town, and by summer,
I see a rufous hummingbird defending we enjoy a profusion of colorful blooms,
its territory atop a monument plant on a Finding Flowers from cosmos to sunflowers. I can roam
hillside of lavender larkspur and hot-pink Botanical gardens offer an extended time these lovely “wildflower” displays close
paintbrush, and it becomes one of my most span of photo ops due to their curated to home. If you’re open to variety, flowers
iconic photographs. Then reality calls me grounds that present regional varieties are not hard to find.
back to 2022. across the seasons, from spring to fall.
In Canada, I love the Butchart Gardens Etiquette In Gardens & Fields
To experience and photograph colorful near Victoria, B.C. In the U.S., I’ve given First, I encourage an attitude of gratitude
fields of wildflowers is a photographer’s spring workshops in association with the toward the staff, the growers and the field
dream come true, but the problem is that Chicago Botanic Garden, Brookside Gar- workers for sharing the beauty of their
massive blooms are increasingly rare, and dens in Maryland, Longwood Gardens in gardens with the public. Still, I am some-
when they do appear, they are overrun by Pennsylvania, the Denver Botanic Gar- times shocked by the reckless behavior of
people seeking to experience them first- dens in Colorado, the desert-oriented Tuc- other visitors, and it especially pains me to
hand or decimated by livestock grazing son Botanical Garden, tropical gardens in see photographers with professional gear
on vulnerable public lands. Even three Hawaii and Florida, the Oregon Garden in acting unprofessionally in garden settings.
decades ago, when I began the project Silverton, and Seattle’s Washington Park So, it’s worth noting these basic rules.
that culminated in my book Golden Pop- Arboretum.
pies of California, there were only three Botanical gardens are formal, the rules
really good blooms in the 15 years that I Other specialty gardens are more sea- of access are typically posted, and it’s
sonal in orientation, such as my very important for photographers to be watch-
Peony Bouquet. In the Adelman favorite, Keukenhof Tulip Garden in Hol- ful so as not to impede or endanger others
Peony Gardens, a cluster of peony land, with 90 acres of incredible artistic with our tripods and gear packs. In com-
flowers is rendered sharp from floral compositions in April. Here in the mercial fields, the atmosphere is more
front to back using in-camera focus Northwest, there are many commercial casual, but guests are asked not to step
bracketing (31 images) and natural growers that open their fields and demon- into the flower beds or walk down rows
light. Canon EOS R5, Canon RF100- stration plots to the public and encourage of cultivated plants. Nonetheless, you’ll
500mm F4.5-7.1 L IS USM at 200mm. photography. I’ll frequent tulip fields in see folks with cell phones lying down
Exposure: 1/500 sec., ƒ/11, ISO 200. early April, iris and peony gardens in May, in the blooms taking selfies, just as they
rose gardens in June, lavender fields in do in poppy fields, and the growers do
July, and dahlias in August. Some will not appreciate it. Confine yourself to the
demonstration gardens and stay on the

outdoorphotographer.com April 2022 45

Social Media Pakistan 0345-6738217

Social Media Pakistan 0345-6738217

paths at the edges of the fields. Here’s shooting, and several of my favorite capture Above: Miller Butterfly on Dahlia.
where you begin to see the advantages of techniques can only be accomplished with The butterfly adds interest to
a close-focusing telephoto zoom; these a tripod base. Using the tripod slows me the center of a colorful bloom
reach into the fields for you without dis- down in a good way by promoting more photographed at Oregon’s Swan
turbing anything. precision in my framing and composition. Island Dahlias demonstration garden.
It also gets the camera and lens out of my Canon Macro Twin Lite MT-24EX
Commercial growers typically have hands and off my neck while I contemplate flashes provided the extra light
fresh-cut flowers and potted plants avail- the next exposure. needed when working close. Canon
able for purchase. I go equipped with a EOS 5DS R, Canon EF 100mm f/2.8L
large bucket to transport several bunches A flower safari offers a variety of Macro IS USM. Exposure: 1/250 sec.,
back home, both to support the grower and photo opportunities, so I carry a lot of ƒ/16, ISO 200.
to use as subjects for high-magnification lenses, including macro (both a 100mm
macro images in the studio. and 180mm focal length), a close-focus- Opposite: Bearded Iris. Lepp used
ing telephoto zoom (100-500mm), and a the Canon EOS RP’s in-camera focus
Equipment wide-angle to normal zoom with a range bracketing capability to capture the
The continuing evolution of digital pho- of 24 to 105mm. I also have an 11-24mm flower’s complex design in high-
tography has brought us to a good place in extreme wide-angle zoom; although it’s an resolution detail. Two LED photo
2022. Mirrorless technology offers some expensive and heavy optic, it offers some lights attached to the front of the
capabilities especially relevant to floral interesting perspectives. Altogether, this lens provided consistent lighting.
subjects, with higher resolution for big- group offers me a range of 11-500mm Canon EF 100mm f/2.8L Macro IS
ger enlargements and possible cropping; that covers it all. USM. 33 focus-stacked images.
built-in focus bracketing; and cleaner high Exposure: 1/90 sec., ƒ/11, ISO 800.
ISOs when needed in low light, for faster In addition to an electronic flash for
shutter speeds or greater depth of field. Still, fill light, I also carry several small, pow- for focus-stacking both in the field and
I always bring along a tripod.Yes, they are erful LED rechargeable lights sourced when working in indoor displays. A small
a pain, but they greatly increase the yield from Lume Cube. These fit on a bracket LED light panel that runs off a battery
of extremely sharp images over handheld attached to the front of the macro lenses provides soft light for close-ups, and I’ve
to provide the continuous light needed improvised a bracket that places it near the
front of the lens.

outdoorphotographer.com April 2022 47

Social Media Pakistan 0345-6738217

It’s a lot of gear, but one great thing
about working at botanical gardens and
commercial fields is that your vehicle will
be close by, so carrying extra equipment to
accomplish a particular technique is easy.

Garden Techniques
Most of these techniques rely on a steady
subject, so one tip is to arrive early in the
morning when the wind is more likely to
be still. Then look around and think about
how you might approach each opportunity
to achieve images that are creative and
representative of the garden’s beauty. The
following descriptions and the images that
accompany this article provide examples
of some of my favorite techniques.

Isolation With A Long Lens. The
close-focusing telephoto zooms may be
the most important tool for flower-field
photography. My current lens of choice is
the Canon RF100-500mm F4.5-7.1L lens
that focuses to 3.94 feet at 500mm (.33x)
and provides a versatile, lightweight com-
bination with Canon mirrorless bodies.
This lens facilitates a variety of creative
approaches, the most important of which
isolates the subject and pulls it away from
an out-of-focus background of soft color.
With in-camera focus stacking, the depth
of field can be controlled. You can also
use the long focal length to reach into
a flower bed or tree and extract a floral,
insect or avian subject from the surround-
ing foliage.

Focus Stacking. When you want to use
your long lens to capture an entire field in
sharp focus without distortion, from the
flowers right in front of you to the moun-
tain on the horizon, the technique of focus

Social Media Pakistan 0345-6738217