Archive for the ‘Uncategorized’ Category

Meet Our Photo Contest Finalists

Sunday, November 21st, 2010

The Finalist

We're happy to announce the top 100 photographers for the 2nd Annual Black and White Photo Contest with John Batdorff. .  Make sure to check our top 100 finalists HERE.

Many thanks to John, Black Rapid and Nik Software for prizes and support!

Now, off to judge some photos…;)

Black and White Photo Contest

The Speedlight Shooter's Gift Guide

Saturday, November 20th, 2010

Grinch Jr.
Have you been naughty or nice this year?

Its that time of year again!  Time to break out the credit cards to do a little shopping for those you love (and for some, those that you can moderately tolerate) :)

There are several photographers' blogs I follow who do a gift guide for photographers every year but the one thing I've noticed is that, most of the gifts they suggest are often a little pricey.  So, for those on a somewhat tighter budget, I thought it would be a neat idea to do a holiday gift guide for photographers with gift recommendations that are a little more inexpensive.  Many of these I own and use, and some of these are items I'd like to have, hint hint.

Hopefully this list will give you some ideas on what to get your photographer loved ones for the holidays this year!  In no particular order, here we go…

1.  One of my most used items in my camera bag is the Lumiquest SBIII mini softbox.  I absolutely love this small, collapsible soft box and it is always in my camera bag.

 

2.  Another favorite, small softbox of mine is the Honl Traveller8.  It folds up nicely in any camera bag, has an 8" diameter face, is easy to use and only uses about 1 stop of light.  It makes a great key light when used in close or an awesome hairlight/kicker light!

 

3.  All of the Honl products in my opinion totally rock.  They are built rock solid, do exactly what you want, and considering the quality, are quite cost effective.  So rather than single out each Honl product, I'm going to lump them all in one group. 

 

4.  If you're in to coloring your flashes with the use of gels, then there is no better gel kit than the Strobist Gel Collection.  It has all the necessary gels for tungsten and flourescent light conversions plus, plenty of dramatic colors to creates cool highlights and backgrounds.  This kit also comes with the Lumiquest gel holder!!

 

5.  Sooner or later, every photographer starts to get aches and pains from carrying gear and having that heavy camera hang around your neck.  That's why I switched my camera strap to the Black Rapid RS-7.  This strap slings over your body instead of around your neck and gives you super, easy and quick access to your camera.  Do your poor, aching body a favor and check one of these out!

 

6.  Another favorite light modifier of mine is the Westcott Double-Fold 43" Shoot Thru Umbrella.  It creates beautiful, soft light, folds down compactly to fit in any camera bag, and also comes with a black backing so it can be used as a bounce umbrella too.

 

7.  Know how hard it is to see your LCD screen outside during sunny conditions?  Well there's a great solution for that, the Hoodman Loupe!  Just carry one of these around your neck and pop it over your LCD to see crisp, clear images.  Anyone I know who has one of these absolutely loves them!

 

8.  If you're in to using off camera flash, then a good, compact light stand is indispensable!  My favorite compact stand is the Manfrotto 5001b Nano Light Stand.  It will easily hold your flash and any of your favorite modifiers, plus it folds down to a very portable size.

 

9.  Another cool tool I have grown to love is gaffer's tape.  You can literally do anything with this tape and its been a standard in the film industry for years.  You can tape flashes to wall, tape down backgrounds, use it to tape modifiers to your lights and the greatest thing about it is, NO sticky residue left behind!  I have a roll of this in every camera bag …and they're cheap!

 

10.  One of my favorite, cheap light modifiers for speedlights is the Stofen Omnibounce.  They make these for just about every model flash.  This little modifier is cool device for emulating "bare-bulb" type flash.  There are much more expensive mods out there that are similar, but these do the same job, and are much cheaper.

 

11.  How many times have you needed to put a speedlight somewhere but a lightstand wouldn't do the trick and you didn't have someone to hold it for you?  Well, if that happens, you should check out the Manfrotto Justin Clamp.  This is a spring clip with a mini ballhead attached that will allow you to stick your flash to any surface that can be clamped on.

 

12.  If your photographer friend who you're buying a gift for has any kind of sense of humor whatsoever, then pick them up a What The Duck plush toy.  Its guaranteed to put a smile on their face.  You can get these on the What The Duck website, along with a chuckle or two.

 

13.  Every photographer should have a good reflector.  They have so many uses and fold down nice and compact to be carried anywhere.  My personal favorite is the Westcott 5-in-1 Reflector.  It has 5 different reflector colors to use and is top quality!

 

14.  As many of you know, it seems coffee and photographers go hand in hand.  I'm not sure why this is, but I suppose the long hours of work involved and the inability to afford better drugs (kidding) leads us to consuming mass amounts of caffeine.  If this is your photographer friend, then they will love the new camera lens coffee mugs that are available.  You can get the Nikon mugs HERE and the Canon mugs HERE.  Your photographer friend or family member will love these

 

15.  Photographers tend to use A LOT of batteries, so much so, that regular batteries just won't do the trick.  So its important to get a good set of rechargeables that will last a long time.  Probably the best on the market are the PowerEx 2700mAh NiMH batteries.  These will last forever!  Pick up a couple of packs because you can never have to many batteries!

 

16.  If you're going to get the good batteries, then you should also pick up one of the best chargers on the market, the PowerEx 8-Cell Charger.  Not only does it recharge your batteries, but it also reconditions them so they will last longer and you can use the 1-hour charge or longer charge for optimal battery life.

 

17.  Some other great gift ideas for your photographers are books!  If your photographer is the self-taught type or even just trying to learn (or a seasoned pro for that matter) then a new book might be a great idea for a holiday gift.  The single best book on the market I can think of for photographers is "Understanding Exposure:  How to Shoot Great Photographs with a Film or Digital Camera".  Even seasoned pros will pick up a few pointers in this updated classic!

 

18.  If the photographer on your Christmas list is a lighting-type photographer, than there simply is no other book better than "Light, Science and Magic: An Introduction to Photographic Lighting".  This book simply covers EVERYTHING about lighting and will help any photographer progress to the next stage in lighting.

So there you have it, my first annual holiday gift guide, and every single gift is under $100 U.S.!!!  I hope you find this list useful for your holiday shopping needs and please take note to the items I specified that I wanted.

I've been very, very good this year! :)

 

Learn more about John, view his portfolio and check out his blog at John Adkins Photography

Choosing Rain Covers for Your Gear

Friday, November 5th, 2010

Hydrophobia in the rain

Rain Covers can protect your gear from the elements—not just rain.  Mother nature throws all kinds of corrosive at your gear:  sand, salt spray, snow and dust to name a few.  Think of washing your clothes the last time you shot near the water or in a dusty field.  That same stuff that made your clothes dirty is on your gear!

Your choice of rain covers is all over the board, both in price and in sizes.  From $5 plastic disposable covers to high tech solutions running several hundred dollars, it might be overwhelming as to which one to choose.

The answer to your rain cover can reveal itself with a little analysis of two things:  the lenses in your collection, and why you’ll need a rain cover.  Keep in mind that one size rain cover probably won’t fit all your lenses, and you may find a different rain cover need for different lenses.  Just as you need different lenses for different situations, you may need different rain covers as well.

Take your lenses out of storage and line them up on a table. A quick look will (maybe painfully) remind you of the amount of investment you have to protect.  Grab a tape measure—yes, you’ll need to measure your lenses, both length and diameter.  If you want your rain gear to cover your hood, include that in your measurements.  Keep in mind teleconverters, and add a few inches for them if you use them.  Also, some rain cover manufacturers include the measurements for your camera body, so  measure those as well.  It only take a few minutes to measure, and you’ll want to save this information.

Luckily, you won’t need as may rain covers as you have lenses, as most covers span a few inches, and therefore fit several lenses.  One piece of advice:  always lean toward a larger rain cover—it may “bunch up” with shorter lenses, but will cover the longer ones adequately.

Juan Pons and AquaTech in the rain

Before we move on to the covers themselves, think about how you will use each lens in relation to protection.  Do you only take out that 50mm inside or in the back yard?  Are you taking that 500mm to Africa or Alaska?  Do you shoot ball games with that 70-200mm?  Inside or out?  Do you need a weather-tight solution for your trip with one lens, but only an emergency cover for another?

Now that you have measurements for your lenses, and a “need scale” for each one, you’re armed with the info needed for a choice of rain covers. 

Rain covers run the gamut, just like your lenses.  We’ll start with the basic models, cover the high-tech models, and end up in the middle.

rainsleeve

For starters, Op/Tech makes a disposable clear light plastic Rainsleeves that only run around $6.  These sleeves fit lenses 18” or smaller (14” for the version that covers your flash) and have a drawstring to cinch up the cover on your lens.  They also have a hole to push your eyepiece through for a clearer view.  Rainsleeves won’t over your big telephotos, and will bunch up on wide angles, but cover about everything in between.  These sleeves are great for stashing in your camera bag for that occasional surprise shower on a shoot or a day at the beach.  The price can’t be beat, and they are much nicer than a plastic garbage bag!

Hydrophobia

On the other end of the scale are the high-tech offerings from Think Tank Photo and AquaTech.  If you’re heading to Anarctica, Alaska, a whitewater raft trip, shoot outdoor sports, or want to make sure your gear is absolutely protected, then these covers are for you.  Each model of these covers is made for a narrow range of lenses to provide a tight fit.  They also require individual eyepieces for each of your cameras to insure waterproofing.

Think Tank makes two Hydrophobia models:  one for the popular 70-200mm, with or without flash, and one for the lens range of 300mm to 600mm.

The Hydrophobias keep your gear watertight, strap down to your gear, and provide two sleeves for ease of operation.  The Hydrophbia 300-600 even sits on your long lens, waiting to be quickly pulled back at a moment’s notice.  To complete a custom fit, you’ll need to get the proper eyepiece for your camera.

AquaTech Raincovers

AquaTech, an Australian company that makes wetsuits, applies their technology to high end, custom fitting covers.  AquaTech has five models, each fitting a narrow range of lenses.  To make things easier, AquaTech has a PDF Reference Chart to help you pick the right size.  Like the Think Tank, you need a specific eyepiece for your camera.

Kata 704 Raincover

Kata rain covers take a different approach, with good customization and full features at an economical price.  Kata makes a rain cover for smaller DSLRs which have lenses up to 5.75”.  They also have a model for pro-sized DSLRs with lenses up to 4”.  The unique thing about the cover for pro sized DSLRs is that you can add a Lens Extension Kit that has two add-on sleeves for 25.6” long.  These models give you great flexibility and quite a few of the features found on more expensive models.

Storm Jacket

Right in the middle, for occasional use and great protection, like the Storm Jackets.  Reasonably priced, these Aqua-nylon fabric covers cover a wide range of lenses and have bungee-cords for enclosures.  They also have Velcro openings for your tripod or monopod.  Sizes range up to 31” and the product pages give suggested lens size combinations.  These covers give you repeated use and are compact for storage in your bag.  These are our most popular covers!

So there you have it.  Although there are numerous choices of rain covers, a little analysis of your lenses and your needs will point you in the right direction.

Bring on the rain!

How to: Balancing Flash and Ambient Outdoors

Saturday, October 23rd, 2010

Hopefully this will be the first in a series of “How to’s” on the blog.  One of the things that I seem to hear the most from folks is how to properly balance flash and ambient light outdoors.

Well, I can tell you, its not as hard as you think!  If you can take a properly exposed landscape in manual mode, then you can balance flash and ambient.

When balancing flash and ambient outdoors (or indoors for that matter), the first thing to remember is that you are essentially making two different exposures at once; one for the ambient portion and one for the flash lit portion.  So the first thing you want to do is nail that ambient exposure where you want it.  This is highly subjective and can range anywhere from blown out to pitch black, but for starters, lets say you want to balance the exposures as close as possible.

The first thing I do when balancing flash and ambient outdoors, in manual mode, is to set my camera’s shutter speed to its fastest flash sync speed.  This varies from model to model so you may want to check your camera’s manual if you’re not sure.  The reason I go with my fastest flash sync speed is, its going to give me a broader aperture range to work with, and will allow me to shoot with the biggest aperture I can which in turn will stress the batteries in my flash less which equals more pops of light using less power.  Then, I simply dial in my aperture until my background looks how I want.

Note:  when shooting outside in sunny conditions, I will always start with my ISO at 200 or lower to get the best possible quality I can, but may adjust it as necessary based on the ambient exposure.

In the photo below, notice I didn’t even bother worrying about whether my subject was in focus or even ready for the shot.  This frame was simply to get my background (ambient portion) dialed in where I want it.

Sometimes, I may even purposely throw my subject way out of focus to give me a smoother looking ambient background shot which I can check on my histogram.  (However, I rarely use my histogram except in tricky lighting situations …that’s what the LCD is for!) chimp, chimp

So in the photo above, my chosen shutter speed, aperture an ISO have my background where I want it and left my subject a little in shadow.  Now if I didn’t mind a brighter background, I probably could have gotten my subject properly exposed without flash, but the whole point of using flash is to make the subject stand out from the background.

The next step is to bring my flash in and dial the power up or down manually on the flash til I have the exposure I want for my subject without changing any of my exposure settings for my ambient portion of the photo.  In this particular photo, I believe the flash power was around 1/16th and it was shot thru a white, translucent, 43″ Westcott double fold umbrella (one of my favorite light modifiers).

Its important to note that the exact flash power used, isn’t that important, that’s why I’m not exactly sure about the power setting.  What is important is getting that flash dialed in to where your subject looks the way you want it to.

If you wanted the subject a little darker, you simply dial the power down on your flash, if you want it brighter, just dial the power up …and that’s it!

To be sure, this is not the only way you could have made this photo exposure wise.  However its a good starting point to learn how to balance the ambient and flash to get a properly exposed image …properly being used loosely here.

Both of these photos were taken with the exact same aperture, shutter speed and ISO setting.  The only difference is in the second one, flash was added to light my subject.  Also, both of these photos are straight out of the camera with only a little cropping done in post.

Hopefully this will clear up some mystery in balancing flash and ambient outdoors, but if you have any questions, please don’t hesitate at all to ask any questions in the comments.

For further reading on balancing flash and ambient outdoors, check out these awesome links on the Strobist blog…

Lighting 101:Balancing Flash with Ambient, Pt 2 
Lighting 102 – 3.1 Balancing Light: Twilight
Lighting 102 – 3.2 Balance | Flash/Sun Crosslighting

More to come!

2011 Workshop Dates

Wednesday, July 21st, 2010

I now have my 2011 workshops dates available.
I will be doing them at the Casa Santa Ana in South Texas. This is a beautiful B & B with grounds that back up to the Santa Ana National Wildlife refuge. It is about 20 mins from McAllen.
We will be spending 3 mornings at the feeder setups, and the evenings at the local refuges and State Parks. One evening we will be doing some mulit-flash Buff-bellied Hummingbird photography.
3 days, 4 people.

For more details click here:

To see what you will be facing each morning, check out this footage that I shot there this past Feb.

I am also doing two workshops in Roma, TX where I have been doing them for the past few years.

For details, click here:

Contact me with any questions,

Alan.

Introducing Wimberley

Monday, July 5th, 2010

In light of this country’s holiday weekend, we are proud to bring you products from our friends at Wimberley—a company whose products are made right here in the USA, and whose products set the bar for the highest standard worldwide.

Photographers all over the world know and respect Wimberley products for being the pinnacle in their category.  Gimbal heads, flash brackets, lens plates and quick release clamps by Wimberley are procured by photographers who demand only the best.
 


 

The Wimberley story is a true example of the American Dream. David Wimberley started in 1991 with a unique idea of a tripod head.  This gimbal mount design became so popular with nature photographers that Wimberley grew from a backyard project into a full-fledged company. 

David was joined by his son Clay five years later.  Together, their drive for quality precise solutions added new dimensions to their business, and pushed Wimberley to the worldwide stage, all while maintaining their American value of loyalty to their customers.

Wimberley takes a great deal of pride in the name that they have built for themselves over the years.  Always striving for excellence, Wimberley has provided the global photography community with quality products—Made in the USA.

See the entire line of Wimberley products here.


Check out our Wimberley Resource Pages!


Wimberly Lens Plate Design Features
Outdoor Photo Gear Lens Plate Chart
Wimberley Flash Bracket Systems
Wimberley Quick Release Introduction
 Lens Plate Design Features Lens Plate Compatibility Chart Flash Bracket Systems  Quick Release Systems

Safety Tips for Outdoor Photographers

Monday, May 24th, 2010

Most nature photographers enjoy escaping the hustle and bustle of city life by wandering through the wilderness with camera in hand. We peer through viewfinders, absorbed in perfecting a composition and often unaware of what is happening around us. We haul around hundreds or even thousands of dollars of valuable photography equipment. Our vehicles sit unattended at remote trailheads for hours on end.  We are, unfortunately, prime targets for opportunistic criminals.  In this article I’ll share several tips to help you stay safe while enjoying your photographic exploits in the great outdoors.

The first step to a safe wilderness experience is an easy, but often overlooked one.  Always tell someone where you are going and when you will return. Do a little research to determine what law enforcement agency has jurisdiction in the area you will be exploring and provide their contact information to friends, family or your significant other.  Fairly new on the scene are personal locator beacons (PLB) and SPOT personal satellite messengers.  These devices use satellite GPS signals to pinpoint your exact location and when triggered, automatically notify rescue authorities.

Statistics have shown that criminals more often prey upon people who are traveling alone. Though we often go alone into the wilderness to escape being surrounded by people, it also makes us more vulnerable. Take a friend into the backcountry and your odds for survival in the event of an accident increase dramatically.  And, by traveling with a friend, criminals automatically rank you a lower priority target.

Trailheads are notorious for vehicle burglaries due to their often remote location and the lengthy period of time your car sits unattended while you’re off hiking. Though there is no way to prevent a break-in there are things you can do to lessen the odds of it happening to you. Never leave valuables in plain sight. Stow your iPod in the glove box, carry your camera gear with you or leave what you don’t need at home, and hide cd’s, GPS devices and other valuable items out of sight. Even pocket change visible in a cupholder is enough to entice a hard-up criminal. Another option is to consider installing a lockable system like those produced by Truck Vault.

A popular ploy used by thieves is to hang out at the trailhead, act like another hiker and chat with you about your itinerary for the hike. In telling them your plans you are also disclosing how long you will be away from your vehicle. Watch for anything out of the ordinary as you pull into the trailhead, be it a suspicious person or a window that has been smashed out of another vehicle. Always lock your car, regardless of whether you will be photographing a few feet or a few miles from the parking lot.

Statistically speaking, cops who are fit, maintain a neat uniform and project confidence are less likely to be assaulted in the line of duty. The same theory applies to you.  In law enforcement it’s called “officer presence”.  In civilian terms, it’s “I’m not a target so don’t even think about it, punk.”

Police officers are trained to be hyper aware of their surroundings at all times. Doing so helps prevent them from being surprised by an attack and allows them to provide detailed descriptions of suspects. Make a mental note of people you pass on the trail. What are they wearing? What color and length is their hair? How tall are they? Do they appear unusually nervous, fidgety or interested in you or your gear? Do they have anything on or around them that could be used as a weapon? Notice and remember these details in the unlikely event that you might need to act defensively.

While it is normal for non-photographers to be interested in your gear and ask questions about it, you should be cautious about discussing the monetary value of your equipment with strangers. Someone asking odd questions or who appears to be sizing up you and the environment might only be interested in making your camera, their camera. I was photographing mountain goats on Colorado’s Mt. Evans with a 100-400mm lens when a vehicle stopped on the road below me. The driver exited and slowly moved toward me. I assumed he was interested in seeing the goats from my vantage point until he reached my position and immediately began to ask questions about my gear. He said, “I bet that’s an expensive lens.” I shrugged it off, saying “not really, there are lenses that cost 20 times as much!” Something about the guy didn’t sit right with me. I packed up my equipment and walked back to my truck, all the while looking over my shoulder and listening for hurried footsteps behind me.  Was he viewing the goats and simply making small talk with me, or did he have other dubious intentions?  Who knows, but when your sixth sense kicks in and something doesn’t feel right it probably isn’t.  Listen to your inner ninja!

As photographers we often find ourselves peering through viewfinders or with our heads under a dark cloth, completely oblivious to that which is happening around us. To a lion we would surely appear to be the weakest gazelle. Much of the joy I derive from photography comes from working compositions and losing myself in the moment. One need not forego this pleasure by constantly worrying about being attacked. Let your other senses pick up the slack while your eyes are busy. Listen for footsteps, be aware of changing odors and periodically lift your eye from the viewfinder to have a look around. You can quickly get back to the fun stuff once you determine there are no immediate threats.

For example, on a trip to photograph ice in the Colorado River north of Moab I stumbled upon a homeless camp tucked into a thick stand of tamarisk. The camp appeared to be unoccupied but signs of recent activity were present. Patterns along the riverbank and towering cliffs reflecting in a thin layer of ice caught my attention. I set up my tripod and explored the photographic possibilities, all the while listening for any sounds of movement and occasionally lifting my eye from the viewfinder to ensure the safety of my surroundings.  Other situations that demand an increased level of awareness include wandering into an area frequented by drug users or prostitutes.  If you find discarded syringes littering the ground it’s highly likely that you’re right in the middle of a “safe haven” for dopers.  Get out.  As you wander farther into the wilderness your concerns may change from nefarious people to marauding wildlife.  Educate yourself about local wildlife.  Know how to avoid them and what to do if involved in a confrontation with an aggressive animal.

It is doubtful that you will ever find yourself in a situation that calls for physical retaliation against an attacker. However, you should be mentally and physically prepared to defend yourself should such a situation arise. Police academies around the world stress the importance of a “survival attitude” to their recruits.  This consists of “when/then thinking”, or playing through hypothetical situations in your mind and deciding how you will react to them. In every situation it is critical that YOU come out the winner.

Most of us carry a dynamite weapon every time we go out – our tripod! Even a lightweight carbon fiber tripod is capable of inflicting serious injury upon an attacker. Other weapons are readily available in the wilderness, i.e. large stones and fallen tree branches. Be aware of what you have at your disposal so that you are prepared and can act swiftly to combat an attack, regardless of whether the aggressor is a human or an animal. However, you should only resort to physical force to defend yourself or another person from serious bodily harm. Should someone attempt to rob you of property or money your safest course of action is to simply hand it over to them. Gear can be replaced. Photography and outdoor gear is usually covered under renter’s or homeowner’s insurance. Lastly, using physical force to defend property may not be justified in your state.  Any use of force that results in injury to your attacker could result in you being sued civilly and/or criminally charged.  Learn your state law.

Since you located the name and contact information of local law enforcement before beginning your adventure, reporting suspicious activity will be a snap! Cops can’t be everywhere at once. If you don’t bother to report a suspicious incident, they have no way of knowing that a situation exists that requires their attention. You aren’t bothering them and your report just might save someone else from becoming a victim.

Keep these tips in mind next time you head out to burn through some memory cards.  You can confidently wander into the wilderness and lose yourself in the experience knowing that your enhanced awareness makes you a safer and more secure explorer.

Got a safety tip to share?  Please leave a comment!

Introducing Induro's New PHQ 5-Way Panheads

Tuesday, May 11th, 2010

Induro's new 5-Way panheads hit the shelves today.  We thought you would enjoy this video that illustrates the options this unique head has in store for all types of photography.

 

You can learn more, see detailed specs, and purchase a PHQ in the OPG store here:  Induro

Fun With a Home Made Nest Box

Saturday, March 27th, 2010

For years I have been wanting to get an image of a Bluebird on a natural tree cavity.
The chances of finding a nest cavity that is low enough to the ground for photography is slim, so I decided to take matters into my own hands.
The first step was scouting for a dead tree that had limbs with either a hollow or a soft center.
Once a tree was located, tapping on the limb will let you know if the wood is solid or soft.
After finding the right limb, I cut off a 3 foot section and took it home.
To make the stump hollow enough for a bird to nest in it, I used a screw-driver to chip away at the soft wood inside.
I stopped removing the inside wood, when I got to about 4 inches from the bottom.

Below is an image looking down into the hollowed out stump.

Once the stump was hollowed out, a wood cap was then placed on each end on the stump. The lower cap acted as a base to attach a stand.
The top cap is removable to allow cleaning of the next box after breeding season is over.
I also chose a good spot on the side of the stump to drill a two inch hole for the birds to enter.

Below is a close up of the stump with the two caps and the entrance hole.

Mounting the stump on a pole and placing it away from my fence made it attractive to the local Bluebirds.

It only took a couple of days before the Bluebirds were checking out the new nest box.
The next challenge was the background that I wanted in the image.
My yard is small with limited backgrounds that have shadows and a busy fence.
To get around that problem, I made a board out of 4 printed images and pasted them on some foam core. Using a stand, the foam core background was raised to the desired height.

In the image below, you can see the nest box, the printed background, and the location of my camera.

Now I was ready to take some images.

After covering my self and photo equipment with Kwik Camo (a camo sheet that has a mesh screen to see out of) I waited for the bluebirds to return.

Below is the final result that I had envisioned.

Many times when the female would enter the cavity, the male would hover outside providing for some fun flight shots.

My next project with the nest box started a few weeks later when my peach tree was in full bloom.
I wanted an image of a perched Bluebird with a Spring time feel to it.
The peach tree in my front yard donated some limbs to this project :-)

Placing a limb in front of the next box provided a perch for the bird. Choosing a perch carefully so that it had just the right amount of gap between the flowers, allowed me to know exactly where the bird would land.
Placing more limbs with blooms between the perch and the background gave the image some depth and continued the color theme throughout the image.

Here is the set up with the blooms and background.

The final image.

Think Tank Photo Airport TakeOff Review

Thursday, March 18th, 2010

I have an old Samsonite roll-aboard suitcase that I put a padded divider set in to hold camera gear. The wheels are terrible, the handle is rickety and it tips over when it’s loaded. I was preparing to lead a workshop in Costa Rica recently and I figured it was time for a new rolling [...]