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Nature and Landscape Photography, Equipment Reviews and Photo Techniques Articles by Joseph Rossbach.
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Lens Review: Nikon AF-S VR 200-400mm f/4G IF-ED
by Joseph Rossbach
The largest of Nikon's zoom lenses, the 200-400mm is built for the professional and amateur photographers for grueling field use while still delivering superior optics and super fast and responsive auto focus. Coming in at a little over $5,000 bucks this lens is well worth the price and you get far more than just superior optics for the cost. The 200-400mm is equipped with the latest in lens technology including a brilliantly responsive and accurate silent wave motor, vibration reduction, a focus lock buttons, an environmental rubber seal, and a focus memory button towards the front of the lens that will instantly recall a memorized focus point. Just recently I had a chance to put this lens to test while shooting at Chincoteague Island National Seashore. I would like to share some of the images I produced and how the lens handled the task.
I found this Double Crested Cormarat perched on a fallen tree sitting in the shallows of the small canal running the length of refuge drive. By getting low to the ground along the bank of the canal, I was able to line up a nice tight shot at 400mm of the bird. After getting my focus set, I simply locked focus using the “focus lock button” and waited for the cormorant to strike an interesting facial expression and then banging of several shots in burst mode to catch the pose.
This shot of snow geese in flight was preconceived and the Nikor 200-400mm allowed me to perfectly execute my vision. I took the lens of the tripod and set my focus on a set of birds that I had observed repeatedly landing and lifting off. I set the focus limit to ensure when the snow geese took off again the focus would not track something in the distance. I made sure to activate the VR (vibration reduction) to combat any lens shake from hand holding this beast. This image was captured at 1/15 of a second at F/8 while panning in along with their take off and is one of my favorite images from the past year.
One of the greatest features of having a super telephoto zoom lens is the ability to pull back for a wider view when shooting wildlife. While set up on the banks of this marsh shooting the great abundance of snow geese flying across the colorful sky, a Silka Deer began to cross the marsh lands. I would never have had enough time to switch lenses if I were shooting with a fixed telephoto like a 500mm to get this shot. I simply swiveled the lens around and zoomed out to 200mm and took the shot. Voila, I had the image thanks to the 200-400mm’s versatile zoom.
While exploring the small village on Chincoteague Island, I came across this scene of colorfully painted house reflected in a pool of frozen water. The Nikor 200-400mm is compatible with both the Nikon Tc-14E II and TC-20E II tele-convertors. Using the TC14E at 400mm with my Nikon D300 (DX crop sensor) it gave me an equivalent focal length of 730mm which was really allowed me reach into the scene and pick out the perfect composition without having to crop in post processing and lose image quality.
This lens with all of its capabilities also has the advantage of macro focus. At 400mm it will focus down to 6.5 feet (2 meters)! That’s ¼ life size capture. I lay down on the soft beach waiting for this piping plover to walk towards me as it was fishing along the breaking water of the beach. Activating the VR function ensured there was no chance of lens vibration and a soft image. As you can see, I was able to fill the frame with this tiny shore bird resulting in a striking image.
Once again, the long reach of the 400mm focal length in conjunction with the crop factor of my DX body and a TC-14E tele-convertor allowed me to frame this Great white Egret against a much darker background resulting in a dramatic portrait of this elegant creature. I also used the focus lock button to hold focus while waiting for the bird to strike its pose.
The silent wave motor in this lens is awesome! I wanted to produce an image that conveyed the concept of the ancient ritual of the Snow Geese following magnetic fields, seasonal patterns and moon and sun positions to navigate to their winter grounds. A crescent moon was present just after sunrise one morning and I positioned myself to record the geese as they lifted off and headed south. I simply framed the moon and waited for a flock of geese to fly through the frame. As you can see, the silent wave motor accurately and sharply focused on the geese and tracked them through a series of images. I simply picked out the nicest composition later in post processing.
In closing, I would highly recommend this lens to any photographer who is serious about creating great wildlife and natural history images. It of course would also be a great lens for sports photographers and photojournalist, but I will leave that write to someone with a bit more experience in said fields than I. Coming in at $5,000 bucks, it’s a hefty investment, but one hell of a lens and it will net you tons of super images for years and years to come.
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West Virginia's Highland Autumn Hotspots
by Joseph Rossbach
West Virginia holds a secret. Its mountains rival New England in tapestries of red, orange, gold, green and blue. And there is no other finer spot in all of West Virginia in the fall than the Monongahela National Forest. The Monongahela National Forest contains over 910,155 acres of mountains, streams, waterfalls, bogs, windswept ridges, Appalachian hollows, rustic farms, an abundance of wildlife, 510 miles of roads, 78,000 acres of designated wilderness, three designated scenic areas, 825 miles of trails and 10 wildlife management units. Are you beginning to get the picture? This is an amazing place for nature and landscape photography in any season, but in autumn it is truly awesome. From the fiery red covered heath barrens of Bear Rocks and Dolly Sods to swirling leaves in plunge pools of mighty waterfalls, this area is by far the mid-Atlantic's best kept autumn secret. Let me take you on a journey to some of the best spots in the Monongahela for classic autumn color hot spots.
Let’s start in the Potomac Highlands. The Potomac Highlands are located in the Eastern Panhandle of the state and border western Maryland and Virginia. The area boasts some of the most dramatic and scenic areas in all of West Virginia. Here are a few of my favorite spots in the Potomac Highlands.
Dolly Sods
The Dolly Sods Wilderness is the highest plateau of its type east of the Mississippi River with elevations ranging from 4,000 feet to 2,700 feet. Because of the high elevation and extreme weather this is one of the first areas in the state to change color and it usually reaches its peak in the last week of September to the first week of October. If you visit Dolly Sods you need to spend some time in the Bear Rocks Preserve which is located off of forest road 75 in the northeast section of the wilderness. This area is much more reminiscent of the Canadian Tundra with sweeping vistas and is nearly treeless. The area is covered by an extensive network of heath barrens and bogs that turn a fiery red in autumn. From the parking lot, hike out across the rock formations with grand vistas of the Alleghany Mountains for breathtaking scenic views. Bear Rocks is best at sunrise and sunset. Make sure to bring your circular polarizer to darken skies and remove any glare from wet foliage. Because you will probably be shooting many wide angle scenics, a set of graduated split neutral density filters will help in balancing the exposure. But even after the sun has set it's not quite time to pack up your equipment and head for camp. This area is far enough removed from civilization and can be a great place for nightscapes. The extremely graphic spruce trees and interesting rock formations will serve as a perfect silhouette for star trails.
Canaan Valley
The next area in the Potomac Highlands that needs to be mentioned is Canaan Valley and Blackwater Falls State Park. Canaan Valley holds yet another one-of-a-kind claim to fame that it is the highest valley east of the Mississippi River. This area is phenomenal in the fall and the color usually begins to change the first week of October and will usually peak around the second week. While in the area be sure to visit Canaan Valley State Park on a wet and overcast day. The park has some of the finest stands of woods in the area with wide open fields and meadows perfect for intimate fall color compositions.
While you’re in Canaan Valley you won’t want to miss out on Blackwater Falls State Park. The Blackwater River leaves its leisurely course in Canaan Valley as it plummets 62 feet into the rugged Blackwater Canyon. Blackwater Falls is probably the most photographed waterfall in West Virginia, and for good reason. There are essentially two locations from which you can shoot the falls. You can either walk down the boardwalk from the east side of the river to a platform at the base of the falls or access a platform on the west side of the river for arial views of the waterfall. Both are great shooting locations and offer very different views. In autumn, I prefer the western viewpoint from above the canyon as you can frame fall foliage in the shot. It's best to shoot the waterfall on a wet and overcast day, although at sunrise and sunset you can still make some very dramatic images. Make sure to use a circular polarizer to cut glare from the wet rocks and water. While in Blackwater Falls State Park you’ll want to visit a few other places in the park. Don’t pass up shooting Shays Run. You can access Shays Run from the trailhead to the left of the lodge. Hike just a few hundred feet and then climb down off trail to the base of Elakala Falls for some great waterfall shots. Approach the base of the falls were there are several plunge pools and line up swirling leaves in the lower half of the frame with Elakala spilling over in the background.
For sunrise or sunset try shooting from the Pendleton overlook. This great view looks down Blackwater Canyon and has great color in the autumn. Pendleton Overlook can also be very rewarding on an overcast day. You can line up some great long lens landscapes, picking out interesting patterns of colors and shapes in the canyon ridges.
Spruce Knob/Seneca Rocks
Heading a little further south along Rt.32 will bring you to the Spruce Knob/Seneca Rocks National Recreation Area. This is a great place to spend a few days exploring and hiking. Spruce Knob is a great sunset location as Seneca Rocks rises 900 feet above the North Fork South Branch of the Potomac River. At sunset it is possible to shoot the profile of Seneca Rock with the Potomac River in the foreground. Another great shot is a close up of the notch in Seneca Rocks with late evening light striking the Tuscarora quartzite as its turns a rust orange.
A little to the east of Seneca rocks is the trailhead for North Fork Mountain. North Fork Mountain is without a doubt one of the most scenic hikes in all of the state. Described by Backpacker Magazine as some of the “best mountain scenery in the east”, North Fork is a scenic hotspot for sure. The North Fork Mountain Trail covers 24 miles of rough terrain from Judy Gap to Rt.33 on the north end of the ridge. For the best scenic views I recommend access at the northern trailhead off of Smoketown Road near Rt.33. After about a 2.5 mile hike and very steep climb you will reach the Tuscarora Cliffs with excellent views north and south. Sunset is the best time for scenic photography and you will want to bring a head lamp, topo map and extra food and water as you will be hiking back to the trailhead in the dark.
Heading deeper into the Monongahela National Forest south of Seneca Rocks is Spruce Knob, the highest point in West Virginia at 4,836 feet. A rough and grated forest road, Forest road 112, will land you near the summit of Spruce Knob. Once on the top a hiking trail leads to spectacular scenic overlooks. Sunrise and sunset are the best times for capturing the drama on this mountain summit. After hiking past the lookout tower, head down the trail to an open rock field and stunning views to the west at sunset.
Spruce Knob Lake is manmade but should not be overlooked for its photographic potential. Its is definitely best at sunrise when cool mornings often produce a blanket of fog over the lake and surrounding meadows at first light. There is a great nature trail that walks around the lake and offers countless compositions of the autumn draped hillsides reflecting in the still waters of the lake. Don’t forget to explore and photograph the open meadows around the lake as well. They are bordered by a beautiful stand of Appalachian forest and contain hundreds of spider webs perfect for macro work.
Highland Scenic Highway
Heading down into the southern portion of the Monongahela National Forest, there is the Highland Scenic Area and Falls of Hills Creek. The Highland Scenic Highway departs from Highway 219 and travels 22.5 miles to WV55. Along the route you will encounter scenic overlooks, the Tea Creek Wilderness and Cranberry Glades. Just about 2 miles from the intersection with Highway 219 is a great view looking northeast over the mountain ridges. This is a perfect spot for sunrise and the valley bottoms often fill with fog in the late summer and autumn.
Heading further south on WV 150 (the Highland Scenic Highway) puts you into the Tea Creek watershed. This is a great spot in the early morning and late afternoon for shooting reflections and abstracts. All along the Highland Scenic Highway are pullouts and great shots of autumn foliage on overcast days.
Keep going a little further towards the southern terminus of the highway and you will reach WV55/39. At the intersection turn right and head over to Cranberry Glades. Cranberry Glades is over 750 acres of peat bogs that are reminiscent of those areas found in Canada. The bog is home to some truly unique specimens including carnivorous plants like the Pitcher Plant and Sundew. The plants in the bog turn a crimson gold in autumn and many macro opportunities await the nature photographer. Black Bears also frequent the area and can occasionally be photographed.
A bit further down the way on WV55/39 is the Falls of Hills Creek Scenic Area. Tucked away in a narrow gorge lies three waterfalls ranging from 25 feet to 65 feet. This area is a perfect day hike and the falls are best photographed either early in the morning or on a wet overcast day. Be sure to bring a telephoto lens for picking out sections of the falls and a wide angle for sweeping views of the waterfalls and surrounding forest.
West Virginia’s Monongahela National Forest is too big to cover in this article and there are countless wilderness trails, hundreds of back roads and windswept mountain ridges that beckon the adventurous photographer. Be sure to pick up a DeLorme Atlas and Gazetteer which has waterfall locations, back roads, wilderness areas, covered bridges, state parks and much, much more to guide you through the Appalachian backcountry.
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Photographing Wild Water
by Joseph Rossbach
Streams, waterfalls, cascades, and rivers are some of the most captivating and often-photographed subjects in nature. Creating powerful and interesting compositions of water is one of the most challenging, yet rewarding of photographic pursuits. Flowing water is not only one of the most beautiful elements of nature but also the most common and accessible subjects for most photographers. The following suggestions will help you to express your creative mind’s eye when shooting all forms of water.
Strive For The Right Light
Waterfalls, streams, rivers, and cascades offer foam, bubbles, and shapes that will highlight the water’s dramatic appeal. The soft light of overcast days, shade, or twilight is needed in order to accurately record water and its surrounding elements.
Essential Tools For The Job
Aside from a sturdy tripod for precise framing and camera stability, a polarizing filter is one piece of equipment you will often use when capturing moving water. Keeping in mind your subject matter and all that surrounds it, a polarizing filter will remove glare from wet rocks, the water, and foliage in the frame, producing a richly saturated image. This filter will also allow for longer shutter speeds which often necessary for a soft, foamy effect. Film users will need a warming filter for shooting in shade and at twilight in order to remove unwanted, blue color cast. Digital users, on the other hand, can combat this easily with white balance. An essential piece of equipment when capturing moving water is a cable release. A cable release allows you to lock up your shutter and trip the camera without introducing vibrations.
Use The K.I.S.S Approach
Keep it Simple Silly! Simple and direct compositions with two or three key picture elements usually create the most powerful and captivating images. Whether you are using a wide-angle or telephoto lens to frame the scene, strive to keep the composition clean. The viewers should have no question as to what the main subject is in a photograph. To make certain you have accomplished this, it is best to always remember the rule of thirds. This is particularly helpful when composing shots of streams, waterfalls and cascades, as they are often surrounded by a defined horizon or foreground. Simplicity is key. If shooting with a digital camera, be sure to check the image composition and make any changes on the spot until you feel it is right.
Incorporate Rocks, Trees, and Plants
By using the rocks, trees, plants and foliage surrounding your water subject, you will be adding dimension and depth to your photo. Pay careful attention on focusing your subjects, specifically the surrounding foliage that might move with even the slightest of breezes. This is where your unwavering patience will be necessary. You always want to capture the sharpest image possible.
“S” Curves And Diagonal Lines
When photographing streams and rivers, look for winding “S” curves and diagonal lines that will help the viewer through the image. For example, when the river comes to a sharp bend, you may want to plant your tripod just below the curve and have the river run up into the frame from one corner. Try several locations and perspectives before committing to a location so that you know what will create the most interesting composition. Again, patience is the key for setting up the shot several times before taking any actual photographs. If there is a specific focal point in the scene, be certain that the “S” curve or diagonal line you use leads the viewer’s eye directly to that target. Whether a moss-covered rock, twisted tree, or flowering plant is your focal point for the viewer, find a line of water to lead them there!
Get Your Feet Wet
Many times the best angle for streams and waterfall scenes is right in the middle of the water. Bring a sturdy pair of hiking boots (waterproof of course!) as well as a trekking pole to balance yourself when navigating across wet, slippery rocks and boulders. Chest waders are essential for cold weather when you need to go into the water for a better angle.
Watch The Sky
When shooting on overcast days, be sure to keep the white portion of the sky out of the frame. This will weaken the composition and distract the viewer from your subject matter. During the golden hours of the day and twilight, you will want to utilize a graduated neutral density filter to preserve detail in the shadows. Be certain to position the ND filter precisely as to not darken the foliage and subject matter in the shade. Use your camera’s depth-of-field preview when positioning the filter to help see where the transition accurately lines up.
Protect Yourself And Your Equipment
Whenever entering streams, creeks, and plunge pools below waterfalls, be sure to check the depth and temperature of the water before you go in. Use your tripod or trekking poles to steady yourself while slowly and deliberately entering the water. Bring along a pair of chest waders when shooting in cold weather conditions. Spray from waterfalls and foaming water will often soak the photographer as well as their equipment, so it is a good idea to bring along a small towel or large zip lock bags to help keep your equipment safe and dry. During actual shooting, make it a habit to check the front lens element for spray and water droplets. Carry along a lens cloth that is easily assessable for wiping down your lens. Assume all rocks and logs are slippery and dangerous. Using trekking poles or your tripod for support is always a good idea for protecting yourself when entering the water.
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High Dynamic Range Done Naturally - Published in Outdoor Photographer Magazine
by Joseph Rossbach
Read the article on OP's Website
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Multiples and Montages
by Joseph Rossbach
Photography is the act of recording reflected light on film or digital sensors. Photographs of the natural world, whether it be a grand landscape or intimate portrait of a butterfly, is a means of communicating our love of nature and wild places and hopefully creating a sense of awe and wonder in the viewer. A few years back, I picked up a retrospective of Georgia O’Keeffe and was so completely amazed by her simple and abstract paintings from Ghost Ranch in New Mexico. I then decided that I wanted to produce and play with the art of creating impressionistic and abstract images of the natural world. Here are a few techniques that I have learned along the way to help you photograph abstract images of trees, water, reflections or anything you point your camera at.
The Art of Observation
You can not make a photograph if you do not see it. What I mean by this is simply that a photograph as a form of art needs to be more than a simple snapshot of the landscape. Composition, light, angle, perspective and subject matter are all considerations to weigh before tripping the shutter. These rules are so very important when creating abstract imagery and impressionistic photographs. The simple curve of a line, or repeating shapes, or complimentary colors will be the key to producing stunning abstract images. When out shooting make sure to look beyond what is directly in front of you for repeating shapes such as the trunks of trees or scattering of leaves across a pool of water. The art of seeing is an act of deep contemplation and study. Explore your surroundings, sit down and take it all in and then begin to make photographs. The use of a digital camera will help you to immediately view your images and then be able to quickly make changes and re-compose or adjust your exposure.
Black-eyed Susan Montage
Creating abstract images
I currently use a Nikon D2X and D200 digital cameras. These workhorses have two key features for creating abstract images built right into the software. The Image Overlay function and Multiple Exposure function are the two main tools I employ most often when creating the bulk of my abstract images. Film shooters may create stunning multiple exposure abstracts as long as their camera offers a multiple exposure function. Almost all pro series and advanced amateur models will have this feature. With my Nikon D2X and D200 models there is an Auto Gain option which instructs the camera to automatically compensate the exposure for each frame recorded. If you are shooting with a film SLR you will have to apply the exposure calculations manually. I know what your thinking. I have to complete complicated equations in the field ! Its really not so hard. Here is the trick. I tend to shot my multiple exposure images using aperture priority (usually at f11-f22). Set your exposure compensation dial at -3 stops underexposed. This allows you to record up to 9 frames. For a double exposure overlay, where one image is focused sharp and the next de-focused slightly producing a soft dreamy effect, set the exposure at 1 stop under. For example, if your camera reads the light at 1/30th at f11 then you will want to set your shutter speed at 1/60th of a second. Its very easy to do but I would recommend bracketing your shots and keeping good notes for the your first few sessions.
Autumn Woods Pan
Go with the flow
Swirling, panning and zooming are three other techniques I like to use in creating abstract images. Panning the camera up and down for vertical subjects or left to right for horizontal subjects is a great way to produce truly impressionistic photographs. Swirling is the act of moving the camera in a semi-circle around the subject. Remember to keep your main center of interest at the same point throughout the movement. The use of a tripod and lens with a rotating tripod collar is the best setup for this technique. When creating multiple zoom images it is essential to have your camera mounted on a tripod. Remember to refocus on the subject after each zoom exposure.
Columbine Swirl
Checklist for successful abstract images
• Use a sturdy tripod
• Use a grid screen in camera for careful placement and straight horizons
• Pan your multiples in the direction of the subject
• Small movements for multiples is best
• Watch the light: Shoot in soft overcast, shade or at twilight
• Pay attention to complimentary colors
• Film shooters should always bracket their images
• Combine techniques: try putting together techniques like zooming and panning for some unreal results
Remember these golden rules and you are on your way to creating some stunning images. Last but not least, always remember to push your creative limitations. Try photograph techniques, angles or subjects you normally would not. Keep in mind, a mediocre subject will probably produce a mediocre photograph. Multiples and abstract images should not be the solution for less than ideal subject matter. This will help you to grow as a photographer and create new and fresh images for your portfolio.
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Bisti Badlands: Land of Enchanted Rock (Published in Nature Photographers Online Magazine)
by Joseph Rossbach
Read the Essay here at Nature Photographers Online Magazine
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Lens Review: Nikon 70-200mm f/2.8 VR
by Joseph Rossbach
No matter where I go or what subject I am shooting, I always have my 70-200mm in my camera bag. This is quite possibly the best mid range telephoto zoom lens Nikon has ever made. The optics are razor sharp and with the fast f/2.8 working aperture I can shoot in low light situations and handle wildlife portraits with no problem. The angle of view on a DX (crop sensor) is equivalent to 105 – 300mm focal length and of course 70-200mm on a full frame camera (35mm equivalent).
Mountain Goat Kids captured on Mount Evans, Colorado. The fast f/2.8 aperture was perfect for isolating the goats against a soft background and the silent auto focus didn’t scare them away!
Not only does the lens have superior optics, but its auto focus is quiet and precise which is priceless when capturing wildlife subjects. The front of the lens has convenient focus lock buttons which allows the photographer to lock focus on the subject. This is particularly useful for framing the subject off center or when panning for movement. The Vibration Reduction is also a great feature on this lens and allows the photographer to handhold down to 1/15 of a second without the worry of camera shake (vibration reduction will not stop action of the subject but will reduce or eliminate camera shake due to vibrations from the photographer).
Reflection on Bierstadt Lake, Rocky Mountain National Park, Colorado. After shooting sunrise at the lake, I had packed up my photo bag and was walking back to the car along the edge of the lake when I spotted these reflections. The 80-200mm was the perfect choice for zooming in a picking out the most graphic and colorful part of the scene.
Not only is the 70-200mm great for photographing wildlife, it’s also my lens of choice for picking out patterns and details in the landscape. Taking out the trash is what I call it. Too often photographers leave too much information in their shots and it is helpful to have a lens that can really pull the viewers attention to the intended subject.
Colorado Columbine and fern, Rocky Mountain National Park, Colorado. The minimum focusing distance of 1.5 meters was close enough to capture this Colorado Columbine framed amongst the ferns in the Wild Basin area.
The minimum focus distance is 5 feet (1.5 meters) which means you can get in close to many subjects for full frame views. The lens also has three convenient knobs on its side just in front of the zoom to switch from Auto Focus to Manual focus, set the focus limit on full or infinity–2.5m for precise auto focus and a switch to turn the Vibration Reduction on and off. The 70-200mm weights in at 51 oz. with the tripod collar and is a little lighter than its predecessor, the 80-200mm AF-S. It’s not the lightest lens in the Nikon family, but with superior optics, fast and quiet auto focus and built in vibration reduction it’s well worth the extra weight.
Longs Peak at sunset from Trail Ridge, Rocky Mountain National Park, Colorado. The 70-200mm was the perfect choice for this scene. I wanted to only show a small section of the tundra and really focus the viewers attention to Longs Peak and the beautiful display of color in the clouds. This lens was perfect for the job.
The 70-200mm is not only great for wildlife and patterns, but also the perfect choice for long lens landscape photography. The built in tripod collar allows you to switch from horizontal to vertical format in a cinch. My tests conclude that the 70-200mm gives the best resolution between f8 and f f14 which makes it perfect for rendering the grand landscape in absolute tack sharp relief. You will of course need to have the lens mounted on a sturdy tripod to make sure there is no camera shake or vibration when shooting landscape images, especially in the low light of sunrise or sunset. Also when the camera is mounted on a tripod it is essential to turn off the vibration reduction.
Detail of Glacier Creek, Glacier Gorge, Rocky Mountain National Park, Colorado. Just focusing in on the cascades in contrast to the fallen trees was important and the 70-200mm did a great job at 180mm of picking out the details I wanted to include in the shot and nothing else.
The 70-200mm is a main stay in the camera bag and I will sacrifice my own personal comfort to have this lens with me at all times, whether I am working out of the car or hiking many miles into the back country.
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Lens Review: Nikon AF-S VR 200-400mm f/4G IF-ED
by Joseph Rossbach
The largest of Nikon's zoom lenses, the 200-400mm is built for the professional and amateur photographers for grueling field use while still delivering superior optics and super fast and responsive auto focus. Coming in at a little over $5,000 bucks this lens is well worth the price and you get far more than just superior optics for the cost. The 200-400mm is equipped with the latest in lens technology including a brilliantly responsive and accurate silent wave motor, vibration reduction, a focus lock buttons, an environmental rubber seal, and a focus memory button towards the front of the lens that will instantly recall a memorized focus point. Just recently I had a chance to put this lens to test while shooting at Chincoteague Island National Seashore. I would like to share some of the images I produced and how the lens handled the task.
I found this Double Crested Cormarat perched on a fallen tree sitting in the shallows of the small canal running the length of refuge drive. By getting low to the ground along the bank of the canal, I was able to line up a nice tight shot at 400mm of the bird. After getting my focus set, I simply locked focus using the “focus lock button” and waited for the cormorant to strike an interesting facial expression and then banging of several shots in burst mode to catch the pose.
This shot of snow geese in flight was preconceived and the Nikor 200-400mm allowed me to perfectly execute my vision. I took the lens of the tripod and set my focus on a set of birds that I had observed repeatedly landing and lifting off. I set the focus limit to ensure when the snow geese took off again the focus would not track something in the distance. I made sure to activate the VR (vibration reduction) to combat any lens shake from hand holding this beast. This image was captured at 1/15 of a second at F/8 while panning in along with their take off and is one of my favorite images from the past year.
One of the greatest features of having a super telephoto zoom lens is the ability to pull back for a wider view when shooting wildlife. While set up on the banks of this marsh shooting the great abundance of snow geese flying across the colorful sky, a Silka Deer began to cross the marsh lands. I would never have had enough time to switch lenses if I were shooting with a fixed telephoto like a 500mm to get this shot. I simply swiveled the lens around and zoomed out to 200mm and took the shot. Voila, I had the image thanks to the 200-400mm’s versatile zoom.
While exploring the small village on Chincoteague Island, I came across this scene of colorfully painted house reflected in a pool of frozen water. The Nikor 200-400mm is compatible with both the Nikon Tc-14E II and TC-20E II tele-convertors. Using the TC14E at 400mm with my Nikon D300 (DX crop sensor) it gave me an equivalent focal length of 730mm which was really allowed me reach into the scene and pick out the perfect composition without having to crop in post processing and lose image quality.
This lens with all of its capabilities also has the advantage of macro focus. At 400mm it will focus down to 6.5 feet (2 meters)! That’s ¼ life size capture. I lay down on the soft beach waiting for this piping plover to walk towards me as it was fishing along the breaking water of the beach. Activating the VR function ensured there was no chance of lens vibration and a soft image. As you can see, I was able to fill the frame with this tiny shore bird resulting in a striking image.
Once again, the long reach of the 400mm focal length in conjunction with the crop factor of my DX body and a TC-14E tele-convertor allowed me to frame this Great white Egret against a much darker background resulting in a dramatic portrait of this elegant creature. I also used the focus lock button to hold focus while waiting for the bird to strike its pose.
The silent wave motor in this lens is awesome! I wanted to produce an image that conveyed the concept of the ancient ritual of the Snow Geese following magnetic fields, seasonal patterns and moon and sun positions to navigate to their winter grounds. A crescent moon was present just after sunrise one morning and I positioned myself to record the geese as they lifted off and headed south. I simply framed the moon and waited for a flock of geese to fly through the frame. As you can see, the silent wave motor accurately and sharply focused on the geese and tracked them through a series of images. I simply picked out the nicest composition later in post processing.
In closing, I would highly recommend this lens to any photographer who is serious about creating great wildlife and natural history images. It of course would also be a great lens for sports photographers and photojournalist, but I will leave that write to someone with a bit more experience in said fields than I. Coming in at $5,000 bucks, it’s a hefty investment, but one hell of a lens and it will net you tons of super images for years and years to come.
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West Virginia's Highland Autumn Hotspots
by Joseph Rossbach
West Virginia holds a secret. Its mountains rival New England in tapestries of red, orange, gold, green and blue. And there is no other finer spot in all of West Virginia in the fall than the Monongahela National Forest. The Monongahela National Forest contains over 910,155 acres of mountains, streams, waterfalls, bogs, windswept ridges, Appalachian hollows, rustic farms, an abundance of wildlife, 510 miles of roads, 78,000 acres of designated wilderness, three designated scenic areas, 825 miles of trails and 10 wildlife management units. Are you beginning to get the picture? This is an amazing place for nature and landscape photography in any season, but in autumn it is truly awesome. From the fiery red covered heath barrens of Bear Rocks and Dolly Sods to swirling leaves in plunge pools of mighty waterfalls, this area is by far the mid-Atlantic's best kept autumn secret. Let me take you on a journey to some of the best spots in the Monongahela for classic autumn color hot spots.
Let’s start in the Potomac Highlands. The Potomac Highlands are located in the Eastern Panhandle of the state and border western Maryland and Virginia. The area boasts some of the most dramatic and scenic areas in all of West Virginia. Here are a few of my favorite spots in the Potomac Highlands.
Dolly Sods
The Dolly Sods Wilderness is the highest plateau of its type east of the Mississippi River with elevations ranging from 4,000 feet to 2,700 feet. Because of the high elevation and extreme weather this is one of the first areas in the state to change color and it usually reaches its peak in the last week of September to the first week of October. If you visit Dolly Sods you need to spend some time in the Bear Rocks Preserve which is located off of forest road 75 in the northeast section of the wilderness. This area is much more reminiscent of the Canadian Tundra with sweeping vistas and is nearly treeless. The area is covered by an extensive network of heath barrens and bogs that turn a fiery red in autumn. From the parking lot, hike out across the rock formations with grand vistas of the Alleghany Mountains for breathtaking scenic views. Bear Rocks is best at sunrise and sunset. Make sure to bring your circular polarizer to darken skies and remove any glare from wet foliage. Because you will probably be shooting many wide angle scenics, a set of graduated split neutral density filters will help in balancing the exposure. But even after the sun has set it's not quite time to pack up your equipment and head for camp. This area is far enough removed from civilization and can be a great place for nightscapes. The extremely graphic spruce trees and interesting rock formations will serve as a perfect silhouette for star trails.
Canaan Valley
The next area in the Potomac Highlands that needs to be mentioned is Canaan Valley and Blackwater Falls State Park. Canaan Valley holds yet another one-of-a-kind claim to fame that it is the highest valley east of the Mississippi River. This area is phenomenal in the fall and the color usually begins to change the first week of October and will usually peak around the second week. While in the area be sure to visit Canaan Valley State Park on a wet and overcast day. The park has some of the finest stands of woods in the area with wide open fields and meadows perfect for intimate fall color compositions.
While you’re in Canaan Valley you won’t want to miss out on Blackwater Falls State Park. The Blackwater River leaves its leisurely course in Canaan Valley as it plummets 62 feet into the rugged Blackwater Canyon. Blackwater Falls is probably the most photographed waterfall in West Virginia, and for good reason. There are essentially two locations from which you can shoot the falls. You can either walk down the boardwalk from the east side of the river to a platform at the base of the falls or access a platform on the west side of the river for arial views of the waterfall. Both are great shooting locations and offer very different views. In autumn, I prefer the western viewpoint from above the canyon as you can frame fall foliage in the shot. It's best to shoot the waterfall on a wet and overcast day, although at sunrise and sunset you can still make some very dramatic images. Make sure to use a circular polarizer to cut glare from the wet rocks and water. While in Blackwater Falls State Park you’ll want to visit a few other places in the park. Don’t pass up shooting Shays Run. You can access Shays Run from the trailhead to the left of the lodge. Hike just a few hundred feet and then climb down off trail to the base of Elakala Falls for some great waterfall shots. Approach the base of the falls were there are several plunge pools and line up swirling leaves in the lower half of the frame with Elakala spilling over in the background.
For sunrise or sunset try shooting from the Pendleton overlook. This great view looks down Blackwater Canyon and has great color in the autumn. Pendleton Overlook can also be very rewarding on an overcast day. You can line up some great long lens landscapes, picking out interesting patterns of colors and shapes in the canyon ridges.
Spruce Knob/Seneca Rocks
Heading a little further south along Rt.32 will bring you to the Spruce Knob/Seneca Rocks National Recreation Area. This is a great place to spend a few days exploring and hiking. Spruce Knob is a great sunset location as Seneca Rocks rises 900 feet above the North Fork South Branch of the Potomac River. At sunset it is possible to shoot the profile of Seneca Rock with the Potomac River in the foreground. Another great shot is a close up of the notch in Seneca Rocks with late evening light striking the Tuscarora quartzite as its turns a rust orange.
A little to the east of Seneca rocks is the trailhead for North Fork Mountain. North Fork Mountain is without a doubt one of the most scenic hikes in all of the state. Described by Backpacker Magazine as some of the “best mountain scenery in the east”, North Fork is a scenic hotspot for sure. The North Fork Mountain Trail covers 24 miles of rough terrain from Judy Gap to Rt.33 on the north end of the ridge. For the best scenic views I recommend access at the northern trailhead off of Smoketown Road near Rt.33. After about a 2.5 mile hike and very steep climb you will reach the Tuscarora Cliffs with excellent views north and south. Sunset is the best time for scenic photography and you will want to bring a head lamp, topo map and extra food and water as you will be hiking back to the trailhead in the dark.
Heading deeper into the Monongahela National Forest south of Seneca Rocks is Spruce Knob, the highest point in West Virginia at 4,836 feet. A rough and grated forest road, Forest road 112, will land you near the summit of Spruce Knob. Once on the top a hiking trail leads to spectacular scenic overlooks. Sunrise and sunset are the best times for capturing the drama on this mountain summit. After hiking past the lookout tower, head down the trail to an open rock field and stunning views to the west at sunset.
Spruce Knob Lake is manmade but should not be overlooked for its photographic potential. Its is definitely best at sunrise when cool mornings often produce a blanket of fog over the lake and surrounding meadows at first light. There is a great nature trail that walks around the lake and offers countless compositions of the autumn draped hillsides reflecting in the still waters of the lake. Don’t forget to explore and photograph the open meadows around the lake as well. They are bordered by a beautiful stand of Appalachian forest and contain hundreds of spider webs perfect for macro work.
Highland Scenic Highway
Heading down into the southern portion of the Monongahela National Forest, there is the Highland Scenic Area and Falls of Hills Creek. The Highland Scenic Highway departs from Highway 219 and travels 22.5 miles to WV55. Along the route you will encounter scenic overlooks, the Tea Creek Wilderness and Cranberry Glades. Just about 2 miles from the intersection with Highway 219 is a great view looking northeast over the mountain ridges. This is a perfect spot for sunrise and the valley bottoms often fill with fog in the late summer and autumn.
Heading further south on WV 150 (the Highland Scenic Highway) puts you into the Tea Creek watershed. This is a great spot in the early morning and late afternoon for shooting reflections and abstracts. All along the Highland Scenic Highway are pullouts and great shots of autumn foliage on overcast days.
Keep going a little further towards the southern terminus of the highway and you will reach WV55/39. At the intersection turn right and head over to Cranberry Glades. Cranberry Glades is over 750 acres of peat bogs that are reminiscent of those areas found in Canada. The bog is home to some truly unique specimens including carnivorous plants like the Pitcher Plant and Sundew. The plants in the bog turn a crimson gold in autumn and many macro opportunities await the nature photographer. Black Bears also frequent the area and can occasionally be photographed.
A bit further down the way on WV55/39 is the Falls of Hills Creek Scenic Area. Tucked away in a narrow gorge lies three waterfalls ranging from 25 feet to 65 feet. This area is a perfect day hike and the falls are best photographed either early in the morning or on a wet overcast day. Be sure to bring a telephoto lens for picking out sections of the falls and a wide angle for sweeping views of the waterfalls and surrounding forest.
West Virginia’s Monongahela National Forest is too big to cover in this article and there are countless wilderness trails, hundreds of back roads and windswept mountain ridges that beckon the adventurous photographer. Be sure to pick up a DeLorme Atlas and Gazetteer which has waterfall locations, back roads, wilderness areas, covered bridges, state parks and much, much more to guide you through the Appalachian backcountry.
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Photographing Wild Water
by Joseph Rossbach
Streams, waterfalls, cascades, and rivers are some of the most captivating and often-photographed subjects in nature. Creating powerful and interesting compositions of water is one of the most challenging, yet rewarding of photographic pursuits. Flowing water is not only one of the most beautiful elements of nature but also the most common and accessible subjects for most photographers. The following suggestions will help you to express your creative mind’s eye when shooting all forms of water.
Strive For The Right Light
Waterfalls, streams, rivers, and cascades offer foam, bubbles, and shapes that will highlight the water’s dramatic appeal. The soft light of overcast days, shade, or twilight is needed in order to accurately record water and its surrounding elements.
Essential Tools For The Job
Aside from a sturdy tripod for precise framing and camera stability, a polarizing filter is one piece of equipment you will often use when capturing moving water. Keeping in mind your subject matter and all that surrounds it, a polarizing filter will remove glare from wet rocks, the water, and foliage in the frame, producing a richly saturated image. This filter will also allow for longer shutter speeds which often necessary for a soft, foamy effect. Film users will need a warming filter for shooting in shade and at twilight in order to remove unwanted, blue color cast. Digital users, on the other hand, can combat this easily with white balance. An essential piece of equipment when capturing moving water is a cable release. A cable release allows you to lock up your shutter and trip the camera without introducing vibrations.
Use The K.I.S.S Approach
Keep it Simple Silly! Simple and direct compositions with two or three key picture elements usually create the most powerful and captivating images. Whether you are using a wide-angle or telephoto lens to frame the scene, strive to keep the composition clean. The viewers should have no question as to what the main subject is in a photograph. To make certain you have accomplished this, it is best to always remember the rule of thirds. This is particularly helpful when composing shots of streams, waterfalls and cascades, as they are often surrounded by a defined horizon or foreground. Simplicity is key. If shooting with a digital camera, be sure to check the image composition and make any changes on the spot until you feel it is right.
Incorporate Rocks, Trees, and Plants
By using the rocks, trees, plants and foliage surrounding your water subject, you will be adding dimension and depth to your photo. Pay careful attention on focusing your subjects, specifically the surrounding foliage that might move with even the slightest of breezes. This is where your unwavering patience will be necessary. You always want to capture the sharpest image possible.
“S” Curves And Diagonal Lines
When photographing streams and rivers, look for winding “S” curves and diagonal lines that will help the viewer through the image. For example, when the river comes to a sharp bend, you may want to plant your tripod just below the curve and have the river run up into the frame from one corner. Try several locations and perspectives before committing to a location so that you know what will create the most interesting composition. Again, patience is the key for setting up the shot several times before taking any actual photographs. If there is a specific focal point in the scene, be certain that the “S” curve or diagonal line you use leads the viewer’s eye directly to that target. Whether a moss-covered rock, twisted tree, or flowering plant is your focal point for the viewer, find a line of water to lead them there!
Get Your Feet Wet
Many times the best angle for streams and waterfall scenes is right in the middle of the water. Bring a sturdy pair of hiking boots (waterproof of course!) as well as a trekking pole to balance yourself when navigating across wet, slippery rocks and boulders. Chest waders are essential for cold weather when you need to go into the water for a better angle.
Watch The Sky
When shooting on overcast days, be sure to keep the white portion of the sky out of the frame. This will weaken the composition and distract the viewer from your subject matter. During the golden hours of the day and twilight, you will want to utilize a graduated neutral density filter to preserve detail in the shadows. Be certain to position the ND filter precisely as to not darken the foliage and subject matter in the shade. Use your camera’s depth-of-field preview when positioning the filter to help see where the transition accurately lines up.
Protect Yourself And Your Equipment
Whenever entering streams, creeks, and plunge pools below waterfalls, be sure to check the depth and temperature of the water before you go in. Use your tripod or trekking poles to steady yourself while slowly and deliberately entering the water. Bring along a pair of chest waders when shooting in cold weather conditions. Spray from waterfalls and foaming water will often soak the photographer as well as their equipment, so it is a good idea to bring along a small towel or large zip lock bags to help keep your equipment safe and dry. During actual shooting, make it a habit to check the front lens element for spray and water droplets. Carry along a lens cloth that is easily assessable for wiping down your lens. Assume all rocks and logs are slippery and dangerous. Using trekking poles or your tripod for support is always a good idea for protecting yourself when entering the water.
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High Dynamic Range Done Naturally - Published in Outdoor Photographer Magazine
by Joseph Rossbach
Read the article on OP's Website
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Multiples and Montages
by Joseph Rossbach
Photography is the act of recording reflected light on film or digital sensors. Photographs of the natural world, whether it be a grand landscape or intimate portrait of a butterfly, is a means of communicating our love of nature and wild places and hopefully creating a sense of awe and wonder in the viewer. A few years back, I picked up a retrospective of Georgia O’Keeffe and was so completely amazed by her simple and abstract paintings from Ghost Ranch in New Mexico. I then decided that I wanted to produce and play with the art of creating impressionistic and abstract images of the natural world. Here are a few techniques that I have learned along the way to help you photograph abstract images of trees, water, reflections or anything you point your camera at.
The Art of Observation
You can not make a photograph if you do not see it. What I mean by this is simply that a photograph as a form of art needs to be more than a simple snapshot of the landscape. Composition, light, angle, perspective and subject matter are all considerations to weigh before tripping the shutter. These rules are so very important when creating abstract imagery and impressionistic photographs. The simple curve of a line, or repeating shapes, or complimentary colors will be the key to producing stunning abstract images. When out shooting make sure to look beyond what is directly in front of you for repeating shapes such as the trunks of trees or scattering of leaves across a pool of water. The art of seeing is an act of deep contemplation and study. Explore your surroundings, sit down and take it all in and then begin to make photographs. The use of a digital camera will help you to immediately view your images and then be able to quickly make changes and re-compose or adjust your exposure.
Black-eyed Susan Montage
Creating abstract images
I currently use a Nikon D2X and D200 digital cameras. These workhorses have two key features for creating abstract images built right into the software. The Image Overlay function and Multiple Exposure function are the two main tools I employ most often when creating the bulk of my abstract images. Film shooters may create stunning multiple exposure abstracts as long as their camera offers a multiple exposure function. Almost all pro series and advanced amateur models will have this feature. With my Nikon D2X and D200 models there is an Auto Gain option which instructs the camera to automatically compensate the exposure for each frame recorded. If you are shooting with a film SLR you will have to apply the exposure calculations manually. I know what your thinking. I have to complete complicated equations in the field ! Its really not so hard. Here is the trick. I tend to shot my multiple exposure images using aperture priority (usually at f11-f22). Set your exposure compensation dial at -3 stops underexposed. This allows you to record up to 9 frames. For a double exposure overlay, where one image is focused sharp and the next de-focused slightly producing a soft dreamy effect, set the exposure at 1 stop under. For example, if your camera reads the light at 1/30th at f11 then you will want to set your shutter speed at 1/60th of a second. Its very easy to do but I would recommend bracketing your shots and keeping good notes for the your first few sessions.
Autumn Woods Pan
Go with the flow
Swirling, panning and zooming are three other techniques I like to use in creating abstract images. Panning the camera up and down for vertical subjects or left to right for horizontal subjects is a great way to produce truly impressionistic photographs. Swirling is the act of moving the camera in a semi-circle around the subject. Remember to keep your main center of interest at the same point throughout the movement. The use of a tripod and lens with a rotating tripod collar is the best setup for this technique. When creating multiple zoom images it is essential to have your camera mounted on a tripod. Remember to refocus on the subject after each zoom exposure.
Columbine Swirl
Checklist for successful abstract images
• Use a sturdy tripod
• Use a grid screen in camera for careful placement and straight horizons
• Pan your multiples in the direction of the subject
• Small movements for multiples is best
• Watch the light: Shoot in soft overcast, shade or at twilight
• Pay attention to complimentary colors
• Film shooters should always bracket their images
• Combine techniques: try putting together techniques like zooming and panning for some unreal results
Remember these golden rules and you are on your way to creating some stunning images. Last but not least, always remember to push your creative limitations. Try photograph techniques, angles or subjects you normally would not. Keep in mind, a mediocre subject will probably produce a mediocre photograph. Multiples and abstract images should not be the solution for less than ideal subject matter. This will help you to grow as a photographer and create new and fresh images for your portfolio.
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Bisti Badlands: Land of Enchanted Rock (Published in Nature Photographers Online Magazine)
by Joseph Rossbach
Read the Essay here at Nature Photographers Online Magazine
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Lens Review: Nikon 70-200mm f/2.8 VR
by Joseph Rossbach
No matter where I go or what subject I am shooting, I always have my 70-200mm in my camera bag. This is quite possibly the best mid range telephoto zoom lens Nikon has ever made. The optics are razor sharp and with the fast f/2.8 working aperture I can shoot in low light situations and handle wildlife portraits with no problem. The angle of view on a DX (crop sensor) is equivalent to 105 – 300mm focal length and of course 70-200mm on a full frame camera (35mm equivalent).
Mountain Goat Kids captured on Mount Evans, Colorado. The fast f/2.8 aperture was perfect for isolating the goats against a soft background and the silent auto focus didn’t scare them away!
Not only does the lens have superior optics, but its auto focus is quiet and precise which is priceless when capturing wildlife subjects. The front of the lens has convenient focus lock buttons which allows the photographer to lock focus on the subject. This is particularly useful for framing the subject off center or when panning for movement. The Vibration Reduction is also a great feature on this lens and allows the photographer to handhold down to 1/15 of a second without the worry of camera shake (vibration reduction will not stop action of the subject but will reduce or eliminate camera shake due to vibrations from the photographer).
Reflection on Bierstadt Lake, Rocky Mountain National Park, Colorado. After shooting sunrise at the lake, I had packed up my photo bag and was walking back to the car along the edge of the lake when I spotted these reflections. The 80-200mm was the perfect choice for zooming in a picking out the most graphic and colorful part of the scene.
Not only is the 70-200mm great for photographing wildlife, it’s also my lens of choice for picking out patterns and details in the landscape. Taking out the trash is what I call it. Too often photographers leave too much information in their shots and it is helpful to have a lens that can really pull the viewers attention to the intended subject.
Colorado Columbine and fern, Rocky Mountain National Park, Colorado. The minimum focusing distance of 1.5 meters was close enough to capture this Colorado Columbine framed amongst the ferns in the Wild Basin area.
The minimum focus distance is 5 feet (1.5 meters) which means you can get in close to many subjects for full frame views. The lens also has three convenient knobs on its side just in front of the zoom to switch from Auto Focus to Manual focus, set the focus limit on full or infinity–2.5m for precise auto focus and a switch to turn the Vibration Reduction on and off. The 70-200mm weights in at 51 oz. with the tripod collar and is a little lighter than its predecessor, the 80-200mm AF-S. It’s not the lightest lens in the Nikon family, but with superior optics, fast and quiet auto focus and built in vibration reduction it’s well worth the extra weight.
Longs Peak at sunset from Trail Ridge, Rocky Mountain National Park, Colorado. The 70-200mm was the perfect choice for this scene. I wanted to only show a small section of the tundra and really focus the viewers attention to Longs Peak and the beautiful display of color in the clouds. This lens was perfect for the job.
The 70-200mm is not only great for wildlife and patterns, but also the perfect choice for long lens landscape photography. The built in tripod collar allows you to switch from horizontal to vertical format in a cinch. My tests conclude that the 70-200mm gives the best resolution between f8 and f f14 which makes it perfect for rendering the grand landscape in absolute tack sharp relief. You will of course need to have the lens mounted on a sturdy tripod to make sure there is no camera shake or vibration when shooting landscape images, especially in the low light of sunrise or sunset. Also when the camera is mounted on a tripod it is essential to turn off the vibration reduction.
Detail of Glacier Creek, Glacier Gorge, Rocky Mountain National Park, Colorado. Just focusing in on the cascades in contrast to the fallen trees was important and the 70-200mm did a great job at 180mm of picking out the details I wanted to include in the shot and nothing else.
The 70-200mm is a main stay in the camera bag and I will sacrifice my own personal comfort to have this lens with me at all times, whether I am working out of the car or hiking many miles into the back country.
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