Outdoor Photographer

HANDS-ON WITH CANON’S NEW EOS R7 MIRRORLESS APS-C CAMERA

SCENIC WILDLIFE TRAVEL SPORTS

ADVENTURE

SPORTS

PHOTOGRAPHY

LEARN THE ROPES OF

Rock Climbing

GO WITH THE FLOW FOR

Kayak Action

EXPLORE

Underwater
Wildlife

LIGHTROOM’S NEW OUTDOORPHOTOGRAPHER.COM AUGUST 2022

Masking Tools



CONTENTS

VOL. 38 NO. 6 | AUGUST 2022

FEATURES

28 LEARNING THE ROPES
Rock climbing can be a
thrilling subject for ad-
venturous photographers,
whether you’re a seasoned
climber or new to the sport

Text & Photography
By Elise Sterck

38 GO WITH THE FLOW
Tips and techniques for
photographing whitewater
and sea kayaking

Text & Photography
By Michael Clark

46 BELOW THE SURFACE
Taking your camera—
and your creativity—for
a dive into underwater
photography

Text & Photography
By Jon McCormack

54 MASTERING
LIGHTROOM’S
MASKING TOOLS
Advancements in artificial
intelligence and computa-
tional photography have
made Lightroom’s masking
tools incredibly powerful—
and easier to use, too

Text & Photography
By Jason Bradley

PHOTOGRAPH BY ELISE STERCK

46 16 COLUMNS TOP IMAGE: JON MCCORMACK; BOTTOM IMAGE: WILLIAM NEILL

22 22 ON LANDSCAPE
The very best photographs are
2 Outdoor Photographer outdoorphotographer.com reflections of the artist

Text & Photography
By William Neill

24 MAKING CONNECTIONS
Even a small change in
perspective can make
a big difference

Text & Photography
By Ken Kaminesky

DEPARTMENTS

6 COVER SHOT

8 IN THIS ISSUE

10 SHOWCASE

14 NEW GEAR & TECH

16 CANON EOS R7

26 FAVORITE PLACES

60 CLASSES, TOURS
& WORKSHOPS

62 BEHIND THE SHOT

64 LAST FRAME

Learn from the Masters

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PRO SHOP For all ages, from basic to advanced:
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561-253-2600 • fotofusion.org

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outdoorphotographer.com

The Art of Mystery

Techniques to compose abstract photographs that inspire your viewer’s imagination. By Eric Bennett

Wild By Nature Assignments Tip Of The Week

Melissa Groo’s recurring column on Share your best shots in our weekly Available on our website—or delivered
wildlife photography considers all of “Assignments” photo challenges. directly to your inbox—our “Tip of
the elements for success, from Submit images that fit the week’s the Week” provides shooting and
equipment to techniques and good theme—you may be our next processing techniques to sharpen your
field ethics. 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

THE 2022

Wildlife photography is one of the most
challenging—and rewarding—subjects to
explore with your camera. From intimate
interactions to majestic migrations, it
inspires us both technically and creatively
to capture meaningful images that tell the
stories of animal life in wild places.

Now in its fourth year, Outdoor
Photographer’s 2022 Wildlife Photo
Contest is your opportunity to share your
most unique, successful images of wildlife
for a chance to have your work recognized
and win other great prizes.

Outdoor Photographer is committed to
ethical practices in wildlife photography.
Please review our contest FAQ section
and official rules regarding restrictions on
eligibility of certain types of images.

GRAND PRIZE

$1,000,

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Enter Now at
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BE cover shot outdoorphotographer.com
INFORMED.
Photographer: Elise Sterck OPERATIONS
Sign up for the Imaging Resource Location: Kalymnos, Greece Cheyenne Corliss
Newsletter for in-depth coverage, Equipment: Canon EOS 5D Mark IV, Operations Director
testing and reviews on the newest Canon EF 16-35mm f/2.8L II USM
Situation: Originally known for its pic- Tou Zong Her
cameras, lenses and more. turesque beaches, striking blue waters and Senior Client Services & Media Analyst
inform • encourage • inspire quaint towns, the island of Kalymnos has
long been an attractive destination for those Darren Cormier
Sign up for free today at: hoping to experience Mediterranean charm. Client Services Associate
imaging-resource.com/newsletter
More recently, however, Kalymnos has Amanda Joyce
experienced a boom in climbing-related Accounting Director
tourism due to the discovery of the excel-
lent rock on the island in the late 1990s. Tina McDermott
Since then, more than 3,400 climbing routes Accounts Payable Associate
have been developed, and the island sees
thousands of climbers every year. The high Wayne Tuggle
concentration of quality rock and the easy Accounts Receivable Associate
access has made Kalymnos one of the most
popular climbing destinations in the world. DIGITAL OPERATIONS
Ryan Gillis
On the day this image was created, Ryan
Burke and I were looking to explore a Audience Development Analyst
less-popular climbing area. We wandered Mike Decker
up a hillside, passing through farmland
and a herd of goats to reach an alcove high Senior Digital Designer
above the Aegean Sea. After climbing a David Glassman
few routes, we discovered a climb that led
right up the prow of the alcove that would WordPress Developer
provide the perfect framing for a photo we
had been hoping to create. EXECUTIVE
Jeffrey C. Wolk
With sunset approaching, I set up my shot, Chairman & Chief Executive Officer
and Ryan began climbing.As the sun sunk, Courtney Whitaker
it cast a warm, hazy light onto the cliff, giv- Chief Operating Officer
ing the orange limestone a fiery glow and Jason Pomerantz
creating the perfect contrast to the cerulean VP, Consumer Marketing
blue water. We came away with one of my Matt Martinelli
favorite climbing photos I’ve ever taken. Content Director

–Elise Sterck NEWSSTAND DISTRIBUTION
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in this issue

RopesLEARNING THE outdoorphotographer.com August 2022 29 up close without having to ascend a rope
or climb anything yourself.” In her arti-
Rock climbing can be a thrilling subject for his connection to the high peaks of the cle, “Learning The Ropes,” Sterck offers
adventurous photographers, whether you’re a Himalaya, the region’s history, spirituality insights from her success as a pro climb-
and its amazing people. I felt that it was ing photographer to help get you started.
seasoned climber or new to the sport about time that I got going and took this
walk in Galen’s footsteps.” Michael Clark is one of the leading
Text & Photography By Elise Sterck adventure sports photographers working
Climbing photography was among today. As we were planning his article
Ryan Burke “flakes” a rope after reaching Galen’s specialties. It’s a challenging on kayaking for this issue, he was on
the top of a climb in El Potrero Chico, genre in that to build a strong portfo- assignment for Red Bull documenting its
Mexico. Ropes offer many opportunities lio, you’ll want to be a participant in “Plane Swap” stunt. That spectacle didn’t
to create leading lines in photos. the sport yourself. That principle—of go exactly as planned, but that’s the nature
being an active participant in the adven- of adventure photography. In “Go With
28 Outdoor Photographer outdoorphotographer.com ture you’re photographing—was what The Flow,” Clark shares techniques and
helped Galen distinguish himself from gear recommendations for photographing
In this issue’s “Behind The Shot,” traditional landscape photographers. But both sea and river kayaking. You’ll learn
Justin Black pays tribute to his men- as photographer Elise Sterck points out, that the two sports have some obvious
tor, Galen Rowell, who is recognized you don’t have to be an expert climber similarities but also important differences,
as a pioneer—perhaps the pioneer—of the to get a foothold on the subject. “Boul- photographically speaking.
adventure photography genre. It was 20 dering” is one more accessible route.
years ago this August 11 that Rowell and “Bouldering doesn’t involve the use of a Diving “Below The Surface,” Jon
his wife, Barbara, were killed in a plane rope and typically involves much shorter McCormack guides us through the funda-
crash near their home. Galen had been the routes than other forms of climbing,” mentals of underwater photography. Here
author of Outdoor Photographer’s regu- Sterck says. “This makes it easy to get is another example of an adventure sport
lar column “Photo Adventure” since the that requires physical training to master
1980s, and his untimely death was a shock but that can be approached much more
to our staff and the OP community, as casually if you aren’t ready to get your
many of our contributors were friends of scuba certification.You can even start with
Rowell’s. Justin Black worked for Galen just your smartphone and a simple under-
for a time, and earlier this year, he jour- water housing to explore ocean wildlife.
neyed to the Himalaya of Nepal. Describ- In fact, as McCormack explains, colors
ing the trek, he wrote to us, “This trip appear more vibrant closer to the surface,
was inspired (or perhaps compelled is a so there’s a lot to see and photograph at
better word) by Galen Rowell’s extensive shallow depths with a snorkel.
work in the region in the 1980s and 1990s,
and many conversations I had with Galen Whatever you have planned for your
when I worked for him were regarding next photo adventure, we hope you’ll
be inspired to try something new and,
like Galen, not merely observe but be
an active participant in the experience.

–Wes Pitts, Editor

contributors

Based in Jackson, Michael Clark has Jon McCormack is a
Wyoming, Elise Sterck worked in adventure conservation and natural
is an adventure travel photography for history photographer
photographer specializ- nearly 30 years. A few based in northern
ing in backcountry of his clients include California. His images
sports that allow her to capture unique Apple, Adobe, Fujifilm, Nikon, are regularly published by major
moments in the wild. Sterck focuses Microsoft, Nokia, Red Bull, National conservation and news organizations,
on documenting the connections and Geographic, Sports Illustrated, including Conservation International,
interactions between humans and the Outside, Surfer, Climbing and Out- The Nature Conservancy, UNESCO
natural world. See more of her work at door Photographer. See more of his and The New York Times. See more of
elisesterck.com. work at www.michaelclarkphoto.com. his work at jonmccormack.com.

8 Outdoor Photographer outdoorphotographer.com

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showcase

10 Outdoor Photographer outdoorphotographer.com

Congratulations to the
winners of and finalists
in our Great Outdoors
2021 photo contest!
Featured here are the
Grand Prize, Second Prize
and Third Prize winners.
See all of the finalists at
outdoorphotographer.com.

Grand Prize
The Thund’ring Finale
By Shashank Khanna

“As we wrapped up an eventful
evening shooting through a storm at
the Mesquite Dunes, I decided to use
some quiet time making a few
abstracts. To our surprise, there was a
flash in the distance. We ignored the
first and the second, but it grew
louder and more epic. We knew we
had to get out of the dunes; it was
going to be pitch dark soon, but the
urge to make that one last shot
extended our stay by another hour,
filled with these thunderous skies
framed perfectly behind the dunes.”

outdoorphotographer.com August 2022 11

showcase

Second Prize
Open Wide
By Conrad Peloquin

“We were scouting locations on San Juan Island for wildlife photography when
we came across a massive field loaded with fox dens, so many that you had to
look down as you walked or you would soon find yourself in a world of trouble.
Many of these dens seemed abandoned, but soon we spotted a mama fox and
three of her kits emerge into the morning light.

“We watched and photographed these beautiful creatures who seemed
oblivious to me or the camera. While keeping a distance, we watched as the
babies frolicked and realized how similar baby fox behavior is to that of a
toddler with lots of energy—so sweet and innocent. While I am so happy that I
was able to capture these two kits rolling around and practicing their ferocious-
ness, I also feel humbled and fortunate to have witnessed such a tremendous
event in nature.”

12 Outdoor Photographer outdoorphotographer.com

Third Prize
Lunar Horses
By David Swindler

“We got up extra early with a vision to capture the horses and riders with the
full moon. We found the perfect spot and began to wait until the moon was in
the right place, but then the moon disappeared behind a bank of thin clouds
near the horizon. We were afraid we might have lost it for good. Then the clouds
started to color up, and the moon descended below the cloud bank for one last
appearance. It was a magical moment and one we’ll all remember for a long
time!”

outdoorphotographer.com August 2022 13

new gear & tech

Fujifilm Flagship & Super-Tele Zoom
Fujifilm introduced a new flagship in processor. The sensor and processor XF2x TC WR teleconverters. When
used with the 2x, the XF150-
its APS-C sensor X Series mirrorless combination allows subject-detection 600mmF5.6-8 can reach a remarkable
1828mm equivalent.
lineup, along with two new lenses, AF and improved image quality
Fujifilm also revealed another new
including a super-telephoto zoom. The throughout the ISO range compared zoom, the FUJINON XF18-120mmF4
LM PZ WR, equivalent to 27-183mm.
Fujifilm X-H2S is the company’s most to previous X Series cameras. It also With the new X-H2S body and the
FUJINON XF18-120mmF4 and XF150-
advanced X Series camera yet, with enables the camera to shoot with full 600mmF5.6-8 R LM OIS WR zooms,
photographers can cover an extensive
impressive burst shooting capabilities. AF/AE tracking at up to 40 frames per focal length range with just two lenses.

Paired with the new FUJINON second with its electronic shutter or 15 The Fujifilm X-H2S and FUJINON
XF150-600mmF5.6-8 R LM OIS WR
XF150-600mmF5.6-8 R LM OIS WR, fps with the mechanical shutter. For should be available by the time this
issue is on newsstands, with the
the camera offers a compelling system extended bursts, the camera can FUJINON XF18-120mmF4 LM PZ WR
following “in or around September.”
for telephoto wildlife and sports record over 1,000 frames at 30 fps in List prices: $2,499 (X-H2S); $1,999
(XF150-600mm); $899 (XF18-120mm).
photography. JPEG or 20 fps RAW. Even the slower Contact: Fujifilm, fujifilm-x.com.

The Fujifilm X-H2S features a new of these speeds are ample for wildlife

26.2-megapixel X-Trans CMOS 5 HS and sports photography.

imaging sensor that’s a stacked design The FUJINON XF150-600mmF5.6-8

with backside illumination, which R LM OIS WR introduced with the

Fujifilm states delivers up to 4x faster X-H2S is the company’s longest

signal reading. The camera also telephoto zoom to date, providing an

introduces a new X-Processor 5 that equivalent focal length range of

doubles the processing power 229-914mm. The lens is also compati-

compared to the previous-generation ble with X Series XF1.4x TC WR and

14 Outdoor Photographer outdoorphotographer.com

FUJINON XF18-120mmF4
LM PZ WR

FUJINON XF150-600mmF5.6-8
R LM OIS WR

Second-Generation Sony 24-70mm G Master

Sony debuted an update to its when recording video,

pro-grade 24-70mm G Master lens, including reduced focus

the FE 24-70mm F2.8 GM II, describ- breathing and focus shift

ing the new lens as the “world’s when zooming, and

smallest and lightest” F2.8 24-70mm includes a new “zoom

zoom. It is, indeed, compact and smoothness” switch to

lightweight at 20 percent lighter and adjust the zoom ring

18 percent shorter than the first-gen- responsiveness with

eration 24-70mm F2.8 G Master. “Tight” or “Smooth”

The FE 24-70mm F2.8 GM II modes. The lens can focus

incorporates four of Sony’s XD Linear as close as 8.25 inches at

Motors for autofocus performance 24mm, extending to 12

that can keep pace with fast-moving inches at 70mm. moisture resistance, with rubber gaskets
protecting the switches and buttons
subjects and the 30 fps continuous Of particular interest to outdoor pho- and a seal at the lens mount. List price:
$2,300. Contact: Sony, sony.com.
shooting speeds of the Sony Alpha 1 tographers, the lens also incorporates

camera. It also offers improvements an updated design for dust and

Sigma Wide Zoom For Sony E-Mount & L-Mount
Sigma released a new wide-angle fast, constant maximum aperture and

zoom for Sony E-Mount and L-Mount weighs just under 1 pound.

(Sigma/Leica/Panasonic) full-frame The lens can focus on objects as

mirrorless systems. The Sigma close as 9.9 inches for landscape

16-28mm F2.8 DG DN | Contempo- compositions with prominent fore-

rary is an internal zoom design, ground elements and employs a

meaning that its exterior length doesn’t stepping motor for autofocus that

change as you move throughout the Sigma states is both “fast and silent,”

zoom range. At 4 inches in length and the latter being especially important

3 inches in diameter, it’s relatively for video work. List price: $899.

compact for a wide-angle zoom with a Contact: Sigma, sigmaphoto.com.

outdoorphotographer.com August 2022 15

new gear & tech

Canon EOS R7

Hands-on with Canon’s first
APS-C sensor EOS R camera
for enthusiast photographers

Text & Photography By Jeremy Gray

Before their official announcement, 90D is still a lot larger than the R7 overall. sharp view. The EVF also performed
I had the chance to go hands-on The move to mirrorless, then, has well in terms of refresh rate. It’s not an
with Canon’s two new APS-C sen- overly large EVF, but it never felt too
sor EOS R series cameras, the EOS R7 afforded the R7 a smaller size and weight small in use. The eyecup is also quite
and the R10. These cameras are a first than its DSLR predecessors. Does that comfortable and did a good job keeping
for the EOS R series, which has thus far mean you give something up regarding out ambient light.
exclusively featured full-frame image sen- physical controls and usability? I don’t
sors. While the two models have a lot in think so. When I first picked up the cam- The R7 has a rather large rear LCD. It’s
common, there are some key differences. era, I was impressed by its overall feel. a touchscreen, of course, and it’s fully artic-
The front grip is quite large, although ulating. The articulating display is nice for
Canon calls the EOS R7 its “high-end not overly so, and fits very nicely in my video, although I prefer a more traditional
APS-C model.” Whereas the EOS R10 hand. Even when using a large lens like tilting display for still photography. On
targets a similar audience as Canon’s the Canon RF100-500mm F4.5-7.1 L IS the plus side, you can use the display in
EOS M6 Mark II camera, the R7 is USM telephoto zoom, the R7 maintains a portrait orientation, which is nice. The LCD
aimed more at EOS 90D and 7D Mark good balance. It’s not a large camera, but is reasonably sharp and has approximately
II DSLR users. What makes the R7 a it feels large, if that makes sense. That’s 1.62 million dots. The LCD worked well
“high-end” APS-C camera? It combines a good thing, by the way. in bright light, which proved important
a 32.5-megapixel APS-C image sensor, outdoors during the day in sunny Florida,
a sophisticated autofocus system bor- The R7 has a joystick near the thumb where I tested the camera.
rowed from the EOS R3 flagship camera, rest, which can be used to navigate menus
impressive physical controls and compet- and move the autofocus area around. The camera includes two UHS-II SD
itive video features. Surrounding this joystick—which card slots as further proof of the R7’s
works well—is a rotating control dial. positioning toward enthusiast users.
Design & Handling: The inclusion of the dial is fantastic and Sure, they’re not CFexpress slots, but
Midsize Mirrorless makes the R7 more user-friendly than dual UHS-II slots are still nice, and SD
the R10, which not only has a smaller is the more ubiquitous media type. The
The Canon EOS R7 isn’t as small as the joystick but lacks the rotating control R7 also includes in-body image stabi-
R10, but it’s far from a large camera. dial altogether. On the top of the R7 is a lization, which promises up to 8 stops
The R7’s dimensions are 5.2 x 3.56 x dedicated ISO button, too, which I like. of stabilization and has an “auto-level”
3.6 inches (W x H x D), and it weighs You can access ISO on the R10 using a feature that can slightly rotate the image
1.35 pounds with a battery and memory function button on the directional pad, sensor itself to keep your images straight.
card. Compared to the EOS 7D Mark II but I prefer ISO control on the top deck. It’s an optional feature but a great one to
DSLR, the R7 is significantly narrower have. It’s not a “cropping” function either
and shorter, although not quite as thin. As for the electronic viewfinder, it’s because the sensor physically rotates.
The 7D Mark II weighs 2 pounds, so the pretty good. It’s not in EOS R3 territory,
R7 is much lighter. Even the smaller EOS but the R7’s EVF has 2.36 million dots, As for sealing for outdoor use, the
which is sufficient and provides a clear, EOS R7 promises about the same level

16 Outdoor Photographer outdoorphotographer.com

of weather resistance as the EOS 90D,
which should be sufficient for shooting
in inclement weather. It’s not waterproof,
of course, but we expect it will hold up
well to regular use in bad weather. The
camera feels robust, too.

New Sensor Image Quality EOS R3, the R7 doesn’t deliver quite ➤ Canon EOS R7, Canon RF100-
The Canon EOS R7 sports an all-new the same level of AF performance as 500mm F4.5-7.1 L IS USM at 343mm
32.5-megapixel APS-C CMOS image that full-frame flagship camera. More (549mm equivalent). Exposure: 1/2700
sensor with a 1.6x crop factor. It’s worth on that later. sec., ƒ/5.6, ISO 2500.
noting that 1.6x is slightly more than most
other APS-C cameras, including those The EOS R7’s native ISO range is 100 ➤ Canon EOS R7, Canon RF100-
from Fujifilm, Nikon and Sony, all of to 32,000, with an expanded range up 500mm F4.5-7.1 L IS USM at 400mm
which have a 1.5x crop factor. That means to 51,200. My initial impressions were (640mm equivalent). Exposure: 1/2000
that Canon’s sensor is slightly smaller quite positive. The camera performs well sec., ƒ/6.3, ISO 1600.
than those found in some other APS-C
cameras, but that doesn’t translate to any
noticeable impact on image quality.

The new sensor is different than that
found in the EOS 90D and EOS M6 Mark
II, which offer the same resolution, but
like those other sensors, the new one
isn’t backside-illuminated, and it’s not
stacked. The lack of a stacked design isn’t
all that surprising in a camera at this price
point. Still, it does mean that despite fea-
turing a similar autofocus system as the

new gear & tech

at higher ISOs, including up to ISO 6400, vehicles.You must manually select which you to customize the size and shape of
which is as high as I got during daytime subject you want the camera to track, and square and rectangular autofocus areas to
shooting. I was impressed by the default that’s not a big annoyance, but it’s worth limit the camera’s tracking priority to a
noise reduction, although you can do pointing out. smaller portion of the frame. The camera
even better with a processed RAW file. includes three Flexible Zone AF slots, so
The R7 is powered by Canon’s DIGIC I set ones up for landscape and portrait
When shooting at lower ISO settings, X processor, and its autofocus system orientation shooting. Otherwise, it can
the EOS R7 performs even better. At or includes 651 autofocus points, which be a bit tricky to get the camera to focus
near base ISO, the camera delivers good is less than the R3’s 1,053 points. This on the correct subject when there are
dynamic range, tonality and color. Canon makes sense given the smaller APS-C multiple subjects to choose from in the
is lauded for its color processing, and the image sensor. The R7’s autofocus cov- frame. The camera generally did a good
R7 continues this positive trend. erage is excellent, though, going across job dealing with this situation, though it
nearly the entire frame. The camera did a wasn’t perfect.
Autofocus & Performance great job of focusing on moving subjects
Without a stacked sensor, the EOS R7 throughout the entire frame and showed When it comes to speed, it’s mostly
cannot quite match the R3 in terms of a strong ability to reacquire focus when good news. The EOS R7 can shoot at 15
AF performance. However, many aspects a subject left and re-entered the frame. frames per second using its mechanical
of the R3’s AF system are present in the shutter. I found the buffer filled quickly.
R7, including its AI-powered subject When photographing wildlife espe- Fortunately, it also cleared quite quickly
detection features. The R7 can automat- cially, the R7 did a great job of finding when using a UHS-II SD card. It’s a high-
ically detect and track people (body/head/ birds and then focusing on the eye, even speed camera with its mechanical shutter
face/eye), wildlife (dogs/cats/birds) and when the eye was relatively small in the and allows you to capture bursts of action
overall frame. When the subject was too effectively. If you want even more speed,
➤ Canon EOS R7, Canon RF100- small for the camera to zero in on the eye, you can shoot up to 30 fps when using
500mm F4.5-7.1 L IS USM at 400mm it still did a good job tracking the body. the electronic shutter. However, the lack
(640mm equivalent). Exposure: 1/1250 of a stacked sensor strikes again, as the
sec., ƒ/7.1, ISO 4000. To help the system, especially when R7 is prone to rolling shutter.
multiple birds were in the frame, I often
utilized Flexible Zone AF. This allows

Overall, the EOS R7 delivers impres- R7 also has better weather resistance, first impression. Simply put, the EOS R7
sive autofocus and performance. While dual SD card slots and a higher-resolu-
it can’t match the speed and performance tion LCD monitor. offers good performance in a reasonably
of the flagship EOS R3, the R7 offers a
lot for its price. The Canon EOS R7 is like a new-and- compact package and at an attractive price
improved mirrorless version of some of
Video Capability Canon’s most popular APS-C DSLR cam- of $1,499 (body only). OP
Given my brief time with the R7, I eras, including the 7D Mark II and 90D. For
focused on still photography. However, wildlife shooters and sports photographers Jeremy Gray is the reviews editor of our
the R7’s primary video specs are impres- as well, the R7 is a welcome addition to the sibling website Imaging Resource. Read
sive. The camera records 4K/60p video EOS R series family, and it made a strong an extended version of this review and
using the full width of the sensor. The check out additional sample images at
4K video is oversampled from 7K reso- imaging-resource.com.
lution. The camera offers Canon Log 3
and HDR video, plus Full HD video at
up to 120p. The R7 records uninterrupted
video, limited only by battery, memory
card and temperature, and Canon prom-
ises impressive continuous recording
under typical conditions.

In The Field With Wildlife Introducing
While the smaller sensor may make
APS-C cameras less compelling for Rogue Round Flash
landscape photography, the crop factor
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500mm F4.5-7.1 L IS USM, for example, for Round Flashes - components attach directly to flash (no extra mount for each flash!)
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My experience using the R7 for wildlife Kits for Round Flashes and Rectangular Speedlights
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impressive AF system and speedy perfor- Rogue Round Flash Kit $99.95 - fits Godox v1, Geekoto GT250, Westcott FJ80
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physical controls helped, too, allowing
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without diving into menus. The EVF also Sony F60, and more) RogueFlash.com
did a good job of keeping up with action,
although it’s not blackout-free. Image © Anthem in Art

The R7 has a few advantages over the
R10 that are especially noticeable with
wildlife photography. Beyond the high-
er-resolution sensor, the R7 also offers
faster continuous shooting speeds, albeit
only when using the electronic shutter
and running the risk of rolling shutter.
The R7 has better physical controls,
meaning I spent more time shooting and
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on landscape

Passages Of Light

The very best photographs are
reflections of the artist

Text & Photography By William Neill

“A great photograph is a full expression a successful image is made. Engag- fits with a series of high-key images I
of what one feels about what is being ing with the beauty that surrounds us call Whispers of Light.
photographed in the deepest sense and every day is, in and of itself, highly
is, thereby, a true expression of what one rewarding.  A few decades ago, I wrote down
feels about life in its entirety.” some title ideas for possible portfo-
Although exploring nature is a med- lios or books. The note remains posted
–Ansel Adams itative and quiet activity for me, I am above my desk. One was Passages of
invariably thrilled with something I’ve Light, which I never used until recently,
Acamera is directed toward a discovered, and my pulse quickens at when selecting a title for my recent
subject or scene. The shutter some point in my wanderings. Once I
opens to the light for a fraction am in my studio, I interpret and refine
of a second, or sometimes for many many aspects of each photograph,
minutes. An image is recorded, on film including contrast, color, brightness
or by a sensor. This passage of light and the subtleties of shadows and
through the lens provides a simple highlights, until the image rings true
recording of information.  to my emotional experience and intent.
My interpretations are usually natural,
After the light is captured, how does straightforward portrayals of my sub-
an image become a work of art? To ject, but my final results sometimes can
create art out of a simple recording veer from a literal rendition. 
of light requires the photographer’s
heart and mind. The artist responds to As an example of a more interpre-
a subject and places a frame around tative photograph, here is a recent
that which moves them. Lines, shapes dogwood image. The exposure was a
and contrast between shadow and light standard one with a full range of tones,
form the graphic design. The lighting and I was careful not to overexpose the
and weather at the moment of exposure bright blossoms. I was intent on fram-
determine the mood, whether subtle or ing the branches tightly for a tapestry
dramatic. All these factors must work effect, with the pattern of foliage filling
together, and despite our best efforts, the full viewfinder. As I started process-
only a few images each year transcend ing the file, I experimented with my
to the level of our best work. Lightroom sliders, pushing the tones
up for a lighter, more delicate feel. Just
The most elusive element that can as when standing behind my camera, I
elevate the impact of a photograph is trusted my instincts in my processing
how well the emotion within the pho- interpretation. Even though the soft
tographer is communicated. Photo- look doesn’t appeal to everyone, the
graphs have the wonderful potential to resulting photograph excites me every
reconnect us with our emotions beyond time I look at it. The high key process-
just describing the physical content of a ing goes along with a creative direction
scene. The very best images are reflec- I’ve been pursuing recently and fits into
tions of the artist. This expressive pro- a “forest tapestry” series of images I’ve
cess begins with intensely experiencing pursued for decades. The image also
what attracts our eye, whether or not

22 Outdoor Photographer outdoorphotographer.com

exhibit at The Ansel Adams Gallery. Passages of light through my lens. Dogwood tapestry. Sony a7R IV, Sony
I like how this title references the FE 100-400mm F4.5-5.6 GM OSS at
long journey I began in 1974 with my Passages through my life.  OP 158mm. Exposure: 1/160 sec., ƒ/11, ISO
first camera, alluding to the long and 1600.
winding road I’ve traveled: evolving, See more of William Neill’s work at
exploring, experimenting, succeeding williamneill.com, including links to outdoorphotographer.com August 2022 23
and failing, with creative bursts and his social media and info on his new
lulls along the way. book, The Photographer’s Portfolio
Development Workshop.

making connections

Same But
Different

Even a small change in
perspective can make
a big difference

Text & Photography By Ken Kaminesky

“Vision is the art of seeing what is invisible to others.”
–Jonathan Swift

When you change the way you look at things, the The spectacular Osaka Castle is one of Japan’s most
things you look at also change. This is true in life beautiful historical sites. Every spring, the surrounding
and especially true in photography. Allow two or grounds offer photographers the chance to capture the castle
more photographers to photograph the same scene, and the during the brief period when the Sakura (cherry blossoms)
resulting images can often be remarkably different. When are in full bloom.
running a photography tour, I love to see the participants
set up to take their photos of the same subject matter. How The first time I photographed this stunning location, I
they edit their images also has a significant effect. Each had limited time to set up and get a shot during blue hour
photographer is inspired by past experiences, influences, since access was closed off until just after sunset. A few
equipment choices and many other factors. years later, I knew that I wanted a fresh perspective on this
familiar place when I could access the same site. Fortunately
I often like to find a perspective that is not the obvious
framing or viewpoint when making a composition of a scene
that has been photographed countless times before. While this
doesn’t always succeed, the result can be a truly unique image.

I learned to do this because I often had no choice. Many
popular travel sites are crowded or have that one accessible
area where most photographers want to place themselves to
capture their shots. This makes it challenging or uncomfort-
able to set up for your attempt. By looking for an alternative
way to photograph the scene, I challenge myself to be more
innovative, and that’s always a good creative exercise.

Here are a few ways I challenge myself to get memorable photos.
• Photograph from ground level. This works exception-

ally well with wide-angle lenses.
• Photograph from above. This one can be more diffi-

cult if there aren’t tall buildings, hills or other high
vantage points nearby where you can set up.
• Try a drone. When permitted, drones can offer incred-
ibly distinctive viewpoints.
• Frame your shot through a window, tree, archway,
someone’s legs, curtains, etcetera.
• Use creative cropping.

24 Outdoor Photographer outdoorphotographer.com

for me, the aromatic cherry trees that adorn the grounds

of the Osaka Castle were once again in magnificent full

bloom. This allowed me to stand just a few meters away A different perspective of the castle, framed by Sakura
blooms, made on my second visit a few years later.
from the spot where I had captured the original image for Inset: The image I made on my first visit to Osaka Castle in
Japan.
a new composition with a unique twist.
outdoorphotographer.com August 2022 25
I’m now looking forward to returning to Osaka for

another attempt at capturing the castle with new eyes and

a fresh outlook. OP

See more of Ken Kaminesky’s work at www.kenkaminesky.com.

favorite places

Hjortfjellet &
Advent Valley

Svalbard, Norway

Text & Photography By Stuart Thomson

Location
The Svalbard archipelago lies about halfway between mainland
Norway and the North Pole. About the size of West Virginia
with a population of only 2,500 people, Svalbard is a mostly
untouched Arctic wilderness of mountains, valleys, glaciers and
fjords. The main settlement of Longyearbyen can be reached
by a three-hour flight from Oslo, and accommodations here
include hotels, guesthouses and camping. A short walk along
the main road leading out of town into Advent Valley will
bring you this view of Hjortfjellet—the mountain just left
of center—across the valley. You don’t have to go far to find
beautiful nature here.

Weather
Svalbard experiences particularly unique seasons. Owing to
its proximity to the top of the planet, there are periods of
permanent darkness in the winter and periods of permanent
daytime in the summer. Mid-October to mid-February is the
polar night period where you can expect temperatures as low
as -4 degrees Fahrenheit. The ground is typically snow covered
from November until May.

April to August brings the midnight sun. Temperatures peak
in July at an average of 44 degrees Fahrenheit. The glacial
valleys and lack of trees mean it’s often windy and feels colder
than it is. The short shoulder seasons in between are a nature
photographer’s dream with seemingly ever-lasting sunsets.

Photo Experience

I’m fortunate enough to be able to look at these mountains

from my house every day. Hjortfjellet is an iconic presence,

and you can see it from everywhere in Longyearbyen. I must

have thousands of photos of it. This was a memorable one

for me, though, because the conditions rarely come together

so perfectly. An early snowfall on the peaks combined with

a sunset that seemed to set the tundra on fire was a special

opportunity. I was at home as the sun started to come through

the clouds. I just grabbed my camera bag and ran down to the

valley. The light only lasted for about 20 minutes, but luckily,

it was long enough for me to get this shot. OP

See more of Stuart Thomson’s work at stuartthomson.no. SVALBARD,
NORWAY

26 Outdoor Photographer outdoorphotographer.com

Best Times To Visit mid-October. You can be looking at sunsets that last for
hours during these times of year. One important thing to
Flights to Longyearbyen run year-round. All times of year remember is that polar bears can be encountered in the
offer good photographic opportunities in Svalbard. The wild here, and you need to be armed with a rifle when
dark season is the most restrictive because there are leaving the settlement. Arranging a trip with one of the
fewer options to get out in nature, but you may be many local tour companies is your best bet.
rewarded by the northern lights. The light winter months
offer the chance for stunning winter landscapes and Contact: Visit Svalbard, en.visitsvalbard.com.
exploration via snowmobile. ➤ Canon EOS 5D Mark III, Canon EF 16-35mm f/4L IS
USM at 20mm, LEE 100mm 2-stop graduated neutral den-
In the summer months, it’s possible to see a lot more sity filter, Gitzo tripod, Induro ball head. Exposure: 0.4 sec.,
of the archipelago via boat, and there’s more wildlife ƒ/11 ISO 100.
about. My favorite times are the winter and autumn sunset
periods: mid-February to mid-April and mid-August to

outdoorphotographer.com August 2022 27

RopesLEARNING THE

Rock climbing can be a thrilling subject for
adventurous photographers, whether you’re a

seasoned climber or new to the sport

Text & Photography By Elise Sterck

Ryan Burke “flakes” a rope after reaching
the top of a climb in El Potrero Chico,
Mexico. Ropes offer many opportunities
to create leading lines in photos.

28 Outdoor Photographer outdoorphotographer.com

outdoorphotographer.com August 2022 29



reating great climbing imagery is a challenge. Knowing where to start and how to

C go about taking photos in a complex environment may be intimidating, and it can
be difficult to successfully capture the spirit of climbing in a way that is visually
appealing. The amount of effort that goes into crafting compelling images that evoke the
adventure of the sport sometimes feels overwhelming—but that also makes it so rewarding
when everything comes together.

I’ve been climbing for almost a decade, and that has allowed me time to learn the ins
and outs of the sport and transition into photographing it. I’ve had the opportunity to create
climbing images for fun as well as commercially for clients, but even after years of practice,
I can say that there is always something to improve. This guide outlines some useful tips and
tricks I’ve learned along the way to help you get started.

Find The Right Angle limb are valued at one star each, so you’ve climbers will likely have a variety of
There are a few different ways to capture got to get all five for a five-star shot. options for you.
climbing, but one of the best methods is
ascending a fixed rope with your camera The climber’s face can give the viewer When shooting and giving direction, be
to shoot down at the climber as they scale a sense of what the climb is like and set specific about how the climber can help
a rock face. the mood for the image. If the climb is you capture the best angles. If it makes
really challenging, your climber might the image stronger, don’t be afraid to
Ascending (also known as jugging) a have an intense or focused expression, ask your subject to reach up for a hold
rope is a technique that involves a rope but if the climb is mellow, they might that they might not actually need, angle
being fixed to an anchor at the top of a appear calm and collected. Regardless, their face in a certain direction or redo a
climb so a photographer can attach them- adding an element of human emotion is move. If the climber is OK with pausing
selves via specialized gear and move up a great way to take your climbing photo mid-route, ask them to take a break at a
the rope to gain a vantage point above the up a notch. bolt while you jug further up the rope
subject they plan to photograph. The top- to get more photo opportunities higher
down angle gives the viewer a sense of The climber’s limbs in a photograph up on the climb. Creating captivating
the exposure the climber is experiencing help the viewer understand what kind of climbing photos is a team effort, so make
and is an awesome way to highlight the rock features a climber is moving over sure you’re working with your subject to
features of a route. If you flip through the if you can see both of their hands and capture the best images possible.
pages of a climbing magazine or look at feet. Including all four limbs will also
ads published by brands specializing in illustrate if the climber is stretched out Prioritize Lead Climbing Photos
rock climbing gear, it’s likely that many reaching for a hold or doing some kind As you learn more about the sport, you’ll
of the photos you see were photographed of dynamic move, which is usually more better understand the types of photo-
via this method. interesting to look at than a scrunched-up graphs that will be most interesting to
body position. It’s not always easy or other climbers. Focus on “lead climbing”
However, photos taken from the possible to fit everything in, but it’s some- instead of “top-roping.” Lead climbing
ground can often be just as powerful if thing I try to keep in mind when I’m is the more advanced and riskier climb-
the right composition is achieved. So, taking these kinds of shots. ing method as there is a higher chance
take a good look around to make sure for large falls. This will add an element
you’re choosing the best location for Posing & Direction of excitement to your photos. Top-rope
your shot. Being clear about what you want from photos can be useful for very specific sto-
the climber you’re shooting is essen- ries, like an article on someone learning
Look For Body Positions tial to creating compelling imagery. to climb, but in general, the majority of
When photographing climbing, I like to Chances are, they’ll be excited about climbing images focus on a lead climber.
tell myself that the perfect, five-star shot getting high-quality photos of themselves Photos that feature the climber above
is one that shows the climber’s face and climbing and will be more than willing their last bolt or piece of gear are espe-
all four of their limbs. The face and each to accommodate a few requests. cially exciting.

Waiting for the perfect light can be For starters, asking your subject to Find Something Unique
a powerful influence in creating a wear clothes that stand out from the rock Learning in advance what makes a climb
unique climbing photo. color will help make your photos pop. interesting will give you an idea of how to
Climbing culture celebrates brightly
colored clothing in general, so most

outdoorphotographer.com August 2022 31

photograph it. Take some generic shots, evenly diffused. If you’re shooting top- Above: Max Pramer prepares his
like photos of the climber “chalking up” down shots, direct sun can often create gear before a day of climbing in City
or clipping a bolt to complete the story, harsh shadows on the subject and the of Rocks, Idaho.
but focus most of your photography on features of the route.
what makes the climb exciting. Opposite: Photographing a climber
Playing with dramatic light tends to from the ground can offer a variety of
If you’re looking to capture something work better when shooting the climber unique compositions, including the
noteworthy about the route you’re pho- from a distance in a “big landscape, tiny addition of foreground elements.
tographing, your athlete may have some person” style shot.
insight on the nature of the climb. Perhaps
there’s an overhang that the climber will Carrying Your Gear
have to do a dramatic move to surmount, Pack your camera in a well-protected bag
a one-finger pocket that they’ll have to or case, ideally one that is specifically
hang from or a knee-bar that would make designed for camera gear and provides
for a more unique shot. Asking them ample padding. If you’re bringing gear
ahead of time where these distinctive to ascend a rope, make sure your camera
features are will help you previsualize and any additional lenses are isolated
your shots. in their own case or camera cube inside
your pack. The carabiners and ascenders
The Right Light required to jug up a rope could easily
As with other forms of photography, scratch your camera equipment if every-
planning for the right conditions is key thing is jumbled in a bag together.
to creating the perfect climbing photo.
It may seem counterintuitive to non- If you are ascending a rope, it’s best
climbing photographers, but it’s often to bring a smaller camera bag that slings
best to photograph climbers in the shade over the shoulder and gives you easy
or on an overcast day when the light is access to your gear once you’re ready to
shoot. I like to use the Wandrd ROUTE

32 Outdoor Photographer outdoorphotographer.com



chest pack, which accommodates a cam- usually choose my 16-35mm lens. This Above: Lizzy VanPatten finds a knee
era body with one attached lens and can way, I can capture the climber when bar in textured rock while climbing a
easily be slung over my shoulder as I they’re close to me but also zoom in a route in Leonidio, Greece.
work my way up a fixed rope. Some bit if they happen to be further away. On
climbing photographers ascend ropes occasion, I’ll choose a 24-70mm lens if Opposite: As demonstrated in this
with just their camera slung over their the rope I’ve ascended doesn’t bring me image of Jules Jimreivat, capturing a
shoulder via the camera’s strap, but I very close to the climber. Use your best climber in an outstretched position
wouldn’t recommend that for beginners, judgment as each climb and scenario allows the viewer to understand the
as you’re more likely to hit your cam- is unique. nature of the climb.
era on the rock face or your ascending
equipment on the way up the rope. Unless Safety
you’re very confident and proficient with Climbing is a complicated sport that
your skills ascending a rope, it’s best to can be dangerous if you use gear incor-
keep your camera safely stowed until rectly, so understanding your systems
you’re ready to use it. is of utmost importance. If you plan to
climb or ascend a rope to get photos, it’s
Another advanced technique is to bring essential to be confident in your rope
a carrying case that can accommodate skills so you can keep yourself and those
an extra lens should you want to change around you safe during the climb.
lenses. I also don’t recommend that for
beginners as switching lenses while If you’re a climber and already under-
you dangle mid-air from a rope is much stand the sport and the gear required for
harder than it sounds, and dropping a it, learning to ascend a rope likely won’t
lens is a very real possibility. For this seem too complex. However, if you
reason, it’s best to choose a zoom lens aren’t a climber, ascending ropes might
that can allow for multiple focal lengths. feel more intimidating. You’ll want to
If I’m ascending a rope, I know that I’ll make sure the person you’re learning
likely be close to the climber and will from is credible. The best option may

34 Outdoor Photographer outdoorphotographer.com





Above: Ryan Burke chases the light be to hire a rock climbing guide to show to observe climbers and how they move
on a route in City of Rocks, Idaho. you the ropes. If you do choose to invest over rock, which will help you learn what
in learning how to climb or ascend a body positions photograph well.
Opposite: Andrew Hall rope, you don’t have to be an amazing
demonstrates the value of wearing climber to capture great climbing imag- Another alternative is to go to a climb-
brightly colored clothing to stand out ery. Several of the photos in this article ing area and focus on lifestyle shots of
from the rock while climbing a route feature routes that I personally wouldn’t climbers interacting with their gear. Cap-
in Teton Canyon, Wyoming. be able to climb, but I’m still able to turing climbers flaking their ropes, put-
shoot quality images because I have an ting gear on their harnesses or chalking
understanding of how the sport works, up can be a great intro to understand-
and I know my gear well. ing how the sport works and deciding
whether you’re interested in shooting
Alternatives For Beginners more of it.
If you’d like to try climbing photography
but aren’t invested enough to go through Whether you’re a seasoned climber or
the process of learning how to climb or new to the sport, be prepared to put in a
ascend a rope, there are still ways to try lot of work to get your climbing photogra-
your hand at it. One of the best ways to phy portfolio to stand out. Both climbing
start photographing the sport is to shoot and photography take time and effort to
bouldering. master and maintain, so expect lots of
preparation, communication and practice.
Bouldering doesn’t involve the use Hopefully, keeping these tips in mind will
of a rope and typically involves much help inspire confidence and boost creativ-
shorter routes than other forms of climb- ity for your next climbing shoot. OP
ing. This makes it easy to get up close
without having to ascend a rope or climb See more of Elise Sterck’s work at
anything yourself. It’s also a great way
elisesterck.com.

outdoorphotographer.com August 2022 37

Joe Nodeland sea kayaking in, around and through the tiny
Wedge Islands not far from the Johnstone Straight near
Vancouver Island in British Columbia, Canada. I shot from a small
series of islands that we kayaked through. I convinced my fellow
kayakers to hang out while I pulled over and set up the shot,
then had them kayak through a few times to get the image.

➤ Nikon D4, AF-S NIKKOR 24-70mm F2.8G ED at 24mm.
Exposure: 1/250 sec., ƒ/5.6, ISO 400.

38 Outdoor Photographer outdoorphotographer.com

Go with

Flowthe

Tips and techniques for photographing
whitewater and sea kayaking

Text & Photography By Michael Clark

outdoorphotographer.com August 2022 39

K ayakingis at its heart a mode but kayaking skills can certainly be use- where the photographer is suspended on
of transportation, but it’s ful to gain access to areas that are other- the rope with a pulley and climbing harness
also a gateway to adventure. wise difficult to reach. I have done some using an ascender attached to the rope to
Whitewater kayaking is an adrenaline-filled, whitewater kayaking, but I would not call stay in position.An easier way to get a simi-
fast-paced sport and one of the most dan- myself a whitewater kayaker. To over- lar perspective is to rappel in just next to the
gerous adventure sports, bar none—espe- come this fact, I use my climbing and waterfall and have the kayakers launch off
cially at the highest levels. Sea kayaking isn’t backcountry skills. With some planning, the top as close to you as possible.
nearly as dangerous as whitewater kayaking, and perhaps a lot of bushwhacking, it is
but in large swells, it can certainly have some possible to get to just about any location If you can find a river with a trail or road
exciting moments. Sea kayaking is, in my along the river’s edge. next to it, then you can shoot all the rapids
experience, an epic adventure that immerses by having the kayakers wait just before the
the participant into nature like very few other Generally, the best shooting angle is at next rapid while you get into position. If
outdoor activities. river level and downriver from the rapid so the rapid is particularly good, I’ll ask the
you can shoot as the kayakers come into boaters to run laps on that section, if they
While these two forms of kayaking may and through the rapid. In some cases where are willing. It is a lot of work to get out of
seem similar, in practice, they are radically there are steep riverbanks or the river is in the boat and carry it back upriver, so I am
different. Photographing these two sports a deep canyon, another interesting angle is mindful of this fact and try to get the image
also requires unique strategies for each. to stand on the top of the ridge and shoot I want in as few runs as possible.
Here we’ll discuss the basic techniques down on the kayakers as they go through
and what’s involved when heading out a rapid. For waterfalls, I always check to The classic kayaking images are a kay-
to photograph kayaking as an adventure see if the better angle is at the base of the aker dropping over a sizeable waterfall,
sport. Let’s start with whitewater kayak- waterfall or at the top. In my experience, surfing on a static wave, “throwing ends” or
ing, as many of the same techniques will the better angle is most often from above, performing what are called “rodeo tricks,”
also work in the sea kayaking realm. but be sure to check both. and generally fighting to stay upright in
a rapid. If you have some top kayakers
Whitewater Kayaking Setting up a rope across the waterfall to and decent camera equipment, it isn’t that
You don’t have to be a kayaker to get photograph kayakers as they pass under- difficult to get solid kayaking images. The
excellent images of whitewater kayaking, neath is also an incredible angle. This is trick, as it is with all action sports, is to
generally done with a Tyrolean traverse, combine the action, light and composition

40 Outdoor Photographer outdoorphotographer.com

to capture that extraordinary moment. Work trench or valley where there isn’t a whole Above: The approach to this image
with the best kayakers you can find. Their lot of light. For these scenarios, I look for of Sebastian Johnson whitewater
skills will open up many photo opportuni- times when there isn’t any light hitting the kayaking on the Clark Fork River was
ties because they can run the more difficult background, which would totally blow very easy as this spot is in the middle
Class V rivers with big waterfalls and lots out if I was exposing for the shade, and I of downtown Missoula, Montana.
of wild rapids, which will greatly improve then use battery-powered strobes, like the I chose a slow shutter speed that
the quality of your images. Elinchrom ELB 1200, to add light. When seemed to match the velocity of
using strobes with kayaking, you’ll need the current and shot at 12 fps. With
I would recommend using a camera to be at a semi-fixed distance to keep the motion blur techniques like this, you
that shoots at a minimum of 5 fps, but 8 exposure consistent for the strobe. Shoot- must shoot a lot of images to get
fps or faster is ideal. I set my focus point ing a kayaker in a play hole or as they go one that is sharp. Out of about 800
according to where I want the kayaker (or over a waterfall is a specific example of images I captured during this session
their head) positioned in the frame, and I where strobes can be used. at slow shutter speeds, this one was
set the autofocus to track the subject and the best.
fire continuously. Once I have the camera’s Sunlight is your friend when it comes to
focus set up, I plant the autofocus point photographing whitewater kayaking. On a ➤ Nikon D810, AF-S NIKKOR
on the kayaker and blast away. With mod- cloudy day, the river looks flat, and there 24-70mm F2.8G ED at 32mm.
ern mirrorless cameras, some of the more just isn’t much life to the images. Sunlight Exposure: 1/5000 sec., ƒ/5.6, ISO 400.
advanced autofocus modes may be able to illuminates all those tiny drops of water
track the kayakers without having to plant flying around, so they really accentuate the Opposite: This image of Rafa Ortiz
theAF on them, but this may or may not be action. Even if the river doesn’t line up for whitewater kayaking on the Little
the best option depending on the camera. early- or late-afternoon light, because you White Salmon River near White
get so much reflection off the water (espe- Salmon, Washington, was created by
I coordinate the timing of the photoshoot cially in rapids where there is whitewater), rappelling into the river gorge and
with the kayakers so we can be on location the river itself acts as a giant fill light and finding a low perspective. I blasted
during the best light. If the river lines up allows you to shoot all day long. away at 8 fps to make sure I could
east-to-west with the sun, then I’ll shoot catch the height of the action.
either backlit or with frontal lighting. In The gear required for shooting white-
many cases, the river is down in a shaded water kayaking varies greatly depending ➤ Nikon Z 6, NIKKOR Z 70-200mm
f/2.8 VR S at 76mm. Exposure: 1/13
sec., ƒ/22, ISO 50.

outdoorphotographer.com August 2022 41

on the location and access. In general, a mirrorless camera body and a 70-200mm In general, you aren’t going to see many
standard kit that covers 14mm to 200mm zoom lens, in a padded camera pouch. Most “high-action” moments. When shooting sea
(equivalent) is appropriate. The need for kayaking photographers slide their camera kayaking, you will mostly be trying to com-
a 300mm or even a 400mm lens is not bag either between their legs or under their municate the experience of a sea kayaker in
uncommon, though, especially for larger knees so it is easy to access. A waterproof a landscape. That isn’t to discount images
rivers. Whitewater kayaking is about the hard case is another option, but they are so that show a sea kayaker on the ocean with no
toughest test of autofocus I have ever run heavy and bulky that you’ll have to store landscape visible, but the landscape estab-
into because the kayakers are moving ran- them in the rear of the boat, which makes lishes where the kayakers are and why they
domly at very high speeds. Because of this, access difficult. chose to venture to that location. Normally,
using the fastest autofocus available with the best images are going to be found close
top-end cameras and lenses will greatly Sea Kayaking to or on land.You’ll have a lot more freedom
increase the number of sharp images. My Sea kayaking is, for the most part, a very shooting from the shore than you will in a
main setup for kayaking is a trinity of tranquil sport mixed with occasional boat because the higher perspective helps
ƒ/2.8 lenses: a 14-24mm, 24-70mm and moments of high anxiety depending on establish the environment.
a 70-200mm, along with a camera body the location, the skill of the kayaker and
that can fire at 12 fps or faster. If I need a the conditions. This is a sport that can be a If you can find an inlet that isn’t too
bit more reach, I’ll take a 300mm ƒ/4 lens luxury cruise or a cold, windswept fight for large, it is easy enough to scout shooting
or a 100-400mm zoom lens. survival. Trying to launch or paddle into a positions on either side of it, which also
remote beach in a big swell or dealing with gives you a lot of options in terms of the
How you transport your gear depends on white caps and large waves can make for light. An island gives you the same options
the location and how much you intend to quite a bit of excitement and some seriously without as much scouting, and since you
carry, with the caveat that if you are hiking challenging shooting conditions. Add in can walk around it (if it’s a small island),
along the river, you’ll have to go lighter cold weather and water conditions requir- you’ll be able to get the lighting you want
than if you are shooting kayakers at one ing a fair bit of gear just to stay warm, and just by having your kayakers circumnavi-
specific location like a play hole. If you creating photographs could soon be low on gate it. Since you are most likely wearing a
are kayaking and carrying photo gear with your list of priorities. dry suit already, if you have a lightweight
you in the boat, I highly recommend using underwater housing, like an Outex water
a small dry bag. This will allow you to Sea kayaking is a sport that is all about housing, it is sometimes interesting to
pack one camera and one lens, like a small access to wild environments and landscapes. try shooting in the water to get a very

42 Outdoor Photographer outdoorphotographer.com

Opposite: Liam Fields dropping over
Spirit Falls while whitewater kayaking
on the Little White Salmon River near
White Salmon, Washington. To create
this image, I rappelled over the edge
of the gorge right next to Spirit Falls
and waited for the kayaker to drop
over the waterfall. I used Elinchrom
ELB 1200 battery-powered strobes
to freeze the motion and light up
the kayaker, who was in shade when
descending the waterfall.

➤ Nikon D810, AF-S NIKKOR 14-24mm
F2.8G ED at 14mm, two Elinchrom
ELB 1200 battery-powered strobes.
Exposure: 1/3200 sec., ƒ/5, ISO 400.

Right: Rush Sturges standing by as a
safety precaution as Liam Fields drops
over Spirit Falls while whitewater
kayaking on the Little White Salmon
River near White Salmon, Washington.
I walked around to the edge of the
gorge and lined up our safety kayaker
standing on the boulder and then
waited for the kayaker to drop over
the waterfall in the background. I used
Elinchrom ELB 1200 battery-powered
strobes to freeze the motion and light
up both kayakers.

➤ Nikon D810, AF-S NIKKOR 24-70mm
F2.8G ED at 66mm, two Elinchrom
ELB 1200 battery-powered strobes.
Exposure: 1/4000 sec., ƒ/5.6, ISO 800.

low perspective or, if the water is clear, awkward in a still photograph. Sea kaya- If it is at all possible to get above your
to create an over-under shot. king is no different. In general, you want subjects, you’ll be rewarded with a great
the sea kayaker to have their paddle on a view of the landscape and the kayakers.
I have found the Outex water housings diagonal, as when they are just initiating a Even better, if the water is aqua blue or
to be the best choice for sea kayaking as stroke. Anything else (aside from having emerald green, as it often is in tropical areas
they are really lightweight, and they can the paddle parallel to the water) looks a or high-altitude lakes, then your landscape
be used in a variety of situations while sea little strange. To solve this problem, you will also include the water and perhaps
kayaking. I have the Outex Large Pro kit, can either blast away with a fast continuous even some formations under the water. As
which will work with just about any cam- shooting rate or wait for the kayaker to with any adventure sport, look for those off-
era make or model and with lenses up to a initiate a stroke and catch that moment. I the-cuff moments to capture the lifestyle
70-200mm. Alternatively, a hardshell-type prefer to shoot in short bursts that catch the of sea kayaking.
surf housing, like those from Aquatech, stroke as it is initiated all the way through
will also work, but they are a lot heavier to where it looks awkward, so I am sure to With sea kayaking, the golden hour is
and take up more room in your sea kayak get the exact moment. extended because the water reflects so
than the Outex. If you plan to shoot while much light. For approximately a half-hour
sea kayaking, then having your camera in
a water housing is a great idea to protect
your camera—and placing it in a padded
chest pouch will give you quick access to it.

Another consideration when shooting
sea kayaking is the subject’s body position.
In a sense, it's similar to shooting running.
The classic running image needs to have
the runner’s legs apart at full stride. Just
about any other part of the stride looks

outdoorphotographer.com August 2022 43



before sunrise or a half-hour after sunset, Above: Team Helly Hansen Prunesco sea kayaking on the open ocean into the
Wickhand Fjord during the 2009 Wenger Patagonian Expedition Race. This image
you’ll have pink, red and golden hues of was captured from the deck of a much larger boat, which put me high enough to
show the mountainous background and the stormy seas.
light reflected by the water for spectac-
➤ Nikon D700, AF-S NIKKOR 70-200mm f/2.8E FL ED VR at 75mm. Exposure: 1/1600
ular shooting conditions. If your subject sec., ƒ/3.2, ISO 400.

is backlit, then you’ll most likely end up Opposite top: Rafa Ortiz rolling up while whitewater kayaking on the Little White
Salmon River near White Salmon, Washington. This image was created using a Ewa-
with a silhouette. In that case, it is a good Marine underwater housing and an Elinchrom ELB 1200 battery-powered strobe to
freeze the motion. We also used a powerful reflector to replicate the look of sunlight
idea to include a mountain range or some streaming through the water. The camera was submerged just under the surface of
the water, and Rafa rolled several times in the ice-cold water to help us get the shot.
landscape element in the frame as well.
➤ Nikon D810, AF NIKKOR 24mm f/2.8D, one Elinchrom ELB 1200 battery-powered
For frontal or side lighting conditions, the strobe, reflector. Exposure: 1/80 sec., ƒ/13, ISO 800.

kayaker will be lit with very soft and subtle Opposite bottom: Stephen Leavins sea kayaking in West Penobscot Bay near
Camden, Maine. For this image, I put on a wetsuit and put my camera in a water
light. In these situations, you might need housing so that I could get in the water and photograph Stephen as he came at
me. Using the pre-dawn light, I was able to create some amazing reflections as he
to crank up your camera’s ISO settings. kayaked straight toward me.

You can get away with a basic photog- ➤ Nikon D700, AF NIKKOR 24mm f/2.8D. Exposure: 1/800 sec., ƒ/5.6, ISO 400.

raphy kit similar to what we discussed for outdoorphotographer.com August 2022 45

whitewater kayaking. A lightweight and

packable camera is the best option, and

there are many small mirrorless cameras

from which to choose. A standard kit

that covers 14mm to 200mm gives you

pretty much everything you’ll need. How

much room you have in the sea kayak

will probably dictate how much camera

equipment you take. OP

See more of Michael Clark’s work at
michaelclarkphoto.com.



SurfaceBELOW THE

Taking your camera—and your creativity—for a dive into underwater photography

Text & Photography By Jon McCormack

S even-tenths of our planet is cov- are pretty much monochromatic. This mode, set my shutter speed and aperture,
ered by water. For many nature will obviously change the way you think and let my ISO float by using Auto ISO.
photographers, it’s instinctive to about making photographs, but thank- If I need to change my exposure, I use the
want to explore what images lie beneath fully, you have options. I’ll cover these exposure compensation dial to increase
the water. That intrigue set me on a in detail, but your choices are: or reduce light.
course to explore the world’s oceans.
Here’s what I’ve learned about underwa- • Staying shallow. The easiest option Focusing
ter photography along the way. is to stay in shallow water, where you When you begin taking photographs
have plenty of light and an abundance underwater, you’ll notice that autofocus
Where Did My Colors Go? of color. struggles. The deeper you go and the
When you take your camera underwater, less light you have, the worse autofocus
the first thing you’ll notice is how the • Opting for black & white. You can performs. Find that Manual Focus switch
colors change. The deeper you go, the go monochrome and completely ignore on your camera or lens and embrace it.
weirder things get because water does an the colors.
incredible job of absorbing light. Reds To manually focus underwater, I rely
start to disappear around 20 feet deep. • Using lights. Artificial illumina- on two techniques:
Yellows at 50 feet. After 100 feet, things tion can help at greater depths, but this
is where things get complicated—and • Zone focus. Setting your focal dis-
I approached this photograph as a potentially expensive. tance and aperture to cover a specific
conventional landscape, so I knew I range before you get in the water is
needed a strong foreground element Shutter Speed known as zone focusing. This works
(the anemones) and an environment Underwater, everything moves—you, well because you usually use wide-an-
to create context (the kelp forest). I the fish and the water are all moving. gle lenses for underwater photography,
made sure I had enough depth of field The perpetual movement adds up to one so you have a wide depth of field if you
for the scene and a shutter speed necessity: a higher shutter speed. Unless stop down your aperture.
fast enough to keep the swaying kelp I’m using strobes, I never go below 1/500
sharp before dialing up my lights a bit of a second. • Focus peaking. By detecting the edges
to add some pop to the foreground of highest contrast in a scene, focus peak-
and reduce the shadows. Annoyingly, your lens aperture is often ing highlights those edges, allowing you
important as well for depth of field, so my to see what’s in focus in the zone you’ve
preferred approach when using natural set up when composing your photograph.
light is to switch to Manual exposure

outdoorphotographer.com August 2022 47