Okarito Weekend Part 3 - White Heron

Last post I wrote how my main objective of my photography weekend to Okarito was to capture images of the iconic Boat Shed. But there is something else that is also iconic and has become synonymous with the Okarito Lagoon - the Kotuku (White Heron).

The lagoon is a breeding ground for the White Heron, so it has become a very popular tourist attraction. I was hoping that I could take my Sigma 75-500mm lens for a spin and capture some useable images of these magnificent birds, since this is something else that I don't really have in my image library.

Kotuku stretching. Sony A100 with Sigma 75-500

Saturday was a no-go, and I didn't really get to see any Heron up close. Stewart and I kayaked out into the lagoon but the cloud cover came over and made it less that ideal. They also don't really let you get too close when you're on their 'turf', and I came away disappointed.

But on Sunday morning, as we were shooting the Boat Shed, I noticed a Heron fly overhead and settle on the edge of the lagoon to feed. I took my opportunity, put the Sigma 75-500mm lens on a monopod, and went over to see if I could take some half-decent bird photos.

Heron Feeding. Sony A100 with Sigma 75-500mm on f8 @ 2000th

I'm not much of a bird photographer - by my own admission. I don't have the patience, the skill, or the gear to really pull it off. But most of all, I don't really have the passion for it. I enjoy taking a great bird photo if I happen to get 'lucky' and I'm at the right place at the right time, but I don't go looking for it.

Yet having said all that, when I found myself at Okarito with a White Heron in my sights and a 75-500mm attached to the camera, I'd be lying if I said the adrenaline didn't start pumping and the hopes were high for a great shot!

Heron Feeding 2. Sony A100 with Sigma 75-500mm on f11 @ 2000th

Did I get a great shot? No - I don't think I did. But I did have fun. And I learnt a thing or two about using the 75-500mm Sigma. First, the monopod was a very good idea. I left 'Steady Shot' on the A100 'On', since there was obviously still some movement happening even though it was on a monopod. I bumped the ISO up as much as I dared (ISO800), and also made sure the aperture was enough to give me an overall sharp image. I started at f8, then moved to f11 as the light got even brighter. Checking the final images (I shot about 300), the ones shot at f11 are noticeably sharper than those taken at f8. Guess I know where the lenses 'sweet spot' is now :-)

Heron Feeding 3. Sony A100 with Sigma 75-500mm on f11 @ 2500th

The four shots here are my 'keepers' from over 300 taken on the morning. Probably not a very high 'hit' rate, and I'm not really in love with any of them (except perhaps the first image, although at f8 it's not as tack sharp as I would like). I suppose that means I know what I'll be doing again next year?

Bird photography - or should I say 'great' bird photography, is hard. Really hard. But I knew that. Before going back to okarito next year I think I'll brush up on my bird photography skills down at a local lagoon. We occasionally get Heron there too, so who knows. Perhaps there's hope for me yet?

Okarito Weekend Part 2 - The Boat Shed

One of the main reasons I was desperate to get back down to Okarito was to capture the iconic Boat Shed - perhaps the most photogenic building on the West Coast.

Okarito Boat Shed. Sony A100 with Minolta 16mm on f8 @ 250th

I had tried, and failed, to capture this building only once before (a few years earlier ) but had unfortunately come back with blurred images when I foolishly decided to hand-hold in low light. I was determined not to make the same mistake again, so had bought along my heaviest tripod and a monopod, just in case. Ironically I needed neither, as sunrise at 6.30 in november gave us enough light to hand-hold comfortably (go figure).

Okarito Boat Shed Sunrise. Sony A100 with Minolta 16mm on f8 @ 160th

The Boat Shed (now an information shed) sits on the lagoon and can be shot from various angles depending on the tide and time of year. We were fortunate in that this year there hasn't been a big variance in tidal movement, so the building was approachable at all times of the day. We were also fortunate with some beautiful sunrise/early morning light on both mornings we were there.

Since it is such an iconic building, and has been shot by so many photographers, I wanted to try something 'different' for a few of my images.  I borrowed Stew's 16mm fisheye to shoot with on the first morning and even though the 'crop' factor on the A100 meant that it was really a 24mm lens, shooting straight on to the building also produced a slight 'fisheye' effect.

Boatshed Sunrise, Okarito. Sony A100 with Minolta 24-105mm on f8 @ 160th

Moving around the edge of the lagoon as the sun rose gave a completely different perspective on the boat shed, lit by the sunrise against the dark surroundings. By this time I had switched to the Minolta 24-105mm so I could use the zoom range on the lens, since I was standing on the edge of the lagoon and couldn't 'zoom' with my feet. Same morning, same light, but completely different feel to the image.

Boatshed Sunrise 2. Sony A100 with Zeiss 24-70mm on f8 @ 400th

We came back on the Sunday morning for sunrise again, so this time instead of going to the left of the building, I went to the right. I had also managed to grab Stew's Zeiss 24-70mm f2.8 'monster' lens - and boy is it a beauty! But boy is it heavy! After half an hour of shooting with the Zeiss attached to the A100 I knew I'd taken a few photos. But of course, the image quality speaks for itself and I'd quite happily carry that lens around if it meant coming back with superb images.

Having said that, I did experience a few 'glitches' with the Zeiss where it would 'lock up' on the A100 and not allow me to take any photos until I wiggled the lens mount? But I'm fairly sure this was just a couple of dirty contacts and nothing that wouldn't come right with a good clean.

I obviously took a lot more photos of the Okarito Boat Shed than I've shown here - but these are indicative - and I'm very happy with the images I managed to come away with of this beautiful building. I will be back next year, and can only hope for more of the same beautiful weather next time.

Okarito Weekend

My family belong to the Cobden Anglican Church, and every year some of the men from the church go away to Okarito for a weekend retreat. I haven't been for a few years and don't have many good photos from that part of the coast, so I was very keen to go this year.

Okarito is a very small settlement about 2 hours from Hokitika, heading down the south of the coast towards the glaciers. Not many people live there, but it's a tourist destination for its beautiful surroundings and its fishing, tramping, kayaking and white heron sanctuary (more on the herons in a later post).

I'm not really big on any of the above, but of course the big draw-card for me is a weekend of photography. A whole weekend just devoted to photography! Absolute luxury.

'Coffee anybody'?   Sony A100 with Sigma 17-35mm on f11 @ 1000th

The village itself has a quirky yet timeless feel to it where you could be forgiven for thinking you've stepped back in time 50 or 60 years. I was prepared for a rainy weekend (I took a really good, thick book with me) since we have had a really wet, miserable October - but I was silently hoping for beautiful weather - and lots of photography! I'm very please to report that I wasn't disappointed and the book remained largely untouched.

'500's Showdown'   Sony A100 with Minolta 24-105mm on f5.6 @ 1/5th sec

When the sun went down and we were finished for the day, the cards came out. Game of choice - 500's. I picked it up over the course of the weekend, and even had a game or two myself towards the end, but I'm still not really a 'cards' lover. I don't want to labour the point, but what I really came for was the photography (and fellowship - of course), which meant early rises and late evenings. And since the weather was on our side, the 6.00am starts and 9.00pm finishes were definitely worth it!

'Abandoned Old Bedford'  Sony A100 with Sigma 17-35mm on f8 @ 160th

I took a Sony A100 'loan' camera (thanks Stew), with a Minolta 35-70mm, 100-200mm and Sigma 75-500mm (as well as tripod, monopod, batteries, cards, charger etc). I was out to get some great landscape shots, but I also knew that there might be some White Heron photography in their somewhere as well. I was also traveling up and back with Stewart Nimmo (thanks again Stew), our local pro photographer - who also happens to be a Sony shooter. So I was excited to try out a few of his lenses over the weekend as well.

'Rob'  Sony A100 with Sigma 75-500mm on f11 @ 1000th

I went out in the mornings with a wide-ish angle lens on the camera - either a Sigma 17-35mm or a Minolta 24-105mm, to capture the sunrise and landscape. But on the Sunday morning I also wondered around with the 75-500mm on a monopod and got some great portraits. At f11 sharpness was good, while working at the telephoto end still gave me reasonably shallow depth of field. This photo of Rob was one of my favorite from the morning.

'Okarito Mens Weekend'  Sony A100 with Sigma 17-35mm on f11 @ 125th

We all had a fantastic time over the weekend: fishing, kayaking, whitebaiting, walking, reading, playing cards and, of course, taking photos. Trout was caught, whitebait was eaten for breakfast, lots of chocolate and coffee was consumed - and amazing photos were taken! I will blog in stages about the images I've taken over the course of the weekend, and I will definitely be back again next year for hopefully a lot more of the same...

P.S. - in the above photo from left to right are: Rob, Julian, Ross, Craig, Travis, Tim, Henk, Evan, Stew and Me.

Sigma 50-500mm test shots

It's been typical spring weather here on the coast over the last few weeks - rain, rain and more rain!

But I managed to get one clear (although somewhat windy) day recently so I took the opportunity to go outside and grab a few test shots with the Sigma 50-500mm f4-6.3 EX APO.

I set the lens up on my sturdiest tripod - a Slik Pro700DX with Manfrotto three-way 141RC head, turned 'Steady Shot' off (recommended whenever the camera is tripod mounted), and attached a Sony A100 body to the lens. This set up definitely felt solid enough, even with the bit of wind that was blowing outside at the time.

Sigma 50-500mm at 50mm @ f8, Sony A100

Our back yard overlooks a paddock, and then across a road into another field. Horses are usually roaming around in this second field, so I used them as a 'subject' to test the 50-500mm range on. The first shot above is taken at 50mm (75mm fov on the A100), and as you can see, the horses are pretty small in the centre of the frame. In fact, it's pretty difficult to make them out.

Sigma 50-500mm at 200mm @ f8

The Sigma has markings for 50, 100, 200, 300, 400 and 500mm - so I shot at all of these settings. The jump from 50 to 100mm isn't all that significant - so lets just go to 200mm as seen above. At 200mm the horses are definitely able to be seen - forming at least part of the overall composition. Contrast is good, and sharpness at f8 is acceptable to good.

Sigma 50-500mm at 300mm @ f8

Zooming in to 300mm places a little more emphasis on the horse as the main subject - while sharpness and contrast remain the same. The tripod was certainly solid enough, although I could see that the more I zoomed out with the lens, the less 'stable' the image appeared in the viewfinder. Above 300mm I'd hate to be hand-holding this lens that's for sure!

It was more of the same at 400mm, so let's just skip to the chase and have a look at the 500mm shot, shall we?

Sigma 50-500mm at 500mm @ f8

At a whopping 500mm (750mm fov on the A100), the horses are now the subject of the photo. And just look at how close we managed to get from where we started at 50mm! It's still 'reasonably' sharp, although I probably wouldn't print larger than 8x10 - and would apply a decent amount of sharpening to the file. I will also say that I noticed a decrease in contrast from 400 to 500mm - but this is easily adjusted in Photoshop to bring it back in line with the other focal lengths.

This was just a very quick focal length test, to get the feeling for the actual 'reach' of this lens. For a more in-the-field test I plan on taking the lens and a monopod down to a local lagoon and chase some birds around. Then I'll really get to see what this lens is capable of in a real-world shooting scenario.

Two quick shots with Minolta lenses

Just a quick post because I haven't really been out shooting yet, but managed a couple of quick shots over the weekend.

Spring has been very wet and wild here on the West Coast, with lots of storms and unpredictable weather. That also means a chance for fantastic sunsets in the evening if the storm clears in time. And fortunately, it has been. Unfortunately, I haven't had a chance to get out and capture it.

Spring Sunset. Sony a100 with Minolta 100-200mm f4.5

Best I could do was put the Minolta 100-200mm telephoto on the camera, hold it over the fence in my back yard, and shoot the sunset from there. Yes, this is the view from my back yard. Not bad eh!?

The light was getting quite low, so I bumped the ISO up to 400, set the aperture to f5.6, and concentrated on taking the shot at the optimum 'Steady Shot' setting in the viewfinder. The final result is plenty sharp enough.

On Saturday the weather was better than expected, with lots of sun. Our dog just loves to 'sunbathe' in any patch of warmth, and I couldn't resist snapping her up on our bed.

Sun Dog. Sony a100 with Minolta 35-70mm f4

Jessie is our 'baby', and the whole family adores her. She's been a fairly expensive addition to the family - requiring knee surgery when she was one year old (she turned two this weekend) - but we wouldn't be without her.

To be honest, I don't take many shots of her at all. I suppose I shy away from the 'cuteness' factor with my photos, but I will probably regret that later on? Anyway, I took her photo this weekend because I was keen to try out the Minolta 35-70mm f4 zoom. It's a lens I had with my a200 a couple of years back, and it's such a stellar performer. Maybe the 35-70mm isn't a hugely versatile focal range (about a 50 to 105mm in 35mm terms), but the addition of a fairly handy 'macro' function at the 70mm end, together with great sharpness, makes this lens an absolute keeper as far as I'm concerned. No, it's not f1.8 - but f4 across the whole zoom range is still fairly respectable. And it did this portrait of Jessie justice.

I've gone back to processing my RAW images in Aperture - I just like it more than Lightroom, even if Adobe have the 'better' processing engine (apparently). I also processed the photo of Jessie in DXO's filmpack software straight in Aperture. I chose Fuji Astia 100 and bumped up the film grain ever so slightly.

So just a couple of quick shots, with a couple of quick lenses. Hopefully I'll get out more now that daylight savings is here and the days will get longer and warmer. Bring on a long and productive summer!

BE IN QUICK! SONY & DXO Software Giveaway

Thanks to Sony, if you hurry you can get DXO's film simulation Software Programme DXO Filmpack 3 absolutely FREE until October 31st! That's right people - ABSOLUTELY FREE!

This is not a joke or a scam - although it may be a way of getting you hooked on the DXO products :-)

I downloaded the programme and got the activation code last night - and it works perfectly. It even installs the plug-ins for any version of Aperture, Lightroom or Photoshop that you might have installed.

Josh. Sony a700, Minolta 100-200mm @ f4.5

DXO Ilford 400 Film Simulation

The software is super easy to use - and has dozens of the most popular colour slide, negative and black and white film stocks. You can also add filters to the black and white images for literally hundreds of different looks! And it's FREE!

This is NOT a scam. Go HERE to download your copy and simply enter a valid email address to get the activation code. Thanks  Sony and DXO!

This is not just for Sony cameras - it works on any jpeg or tiff image. But do it NOW - if you are reading this after October 31st 2013, then you are unfortunately too late.

Sigma 50-500mm f4-6.3 APO EX 'Bigma'

One of the less obvious reasons to buy into a particular system when you are choosing which DSLR to go for, is to consider what your friends may already have. If all your friends all shoot Nikon, and you buy the only Canon, then that limits you in terms of shared learning that you can participate in. But, much more importantly, it limits you in terms of the extra gear that you might have access to. If a friend buys that new 40mm pancake lens that you've heard so much about - or better still that strangely exotic 15mm fisheye, and you both use the same camera system, then some borrowing and lending of lenses can take place (so long as you trust they will take care of your gear). But if you are the only guy with the Nikon, then you're kinda stuck.

Many people use this as an argument for buying a Canon camera, since 'most' of the entry-level DSLR purchases are in the Canon system. Oddly enough, my decision to move to the Sony range (apart from being taken with the incredible technology they are coming out with in their camera bodies) is due to my being able to 'borrow' a whole swag of Sony/Minolta/Zeiss lenses from a friend.

Case in point: I haven't even bought the camera body yet, and the other day as I was talking to him (Hi Stew), he said that he had something for me. And oh boy, did he ever...

Sigma 50-500mm f4/6.3 APO EX lens. Nicknamed the 'BIGMA' for obvious reasons.

From the back of his car he produced this 'bad boy' - the Sigma 50-500mm f4-6.3 APO EX lens - a massive (both in weight and size) 10x zoom lens. Stew told me he hardly ever used it, and it was mine if I was interested.

I'm not much of a super-telephoto shooter myself. I don't shoot a lot of sports or action, and I am definitely no bird or wildlife photographer. But, I do shoot sports occasionally - and really enjoy it. And whenever I do I always have to beg, steal or borrow a lens to do the job.

Well now, with the Sigma 50-500mm in my arsenal, I don't have to borrow anymore. Attached to an APS-C sensor camera like the Sony A200, this 50-500mm monster becomes a 75-750mm MEGA-monster! 750 freakin millimeters!

Of course that comes with its own unique set of problems. First - it's a relatively slow lens at the top end at f6.3. I'd prefer if it were f5.6, but we are talking 750mm, with an 86mm front element. It's big and heavy enough as it is, without doubling the front of the element to let in twice the amount of light! So I'll live with f6.3 and probably only shoot with it on sunny days.

Second - because it is still big and relatively heavy, with a telescopic zoom that stretches from here to eternity, it's a fairly unstable lens - hence the tripod collar. At the very least, I will only use this lens attached to a monopod, although it could probably benefit from my most solid, stable (and heavy) tripod. Sigma have bought out a newer (more expensive) version of this lens with OS for Canon and Nikon, and you'd have to say that a lens of this size and magnification could really use it.

But of course, with the Sony cameras, Image Stabilisation (Steady Shot) is built right into the camera (thank you Sony), so I don't need the OS version (which they don't make for Sony anyway). Even so, I will still limit this lens to monopod/tripod only use.

Internet reviews suggest that this lens is actually a surprisingly good performer - even wide open - and pretty sharp all over stopped down to f8. The lens Stew gave me is in pretty good nick, although I haven't had a chance to test it out yet. What I did notice, however, was that the tripod collar didn't allow for rotation into a portrait orientation - it seemed 'glued' into place. A quick check on the web revealed that this 'sticking' is a common problem. And sure enough, with a little CRC and careful (but firm) elbow grease, I managed to get the collar moving again. On some models the collar can come off completely - while on other models it can't. Alas, mine is in the later category. But I managed to wedge some q-tips soaked in Isopropyl Alcohol in the gap where the mount unscrews to release the locking pressure, and move them around the lens barrel to pick up the 'gunk'. Moves pretty freely now.

I'm looking forward to taking this lens out for a spin. In about a month we have some motorcycle street racing here in Greymouth. I can see some serious telephoto zoom action happening about then...