About Chris' Travel and Photo Tips (Updated April 8, 2013)

Wildlife photography certainly has it's share of challenges; i.e., being in the right place at the right time with the right lighting; plus, one needs to be armed with the right tools, positive vibes, and desired actions on auto-pilot.

When I prep for safaris to photograph big cat families in Africa, polar bear babies, or endangered Bengal tigers, there are a zillion things that I try to do in order to insure a successful trip with the least amount of hassles.  I'm always amazed at friends who claim they can pack in a day; but, different strokes for different folks.

I'm a list junkie aka it's easier/faster for me to check off action items in one place, not to mention keeping things updated and prioritizing tasks.  This started out as the typical what to bring pack list way back when.  But, I soon learned that the "whys and how" are as important as the "whats". 

So, over the years, I've painstakingly documented what worked and didn't after each trip; ranging from travel logistics, gear weight and clothing for extreme temps; through shooting techniques, tools, image workflow, backing up tactics, and pre-trip action items. That's because:

• Travel weight continues to be a major headache and sneaking 55 lbs. of camera/computer gear onto a plane is a never ending cat and mouse melodrama given increasingly strict airline carry on rules;

• I strive to make travel workflow as efficient and comfortable as possible - aka "no gotchas" - since international trips can take 35 - 44 hours door:door; and

• I want good value for the tools that I buy, so every purchase is analyzed before taking the plunge.  I have no affiliations with any of the vendors mentioned in this blog; and, every ounce needs to have a payback without being penny wise and pound foolish. 

• Also, when I take advice from others, I try to understand the context.  That why I explain the whys in addition to the whats given my priorities and objectives.

Since I'm constantly getting asked for advice, I decided to share some of my action items in this living document.  Check back frequently as I'm always updating 1) Chris' Packing, Travel and Image Storage Tactics (including extreme cold weather tips) (updated May 14th), 2) How to Shoot from a Safari Land Rover, Safari Prep and Image Workflow (updated Feb. 18th), and 3) Avoiding International Air Travel Grief (updated Dec. 6th).  Yes, it's a ton to do and think through; but, no pain, no gain.  

Chris
www.wildliferhythms.com

Favorite Galleries (Updated April 22, 2013)

In July 2012, I had my most heartwarming African experience ever when I focused 90% of my time on 5 week old leopard cubs.  Over 10 days, there was lots of waiting by the den; but, the effort was worth it.  The gallery is called Leopards V: Most Adorable Blue Eyed Babies and it's located under the Wild Reality section at www.wildliferhythms.com.

My 10 days with polar bear babies in March 2013 were over the top as well.  Although it was the coldest year ever, I had a smile on my face the entire time photographing the most animated polar bear twins that I've ever seen.  It was hard to pick my favorites and  the gallery is called Polar Bear Babies V: Romp and Roll. 

In February 2013, I had another exciting experience with a mom and 2 week old leopard cubs.  Stay tuned for my next gallery which will be called Leopards VI: Moving Day.

Avoiding International Air Travel Grief (Updated Feb. 13, 2013)

Traveling internationally with a ton of gear is a total hassle.  It takes a lot of thought and preparation as every airline and airport has it's own rules and nuances.   Here are some of my lessons learned.  Also, learn more under Chris' Packing, Travel and Image Storage Tactics by scrolling to the bottom of this document.

TSA Preê:
Added 11.16.12

• If you're a speed/comfort freak like me, run - don't walk - and apply for TSA Pre√.  Seriously, it's so worth the effort aka no more removing of jackets, shoes, laptops, liquids, belts and watches, etc.  Currently, the lines at SFO are non-existent and going through TSA is lightening fast.  The only issue is that you don't know if you've been approved for the fast walk-through on any given day because TSA uses random and unpredictable screening measures.  Pre-screening info is embedded on your boarding pass.  So, hand it to a TSA agent who will scan it and direct you to the appropriate line.   

Notebook Perk
Updated 2.13.13

• Woo-hoo, Apple's Macbook Air 11" computers are considered notebooks, not laptops, per the TSA blog and research by the NY Times, Forbes, and yours truly.  As a result, you don't have to take them out of your carry on bag.  Agents will say, however, to take them out if you're carrying other electronics.  But, I tested leaving mine in my bag - along with two 500 GB hard drives - and no problemo on several domestic flights.  On international flights, however, taking the Air out is still the expectation.

RFID Credit Card and Passport Protection
Added 11.16.12

• My US Customs Global Entry cards came with a RFID sleeve along with important instructions.  This got me thinking that I need to take the RFID risk more seriously.  If you want to see something scary, watch this youtube clip or see this Consumer Report; and, you'll run out and buy a protective RFID wallet and RFID passport cover. But if you already have favorite wallets, covers and pouches, you can pick up RFID credit card shields, passport shields, Scanner Guard Cards - or add foil/duct tape around a few biz cards - to save on extra weight/expense.  These solutions are not 100% foolproof and some reviews report that stacking RFID cards together can confuse some readers, or require thieves to get closer to the source.  Take precaution on how you dispose of these cards as well; i.e., smashing the chip with a hammer, cutting up the card, and throwing away pieces on different trash pick up days.  

Smaller Aisles and Rows Mean More Liquid Hazards

Updated 2.13.13

• It's not unusual to see most passengers using their own devices - laptops, ipads and phones - for work and entertainment.  But with smaller aisles and space between rows, it seems that getting splashed on by water, soda, wine or salad dressing - i.e., by flight attendants and passengers - is unfortunately becoming the new norm, especially when sitting in the aisle seat.  If your electronics are splashed, they can die days after the occurrence from moisture slowly seeping inside.  If this happens to you, turn them off immediately and try to draw any moisture out with desiccants or rice after landing, etc.  

• In the December 2012 MacWorld, a writer tells of his woes after a person sitting in the window seat splashed a tiny bit of water on his laptop when getting back into her seat (he had set his laptop down on his seat before moving into the aisle aka an easy thing to do).  He wiped it off and continued working; and, the hard drive died a few days after.  So lessoned learned: cover electronic devices when folks start moving around - or are clumsy, restless, can't talk without their hands or have too many cups on their tray - because a dead computer at the start of a trip could be your worst nightmare.  

• On my last trip, the guy next to me was so worried about his own laptop that he knocked his entire glass of water on me and my seat cushion.  So, another lesson learned: don't put or leave any electronics in cargo pockets either.  And, I won't be taking out my laptop when sitting next to passengers with oversized laptops and/or 2 drinks on their tray.

• For air travel, slip in laptop sleeves are faster to use than cases with zippers; and, if you're going to set your laptop down when letting middle/window passengers out, place it vertically against the back of your seat.  Not only will this prevent liquid splatter, it will prevent damage when folks loose their balance and fall into your seat (or worse yet, prevent inconsiderate people who step on your seat from damaging your devices and headsets, etc.).  

Airline, Airport and Bush Plane Tidbits

Updated 2.26.13

• Boarding times are getting earlier - i.e. on United and Lufthansa, it's an hour plus before departure - so plan accordingly.  If flying KLM via Amsterdam, boarding time is 1 hour and 45 minutes before departure.  That's because security screening takes place after entering the boarding area.

• As mentioned numerous times throughout this blog - i.e., under Putting Gear on a Diet Ounce by Ounce, Item #13 or For Speed Freaks, Item #7 - using lightweight see-thru mesh pouches keeps things organized, reduces weight, and makes it easier for TSA inspectors to see what you're carrying in a flash without opening up pouches and messing up your packing system (i.e., placing cables/adapters in a way that minimizes wasted space).  Plus, when I use colorful meshes (i.e. from the red, teal and lime green sets from Barnes and Noble along with a few favorite sizes from Walker Bags), security agents in foreign countries barely bat an eye.  My favorite size is the 4 x 9" mesh which maximizes utilization of space inside backpacks when stood on their ends; and, because the flat profile keeps cords and personal items condensed.  It also makes a lightweight passport/insurance/travel cards pouch.  I also like to organize pouches within pouches; i.e., the 2 x 7" for keeping thumb drives or Apple adapter/cord sets together.

• By now, most folks know about lightweight packing cubes - Eagle Creek, ThinkTank, GuraGear and ebags, etc. - for keeping checked items organized.  In addition, I hide pricey items in opaque pouches/sacks - i.e., Fenix/Surefire flashlights, headlamps, Swiss Army knives and technical clothing, etc. - inside of packing cubes/dry sacks because double layering valuables makes it harder for inquiring eyes and probing/sticky fingers.  For ballheads, gimbals, camera battery chargers and flashes, etc., I use a TSA lock to secure a Glass Taxi (my day bag) which is covered up with an ultra light dry sack secured with a strap in hopes that lazy security agents or baggage thieves won't bother.  The Glass Taxi protects my breakables, makes it faster to pack and find things - and, so far, so good.

• Re-verify baggage weight and carry on rule before you depart. What you got away with last month may not stand a chance on your next trip.  Rules are always changing and carry on allowances are often captive to staff person's individual mood.    

• Lufthansa changed their baggage rules on June 1, 2012, so read them carefully to avoid hefty oversized and overweight fines.  When departing from the U.S originating on United and then connecting to Lufthansa later in June, I didn't encounter the dreaded "weigh the carry-on" obstacle - whew!  And, when departing out of Johannesburg and connecting to United in Frankfurt, I was lucky as well. On the other hand, friends/other customers did encounter their carry on being weighed when checking in/out of Germany and Italy, so you never know.

• Star Alliance Partners - Carry On: Some of United's Star Alliance Partners can be radically strict with carry on; i.e., my experience with Asiana (extremely strict re: weight) or Lufthansa imposing a one carry one rule on some flights.  Domestic flights in foreign countries are always at higher risk for the one bag rule, so always have a back-up strategy.

• Boarding Area/Carry on Tactics Rule #1: Look compact, nibble and lightweight.  This is easier said than done if you're height challenged like me as pro camera gear/bags look smaller proportionally on a tall person.  As a result, when selecting backpacks which count as my briefcase/ handbag, I look for bags that are narrower than my body so that when I sit in the boarding area, agents don't notice the bag on my back.  My camera backpack is on a luggage cart (which allows me walk tall and light on my feet), the profile is kept slim aka outer pockets are empty; and, I dress so that my outerwear blends in with my bags aka monochromatic.  It goes without saying that I never wear a loaded vest which is guaranteed to make me stand out from the rest of the crowd (and not wise given airport security concerns).  Also, looking overloaded or wearing light clothing will make you stand out when standing at the front in boarding areas - which many of us do in order to get first dibs on the larger overhead bins - because it puts you at risk for a gate area bag check.  Lastly, I avoid standing next to folks with oversized bags or lots of stuff because that tends to put gate agents and/or flight attendants on the alert, often resulting in foul moods and boarding problems.   All of my bags are listed in the section below "Putting Air Travel Gear on a Diet - Ounce by Ounce" (see below).

• If you have a Star Alliance Gold card, keep it hand to get into the better airport lounges and to board with the first grouping.

• Monitor/protect your overhead space: early boarding is great for getting overhead space by your seat.  But, beware of rude folks who try to jam heavy items on top of your camera bag and/or try to move things around if you're not paying attention.

• Germany: Allow for extra time getting through large terminals and multiple security screenings; i.e., upon arrival and departure even if connecting.  And, don't even think of leaving items inside of your pockets.  In Frankfurt, it takes about 45 minutes to get from Gate B airport lounges to Gate A or Z check-in lines and vice versa.  And as many of you have noticed, travelers line up at the gates 30 minutes or more before boarding time.  So, don't get surprised.  The exception is in Munich where it's not uber-cool to get in line before the boarding announcement.  FYI: in the Frankfurt Lufthansa Senator lounge, many of the floor plugs by the comfy leather chairs are broken, so carry an extender in case you need to share with other passengers.

• South Africa: Arriving in Johannesburg: Airport/hotel porters and some bush camps accept U.S dollars, so check before leaving home.  If you only need a small amount of rand (i.e., 50 rand per checked bag for shrink wrapping when you leave the country, refreshments and tips), the ATM's are located in the Domestic terminal on the left hand side (on the opposite side of the main lobby).  If you need more rand, the currency exchange kiosks are located to the left before you enter the main lobby.  If you forgot sundry items or needs adapters, the stores are located in the Domestic terminal (a short walking distance).  A nice and reasonably priced hotel near the airport is the Protea Hotel.  Catch the Protea shuttle across the street from Terminal A which is where International flights arrive.  Walk down the pathway between the the parking garage and the Sun Inter-Continental Hotel and head towards the backside.  Shuttles leave at the top of the hour and half past. Vat refunds leaving Johannesburg on international flights: You can only get a VAT refund if you show an official your purchases on the first level of the airport.  This means that you need to get a form stamped before you get your luggage shrink-wrapped and before you check-in your luggage with your airlines.  After going through security on the 2nd level, you then have to process the refund voucher.  Next, you go to a nearby bank kiosk to get your cash.  Note that refunds are in rand.  Flying on South African Airlines: check in for flights is in Terminal B.  Then, take the elevator one level up to get through security (laptops out only).  At the gates, there are no orderly coach/business class lines or any orderly process at the boarding gate.  Once it's time to board, it's a no holds bar stampede.  So, be ready.  Pay attention to flight announcements so that you hear them, especially the one that says to cover your face/nose before flight attendants walk down the isle and spray the cabin with bug spray.   Flying on smaller bush planes, such as Federal Air, i.e., to get to Sabi Sand/Kruger camps - means dealing with extremely strict weight limits of 44 lbs.  Yes, that's total.  So, bite the bullet and purchase a 2nd seat to avoid travel grief.  The current price a/o May 2012 is $304 each way which you can mitigate if traveling with a buddy or two.  Also, get permission in advance to carry your gear into the cabin.  The Federal Air kiosk is located between the parking garage structure and the Sun Intercontinental Hotel, in the back (across from Terminal A).   Arrive an hour before departure as flight times change on a dime's notice.  If you are departing on Lufthansa or United, the check-in counter is #101 and all the way to the left side of the cavernous multi-airlines check in counters.  Of course, they always drop you off at counter #1.  Once through security, Lufthansa/United co-share lounges with South African Airlines which are very nice.  If you need more than a bowl of soup/coffee in the SAA lounge, have lunch at the fairly new Italian restaurant across from the check-in counters in Terminal A before checking in (handy when you're still lugging around checked baggage).  Otherwise, there's a decent cafeteria on the other side of security for both Terminal A/B.  

• Re-entering the U.S: I can't say enough about the U.S. Global Entry program.  It's so much faster than the normal long customs lines and is even faster than the flight crew line.  Priceless!  And at some airports - i.e., San Francisco, Dallas, Atlanta, Detroit and Miami -  Global Entry members can participate in the TSA Pre√ program as well; i.e., you don't have to remove shoes, liquids, jackets, belts and laptops, etc.

• Reduce your lost luggage risks by allowing at least 3 hours or more for connections.   And, whenever someone tells me about their lost luggage woes, it seems that 95% of the time, there was a connecting flight within the U.S. (aka I avoid connections like the plague). And, if your luggage isn't with you at the start of a safari, your luggage might not show up for days, if at all.

• Botswana:  I've learned (the hard way) to check-in early when leaving Johannesburg for Maun on Air Botswana.  That's because luggage doesn't always get on board.  And, because camp:camp bush planes aren't daily, you may have to charter a plane to deliver your bags before you leave for another camp aka expensive.  If not, there's a real risk that your luggage won't catch up with you until the end of a safari.   Also, pay attention to the muffled flight announcements and cover your face/nose before the flight attendants walk down the aisles spraying nasty pesticides!

• African bush planes: some planes are only 4 seaters, which means that the cargo hold is proportionately small.  If you don't heed by the rules of using soft duffels, your luggage or long lens case may not fit in the cargo bay.  Since weight limits are very lean/strict at 20kg or 44 lbs. - which you should abide by for your own safety - now is the time to radically pare down; i.e., see my Putting Air Travel Gear on a Diet - Ounce by Ounce below.  Don't make the assumption that because you're petite or <125 lbs., that you can get away with more luggage because your weight is averaged out with others who may be over the planned average (safety comes first).   Plus, who knows if the plane is loaded with bush supplies or luggage catching up from previous flights aka things that you can't control.  Don't take the risk of missed luggage because it's a headache.  Personally, I purchase an extra seat (shared with a buddy if possible), use my lightest weight duffel - Kinesis @ 2.2 lbs. or Eagle Creek No Matter What rolling duffel @ 3.4 lbs. (not stuffed so that it crushes down), a pared down photo backpack @ 3.7 lbs, and a no frills tote/brief/backpack to and from the int'l airport and in between camps.

• Canada:  Flying from Winnipeg to Churchill on Calm Air is always a risk for checked bag #2, unless you're willing to pay an excessive fee for "guaranteed freight".  At minimum, fly in at least 1 to 2 flights earlier than needed so that missing bags can catch up with you.  And, if you want to reduce the major stress of having to check or valet check your gear, read the carry on rules and luggage weight limits carefully.  Some of the agents follow these rules to a tee albeit they seem to be more lenient with Canadians.  Travel with the largest winter coat pockets and/or summer vest that you can find to hide some of the weight; i.e., some Men's parka pockets are large enough to fit camera bodies.  Pare down to the absolute minimum and see more reducing weight tips below under Chris' Packing, Travel and Image Storage Tactics below.  Depending on your total weight (carry on plus checked luggage), overweight fees can range from $25 - $300, and hundreds more if checked as guaranteed freight. See Item #23 under Putting Gear on a Diet Ounce by Ounce (scroll to the bottom of this document) to see what bags I use on Calm Air. 

• Save Your Back: consider using a Samsonite luggage cart or a ThinkTank Shoulder Harness V.2 that works on any brief style case.  Also, get to the gym and ramp up your weights. 

• Adapters: Use seatguru to see if your airplane has A/C (if so, carry the appropriate cord/plug).  Also, carry euro airplane jacks for your earbuds along with the correct layover or destination country adapters.  Since earbud cords are fragile around the jack plug, also carry a spare. 

• Airport lounges: check online airport maps before departing to identify the most convenient lounges as airport personnel don't always give you the right advice.  And since floor outlets near comfy lounge chairs don't always work or are occupied, carry a plug extender in case you need to share with other passengers.

• Eat in advance or bring snacks if you're not partial to airplane food (aka tons of salt/MSG and empty calories). 

• If you like aisle seats, be mindful of flight attendants who tend to get distracted and are prone to spilling/splashing salad dressings and drinks on passengers when reaching over you.

Pack and Be Ready for the Next Travel Leg

Added 3.27.12

• Going on international photo trips or safaris means changing planes with different carry on rules and overhead storage space, changing airports with different security measures, changing hotels/lodges/camps with different amenities and security for valuables; and, of course, changing vehicles; i.e., buses, trains and game drive jeeps. Good grief!

• The goal is to keep one's sanity and be as efficient and quick as possible without mis-placing things along the way or getting distracted; i.e., 1) walking away from luggage, camera bags, passport, ticket/vouchers and money, 2) forgetting to lock valuables and/or hide lock combinations, 3) leaving behind must-haves in temporary storage, or even 4) losing one's head when air tickets are wrong, luggage doesn't show up or someone didn't review current luggage rules, etc.  I've seen it all.

• It's a major effort to pack in an organized manner so that it's easy to shift gears along the way.  My approach has been to have a travel list and workflow that is tailored for every trip.  I mentally walk through how I'm going to carry things on the next travel leg, identify where things need to go, and use a checklist for important action items (i.e., where to get cash, checking status of checked luggage between flights, and keeping the right adapters handy, etc.)  Personal sundries and adapters are redundant so that there's less need to move items between carry on bags, day drive kits and toiletry kits.  I also pre-pack items in separate bags/pouches so that I maximize a pick & pack approach; i.e., the travel home outfit, rain kit and game drive kit, etc.  And, all important references - passport info, flights, hotel, camp contacts, local contacts, currency conversion and a local tip chart, etc. - are printed and taped inside my trip notebook.  All of my docs and notes are stored on my iphone and laptop.  But, you can't beat the speed of whipping out an old fashion 2.5 x 4" moleskin notebook. 

• My approach use to be: get ready for the next leg at each step of the way -  i.e., switching from international to domestic flights, to smaller planes or trains, and between hotels and camps/lodges, etc.  But now, it's pack and be ready for the next, next leg.  This minimizes stress when luggage is delayed, when there's no time to eat between flights, when there's no time to make camera bag switcharoos, when ATM's are no where to be found, when weather folks didn't predict that nasty cold front, or when the van breaks down in the middle of the tundra, yada, yada.  

India: 

• If you're traveling out of the Delhi International Airport or flying domestically within India, radically prune your carry-on bags down to the bare minimum before entering the security line:  If not, security will examine every inch of the bag with a fine tooth comb and it could take forever; i.e., 30 minutes or more because every pocket and pouch will be opened and/or emptied out.  Make certain that every tool, including simple L wrenches, and non critical items are banned to checked luggage.  Even though I followed my mantra on this last trip, I still had to remove everything from my camera bag - cameras, lenses, teleconverter, CF card wallets, firewire reader/one cord - and place them into a flimsy plastic bin for re-X-raying.  While my 500 mm lens was cantilevered over the edge of the bin, the security person struggled to carry my gear without tipping it (gasp!) and finally handed it over to another security person who disappeared to the other side of the conveyor belt.  Thank heavens that the bin didn't break, or worse yet.  And make sure that everyone in the group is on the same page because one trip up ends up tripping up the rest of the folks in line.  

• Re-think what you pack. At domestic airports, there are screening X-rays for checked luggage, just like when departing the state of Hawaii.  So, I only pack the must-haves as opposed to stuff I'd like to have.  On this last visit, my main duffel got busted because my Gitzo monopod was flagged - not because of any metal alloys, but because of the rubber grip.  Strange.  And, my small gear duffel got busted because they didn't like the looks of my rocket dust blower used to clean cameras and lenses (smaller ones don't do the job in India and Africa).  The fact that the dust blower was rubber and totally empty did nothing to satisfy the security staff.  Fortunately, a quick thinking buddy used his point and shoot camera to demonstrate how to clean the front of the lens - and viola!  Looking back, I guess that it could have looked liked a grenade with a red eye dropper sticking out.  And, it's probably why I use to get busted leaving San Francisco Int'l.  Now, I put the blower inside a baggie at the top of my duffel with a friendly note to the TSA staff (worked so far).  

• Re-think how you pack.  Unfortunately, the dust blower was locked inside of my ThinkTank Glass Taxi backpack which was hidden underneath compressed dri/dust bags, a street shooting daybag, and "keep out" dirty clothes.  Of course, my soft items exploded out of the duffel and I had to empty the backpack filled with valuables (monopod head, camera chargers, remote cables, CF readers, cables and gifts), so things were spread everywhere with tons of people passing through.  So lesson learned: pack with potentially questionable items on top of the duffel (aka not buried) and plan extra time for security drills. Also, tone down the dirty clothes on top tactic as it could backfire. 

• Don't use camera rolling bags for carry-on unless you're willing to risk your bag getting snatched away as checked luggage; and, be careful in selecting airlines if your carry-on is overweight.  It's a fact of life and foreign airlines can be very rigid.  On a recent overseas trip, I used the smaller ThinkTank Acceleration backpack with a removable Samsonite luggage cart (same carry on as the previous year with the same airline, same route).  I never had trouble using Asiana before; but on this trip, I got serious grief leaving and returning in Biz Class which was a shock.  A supervisor physically yanked the camera bag out of my hands and placed it onto the conveyor belt as I blinked in disbelief.  The fact that my gear was fragile and cost a small fortune totally did not matter.  I managed to keep my bag (only by a thread) but travel buddies didn't fare as well (especially on domestic flights).  So, be warned.

• Make a pack with buddies to watch over each other's gear before and after the security X-ray machine - and hope that everyone follows through. With everyone having their own security hurtle and hassles, it's easy to get distracted.  Unlike the U.S./Canada, you are not allowed to hang back and watch your (or your friends') valuables disappear into the X-ray cubby hole; and, people routinely cut in line.  This means that your bags/purse can sit there for quite a while - and it feels like a scam just waiting to happen.  Unlike the U.S./Canada, females are then segregated to a line 3 lanes away where one waits forever before entering a closed curtain booth for a total  pat down.  Unlike the U.S./Canada, more folks readily cut in line, so your mental picture of your bags and bins going in for X-raying is way out of whack by the time you get back to your belongings.  Items are jumbled up and buried under a pile of other travelers' belongings.  Going through security is always the most stressful part of the trip.  So, plan accordingly and be on top of your mental game.  

• I need to say it one more time:  Make certain that non essentials are removed from your carry-on bags.  A friend who just returned from another wildlife trip inadvertently left a small pair of personal scissors in her kit.  Even though they were readily found, every other pouch had to be opened up and examined by security as well.  We ended up having to run to our gate.  And last year, several buddies organized and filled their expansive Kiboko camera backpacks with extra peripherals (back up cords, caps and supplies, etc.) and the security exam took over 30 minutes each.  If didn't help that every pouch was black and filled with mysterious items.  

• Reconsider options if you typically check your lenses:  If you're a risk taker and check your lenses internationally, be warned that you might not be able to get your long telephoto lenses into the country.  A good buddy had his 400/2.8 lens detained by Indian customs and it took over 4 hours of multiple meetings and tons of paperwork to get it released.   The only saving grace was that the lens was registered with the U.S. Customs Dept. and this buddy had his original U.S. Customs stamped paperwork in his possession.  Other photographers have reported the same customs hassle as well - and with carry on gear, not just checked.  I don't remember how much my friend had to fork over, but always carry extra cash for mysterious fees and charges.  So lesson learned: to be safe, it's advisable to lug our gear down to an International airport and register cameras/lenses with the U.S. Customs Dept.  In fact, Art Morris suggested this ions ago when he had trouble getting through Florida customs.  I heard that there are forms online, but that we can list items, descriptions and serial numbers on a word document instead (for annual stamping). 

• When traveling to India, you are not allowed to take rupees in or out of the country. And because the use of credit cards can be an ID theft gold mine and finding a working, secure ATM machine can be your worst nightmare - not to mentioned hotels being lean on cash for exchanging rupees - it's advisable to exchange your currency at the airport upon arrival (for all service and game drive tips, laundry, drinks including daily water requirements, overweight luggage fees, spending money, and emergency transportation/medical/unknown fees cash).   Be prepared to lose a whooping 8% of your U.S. dollars - the exchange cost in both directions -  as opposed to a combined total of 10% in 2010.  Shop around for the best exchange rate and then negotiate a matching rate at Thomas Cook.   Remember to save your USD to rupees receipt that you will need for changing currency back when leaving the country.   And, remember to pick up your cash.  Yes, a buddy almost didn't get his Canadian money because locals tend to interrupt/disrupt ongoing transactions that causes confusion with the money agent.  Fortunately, I was there as an eyewitness.

• Ask for smaller bills from the get-go:  It's difficult to find and change larger 1,000 rupees for smaller 100 and 50 rupees which you will need for tips and miscellaneous purchases.   Thomas Cook typically pays out in 1,000 denominations and doesn't stock the 50's.  And, hotels don't keep much small bill inventory either, especially during the weekend.   So, your best bet is buy packs of 100 bills (100 or 500 rupees) when exchanging your money upon arrival at the airport.

• Best way to carry a wad:  $20 U.S. dollars equals 1,000 rupees.  So, a wad of 50, 100, 500 and 1,000 rupees for a 3 week visit will be heavy and several inches thick.  It's not easy to be discreet - or comfortable - carrying this much cash. One can spread bills between hidden pockets, a decoy wallet, neck pouches and money belts; but, it's a pain to keep organized albeit it's much easier for couples than as a single traveler.  I found that the most comfortable way of carrying a wad of rupees is to use REI's adjustable ankle/calf wallet (voila - no chest lumps, bulging tummy or neck strain).  In fact, I plan to use two of them on return visits and other international trips. 

• Obviously, traveling to India isn't for everyone.  You have to like the culture, people, food (yum), noise, aromas and challenges.  For me, India is mesmerizing with so much history and emotion.  And, the endangered Bengal tiger is so very special to see in the wild.  

Chris
www.wildliferhythms.com

How to See Cute Polar Bear Cubs in the Wild (Updated March 26, 2013)

• From the comfort of your warm, cozy chair, of course!  Check out this "behind the scenes" video made by ABC Nightline News  which was filmed while we were in Churchill, Manitoba in March 2011.  

• But, if you can handle the craziness of minus 50 temps with Arctic wind blowing in your face, wearing 17 lbs. of clothing/boots, driving around on the bumpy tundra, staring at small den holes 100 - 120 yards away when you find them, and praying for happy faces to pop out and smile at your camera, then trek on up to Manitoba near the Arctic Circle.  Although freezing your fingers off isn't fun, the experience is truly magical. 

• You can see why I got hooked at www.wildliferhythms.com under the Wild Reality section:

          - Polar Bear Babies V - Romp and Roll (2013) New
          - Polar Bear Babies IV - Sweet Gestures (2012)

          -  Polar Bear Babies III - Born to Live (2011)

          -  Polar Bear Babies II - Adorable Triplets (2010)
          -  Polar Bear Babies I - Hello New World (2009)

  

• The only place to see dens/families is at Wapusk National Park in Manitoba, Canada (south of Churchill near Hudson Bay); and, the only lodge/operator is Wat'chee Lodge.  Wat'chee means high spot in Cree; and, the lodge sits on a ridge dotted with spruce trees, often with northern lights dancing in the sky at this time of year.

• In the past, Wat'chee Lodge was a closely guarded secret among pro and serious photographers.  But, now that the cat is out of the bag, it's safe to open up the kimono without getting slammed by fellow shooters.  

• The lodge is open from mid-February to mid-March and there are only 21 beds available, mostly 4 to a room.  With this very short season and limited number of beds, the wait list is always several years long. 

• If you contact Wat'chee directly, you'll be placed on the wait list for the following season after next.  Typically, you won't hear back from Wat'chee until your name comes up.  If you're able to go on last minute trips, sometimes you can get in on a cancellation for the immediate season.

• In order to stay warm, the initial investment for a Canada Goose Snow Mantra expedition parka, Canada Goose Rocky Mountain bibs and Cabela's Trans-Alaskan III Pac boots is obscene (in other words, a multi-year commitment) not to mention investments in adequate wool/polypropylene base/mid layers, hats, gloves/mitts and a heavy tripod/gimbal.  When available, you can rent Canada Goose parkas from the lodge and possibly purchase them as well if you inquire well in advance of your visit.

• There's no guarantee that you will see anything for days on end  as mama bear/baby activity can be earlier or later than your given lodge nights.  The train to the lodge to/from Churchill runs 3 times a week.  You should request at least 6 shooting days to increase your chances of seeing polar bear babies, along with your preference of coming during week 1, 2, 3 or 4.  The owners do their very best to fit everyone in; and, they take special care of their repeat guests.  

• The Wat'chee operation is a labor of love and running the lodge for only a month a year in these extreme weather conditions requires a herculean hands-on effort - more than you can ever imagine.  Mike and Morris Spence - brothers who own and built out the lodge - truly want to share this special experience of seeing polar bear families in/near the dens, while preserving the natural habitat as they remember it from their youth.  

• Mike and Morris have the most hands-on knowledge on the planet and share knowledge with various polar bear organizations and researchers.  Mike runs guest operations; and, Morris plus good friend Amak, are the best and heartiest polar bear baby trackers in the universe. The rest of the year, Mike, Morris and small staff of 5 have other full time jobs and responsibilities; i.e., Mike has been the mayor of Churchill for over 20 years.  

• The denning area, which became part of Wapusk National Park in 1996, is where the Spence brothers - Mike, Morris, James and Frankie - fished and hunted using traditional traplines with their parents when they were kids, with added knowledge handed down from their grandparents. The property is a refurbished World War II Navy communications base and is located 40 minutes south of Churchill.  All essential supplies - food, water, gas and building/auto materials, etc. have to be brought in by train; and, then driven through the barren tundra via modified snow vehicles for the lodge's one month of operation during the height of the denning season.  

• Every resource is precious and the operation is extremely well run.  Keeping Wat'chee vehicles running (and warm) in these harsh conditions is a feat in itself.  Most impressive is the hearty food that Daryl, the sole cook, is able to prepare for a hungry group of 18 - 21 guests plus staff.  The lodge is kept remarkably warm with only 2 wood burning stoves for heat; and, guests conserve at the no running water, co-ed facilities by bringing their own packets of no rinse bathing wipes and personal sundries, etc.

• There is no best week to visit Wat'chee Lodge as the season could start early (when families leave earth dens and head to the Bay so that moms can feed on seals) - or late.  After emerging from earth dens, families hang around for a few days (out in the open or next to snow banks referred to as day dens) before starting the 40 mile trek to the Bay.  Since there are over 200 re-usable earth dens in the area, success means being in the right place at the right time.  

• The number of family sightings in 2012 was unfortunately below average.  Researchers have been predicting that the late freezing and early thawing of the Hudson Bay ice will have consequences; and, this year may be the first dose of reality.  Less ice means less seal feeding time which results in fewer females strong enough to go into heat, and then to produce new families.  And it's possible that moms are staying with their cubs longer than before.  Whatever the reason, 2012 was an abnormal season as researchers spotted fewer families out on the ice as well.  I'm happy to report that 2013 was one of the best seasons in a long time in terms of entertaining viewing and quality photography.  But, it was brutally cold and very difficult shooting. 

• I always approached Wat'chee with the expectation that one good sighting per trip (active cubs in nice lighting) is a win for me; and, that 3 days of shooting out of 8 is a home run. But with wildlife photography, we don't win on every trip.  So, I'm always braced for goose eggs because it does happen here.  If you're not ready for these odds, perhaps Wat'chee is not meant to be because standing outdoors in minus 40 - 50 degree temps will already test your sanity.  Seeing triplets may be the brass ring; but, seeing playful cubs (twins or triplets) in nice lighting is the holy grail for me.  I saw triplets my first 3 years, but missed them by a few days the last 2 years.  Timing is everything.

• Wat'chee attracts experienced, diehard photographers with great attitudes (no whiners); and it's a great place for exchanging travel knowledge, making new friends, and seeing Northern lights.  It's estimated that only 500 or so folks in the world have had the opportunity to see moms with newborn cubs in the wild, so finding/watching them is pretty incredible. I want to stress that building a polar bear portfolio should be a multi-year commitment as clothing/gear is expensive, the learning curve is steep, and there are up/down years for whatever reasons.

• The ability to get sharp images continues to be a huge challenge, especially when winds are blowing 30 - 60 knots (35 - 70 miles per hour).  Lenses shake, your viewfinder freezes up, batteries drop to 50% in minutes, your cheeks/fingers burn, it's hard to keep your tripod/wimberley locked down, and rigs blow over when you're not looking; not to mention that it's difficult to operate camera buttons, autofocus systems get sluggish or stall, cameras get covered in ice, many bodies bite the dust - and, the subjects are 100 - 120 yards away.  Even without the wind, it's a challenge to get low contrast subjects in flat lighting tack sharp.  So, being blessed with nice lighting can make all the difference in the world.  And, it helps to stay calm when the back of your camera looks like a snow cone.   

• It goes without saying that it's critical to be fit and healthy; and, you must monitor and listen to your body to avoid frostbite and other serious injuries.  It's not the time to man up or prove a thing as there's no access to nearby medical facilities.

• It takes a high level of commitment, patience and definitely good karma to make this trip a success.  

•  If you're still serious about wanting to see these endearing, endangered babies in the wild, then get on the Wat'chee wait list now or find a US/Canada, Asia or European tour group that has available slots for the 2014 or 2015 season.  

• If you're a professional or make more than a dollar off of prints, you need to get a Wapusk Park Photography Permit which the the lodge can provide prior to your arrival.

• This is a seasonal business and the very small team works miracles in these harsh conditions (while giving up their normal jobs for this labor or love), so tips in the range of $40 - $50/day are appreciated. 

• Before visiting Wat'chee, be sure to review my Baby, It's Cold Outside section below as there's lots of prep work involved; especially, if you want to stay warm and comfortable.  Hopefully, I've taken at lot of the guesswork out of clothing and shooting tactics.   If I can do it, so can you!  

Chris
www.wildliferhythms.com

How to Shoot From a Safari Land Rover, Safari Prep and Image Workflow (Updated May 20, 2013)

Friends are always asking me how I keep my camera and long lens steady when shooting from open land rovers or jeeps; i.e., when photographing favorite leopards in South Africa, wildlife in Botswana, or tigers in India, etc.  As my friends and family know, a simple answer just isn't in my DNA.  And, since I can't handhold a super-telephoto lenses like some of my taller and stronger photo buddies, my response typically goes like this: 

Cameras, Lenses, and Support Techniques

Updated 4.10.13

• I tweak my tactics depending on airline rules, type of planes, camp terrain, type of vehicle, distance of subjects, lenses, and my degree of jet lag; i.e., it's not unusual to be 12 time zones off upon arrival.  

• I primarily shoot with a 500mm f/4 V.1 on a 1Dx or 1D Mark IV depending on subject distance; and, a 70-200 f/2.8 II on the 2nd body.  I often use the 1.4x III teleconverter as well.  Reducing travel weight is always a major issue.  So far, I've refrained from upgrading to the 600mm II (for the 1Dx) because larger camera bags are more susceptible to being spotted for valet checking; and, because I already have an 800mm.  In Botswana and South Africa, I always book an extra bush plane seat because of strict weight limitations.  This enable me to carry my gear inside the cabin and mitigates the risks of my checked luggage getting bumped onto a later flight. This does happen and when it does, it could take days/weeks for luggage to catch up with you.  See more info under Putting Photo Gear on a Diet - Ounce by Ounce under the Chris' Packing/Travel, etc. Tips section below. 

• I obviously sacrifice landscapes and some animal-scapes images.  But, my priorities are alway cat (or polar bear) babies and I'm normally on a mission; i.e., to find/photograph specific subjects and behavior.  With airline constraints only getting worse, we all have to make tough travel gear decisions.  In fact, trying to figure out what not to bring is the most stressful aspect of safari packing, no matter how many times I've been there. 

• I'm comfortable traveling to Africa with 70mm as my widest lens.  That's because I know that I've never had time to change lenses - or choose not to because of the dust - even when I did have my 24-105 IS or 16-35 II in the bag.  Plus, I don't like moving around when others are shooting (vehicle vibrations) in hopes that the respect is reciprocal.  And, if the subject/s are that close, it means shooting down which isn't desirable.  This elephant grouping was shot with the 70-200mm and the 1.4x was still attached on a full frame.  Since I was focused on repetitive patterns, there wasn't time to take my eye off of the viewfinder and remove the extender aka I could've gone wider. 

• If I go on trips with planned side excursions, like China or India, then of course I bring a wider zoom.  The problem is that zooms, with the exception of the 70-200/2.8 II don't knock my socks off and my L primes are too heavy.  Sure, I would love to have a cheetah jump onto the vehicle, but what's the probability of that outside of Kenya?

• I use to carry a point & shoot for grab/memory shots and video; i.e., the Canon S95 or Pany LX5.  But, I've come to grips with the fact that what I treasure the most are the video files.  Also, I'm never thrilled with the still files (aka I stopped wasting peanuts on P&S upgrades).  So now, I use a small camcorder  - the Sony GW77V (same footprint as the TG1 that I use to carry) - along with a Hoodman loupe, a Manfrotto 797 Modo Pocket tripod and my iphone 5. That's because I recently had one of those once in a lifetime video ops and the S95 didn't do it justice.  What a bummer.

• For those without a 500mm or longer lens, I should note that I've successfully used the 300mm f/2.8 as my primary safari lens on a full frame body on several trips.  Obviously, I'm not a birder and I was in Botswana, not in Kenya or Tanzania.  In fact, some of my most favorite images - i.e., the lioness with cub in her mouth or the leopard mom with cub holding her paw - were shot with the 300mm f/2.8.  The extra stop of light and pop from this lens is really a stunner.  Unfortunately, it's too heavy for me to carry as a 3rd lens.

• Regarding which lenses to bring, there is no right answer as every camp/terrain is different, you'll never have all that you want, and you do the best with what you have, the lighting, and your brain.  For me, carrying fewer lenses means less fiddling around and I limit myself to 3.  On private camps in Botswana and South Africa, you can travel off road more often than not, so subjects tend to be closer.  Note: longer lenses means higher shutter speeds and more diligent technique in order to get sharp images. 

• For support, my "no brainer” method is to use the awesome SkimmerSack molar type beanbag on the roll bar (made by Kinesis Gear, sold at naturescapes.net too).  I pack the SkimmerSack empty and it's filled with seed or rice once I get to the first safari camp/lodge.  The exception is in Tanzania where we stop in town for small beans (approx. 12kg) on the way to the Crater area.  The SkimmerSack is fast, easy and allows me to get my timing down on the first couple of game drives.  I also use a smaller custom-made 8 x 10" ultra suede beanbag to stack on top of the SkimmerSack when more height is needed.  This stacking system is very versatile.  Plus, the 2nd beanbag serves as a leg cushion when carrying gear on my lap (aka more comfy when driving over bumps/potholes in the road); and, serves as a quick second means of support for the back roll bar (i.e., when a subject moves behind the vehicle).  

• Other beanbags that I've used are the smaller WildlifeImaging beanbag (don't launder it as it shrinks) and the classic SafariSack.  Note: Request rice, seeds or beans upfront when making your camp reservations; and, return this valuable staple back to the camp staff at the end of your visit.  In the bush, nothing should be wasted.  If you prefer a lighter weight fill, bring your own buckwheat hulls -  i.e., from www.save-on-crafts - or purchase the beanbag already filled from Kinesis Gear. 

• My "get it sharper” method is to use a collapsed monopod set directly on the seat.  I lean the monopod against the beanbag and sit forward with one knee pressed into the back of the forward seat (aka a triangle). My left elbow is draped over the roll bar or against it.   As needed, I do the same in reverse using the back seat as the anchor point.  

• Shooting with my beanbag-monopod system gives me the most speed and flexibility for shifting side: side, forward:back  and pointing upwards for subjects in trees or rocks.  Before the vehicle stops, I'm already in position to get the cleanest shot shooting through thick foliage, i.e., when photographing tiny 5 week old leopard cubs peeking out of their den.  Being able to move my body just a tad also helps to wrap the light more effectively; and, ranger/drivers don't have to guess at when to stop the vehicle because they've already gotten the message.

• If something or someone is blocking my view, I switch to using the monopod on the floor (seated normally, left foot wrapped around the lower leg, and mid-section pressed against the outer thigh/inside calf).

• Using a monopod also allows me to adjust the viewfinder height, so there's less strain on my neck, shoulders and spine; especially, when working with subjects for hours on end.  And, it adds another anchor or stabilization point for added sharpness.

• For my monopod, I use the beefy and compact Gitzo GM5541 along with a Gitzo Big Foot All Terrain shoe.  

• With the monopod, I either use the 4th Generation Designs Mongoose 3.6 upgraded Action Head with Low Mount Plate as travel weight is only 1.8 lbs. (versus the 3.15 lb. Wimberly II which I only use for the 800mm on a tripod); or, the lever version of the Really Right Stuff Monopod Head @ .9 lb. and  Universal leveling base @ 12 oz.  I position all adjustment knobs - lens rotation, the monopod head and leveler - for my left hand so that I can keep my eye on the viewfinder while adjusting to minimize shooting lag.  Note: RRS's knob version clamps are more compatible if using lens plates from various vendors but I find that their levers are faster to install/de-install.  And, since I'm always adjusting the leveler knob, there's less risk of grabbing the monopod head knob by mistake.  If you want to save weight, Acratech's 8 oz. leveler works too albeit it only has 10 degrees of movement.  I've never taken my Manfrotto 438 compact leveler on safari as it weighs 1.4 lbs.  

• Both monopod heads weigh about the same and it's always a tough decision on what which one to pack.  The RRS rig is easier to hold on my lap; i.e, when sitting next to the driver; whereas, the Mongoose rig is more stable when leaned against molar beanbags (more surface contact) or laid on the seat (less rotation).  The Mongoose's L shape is nice for holding while shooting (aka less stress on the lens); whereas, the RRS rig is easier to use when shooting perpendicular to the vehicle.  The RRS rig also more efficient in terms of actual packing space. 

• I like using Hoodman HoodEye eyecups on my cameras because they anchor the cameras against my face.  Because the HoodEye comfortably molds against my eye, there's less pivoting or wiggle room than using the standard camera eyecup.  In addition, it cushions the eye from the weight of the camera/lens when shooting up into koppies (rock formations).  Note: they will tear after a year or so from wear and traveling into jammed camera bags, so always have a spare handy.

• It's important to lock down solid - monopod, face, elbows, knees and feet; and, to relax the upper body.  

• Before the vehicle stops at the next shooting destination, have your monopod legs set up at the right length and your beanbag positioned where you'll need it on the roll bar.  It's also important to communicate with the ranger/driver so that he knows where you want to be positioned and at what angle for the best background and lighting - for every subject that you approach.  When folding up and collapsing your rig, be careful not to pinch your fingers or knuckles unless you want a major ouch. 

• Noise and fast motion are your worse enemies, especially if you want to relax subjects; such as, young cubs, birds or skittish elephant and impala.  Remove all jackets, dry sacks and rain covers before reaching subjects (i.e. 100 yards away) as noise from fabrics can disturb animals, especially non-relaxed cats and very young cubs.  Also, finish unzipping/zipping up bags as well and refrain from sliding around on the vinyl seats.  Note: Wax your bag/jacket zippers before trips for smoother/faster operation.  If you can turn off the shutter sound on your camera body, do that as well.  

• It goes without saying that talking must be minimized as well, so use hand signals with your driver/ranger for clarity and speed.  It always amazes me how much people talk in the bush when sound carries such a great distance, even to the human ear.  That's because stealth cats from Africa and India to the Pantanal are notorious for going off road and tucking into the bush until all the noise passes by. 

• When shooting, my left hand is pressed against the Mongoose/RRS and not on top of the lens barrel which reduces stress on the lens and camera mounts.  If not, you could crack your lens mount screws and not even know it until it starts creating camera errors. 

• If using the 300/2.8 on a 2nd body, I use a makeshift mini-shoulder brace - a Leica tabletop tripod attached to a small Giotto MH-1203 655 QR ballhead @ 1.1 lbs. - for sharp grab shots.  

•  When I want a shoulder brace or quasi-panning lever when working on a monopod/beanbag, I sometimes add a Wimberly macro arm (just the elbow joint piece of the F2 macro flash bracket).  It's attached to the camera via a 4th Generation  bi-directional plate. 

• For "shooting low directly off of the seat", I like using Naturescapes' Skimmer Ground Pod II with risers when I have the space to pack it.  It's helps to reduce neck strain. 

• For "shooting directly off of the floor", the SkimmerSack works great as a lens/elbow rest with a smaller beanbag tucked under knees albeit it's being left behind as of late because of total weight constraints.

• For "shooting subjects in trees", I like using the 4th Generation Designs Monopod Companion with Clamp Post which allows me to anchor my monopod to the roll bar with two points of contact.  This allows me to extend the monopod and shoot straight up without craning my neck for long periods of time.  The Companion only weighs 15 oz. and takes minimal packing space. 

• I also like using a monocular instead of binoculars because it allows me to keep a firm, one handed grip on my rig while accessing the quality of a potential shot.  I use the compact Zeiss 8x20 T monocular which only weighs 2.7 oz.  

•  Regarding tripods: For non-safari type trips (aka not on a land rover) - i.e., Yellowstone, the Pantanal, wild horses and bears, etc. - I bring the lightest legs appropriate for my longest lens, discounted by the amount of anticipated usage and the amount/difficulty of walking.   See more specifics below under Putting Photo Gear on a Diet - Ounce by Ounce, item #5.

Positioning the Vehicle

• The faster you can stop, the quicker that you can get set up.  If your driver needs to back up, fiddle with positioning the vehicle or hesitates in turning off the motor, your subjects have either skittered away or relaxed their curious body posture - and, you've just lost direct, wide open eye contact.  A bit of grass in the way?  Use it for framing. 

• Preferably, I like to shoot to the left, with the vehicle angled 30 degrees to the left as well (10P position) when shooting off of roll bars.  This is more comfortable on the neck/shoulders, great for left eye dominant shooters, and it avoids hitting the driver in the head with long lenses. 

• With skittish subjects - like mothers/babies and zebras - I always start further away and slowly move closer as appropriate.  

• With shy subjects - like near distance birds and certain antelope (kudu, nyala, klipspringer and steemboks) - I ask for the vehicle to be stopped immediately and angled 20 degrees to the left or right (since there's no time to fiddle with re-positioning the vehicle or turning it around).  

• With subjects high up in trees - leopards, birds and monkey/baboons - shooting straight ahead (at 12 o'clock) is fine because shooters can shoot over one another; and, it's more comfortable on the back.

• Ranger/drivers can't read your mind or predict your shooting style or real-time shooting objective, so communicate clearly and politely before you reach your subject/s.  Hand signals are easier for drivers where English isn't a primary language, and when there's loud from motor or wind noise.  Be a teammate - aka don't act like a boss - as genuine respect goes a long way.

• It's not a shot unless it's sharp.  And, it's not sharp unless you can print it large.  So, if it takes longer than you'd like to get set up and locked down solid, stick with the basic beanbag (the easiest) and practice with the more complex monopod combo when appropriate; i.e., while waiting around for sleeping lions to liven up.  Know that you'll get more efficient the more you practice. You don't want to be fiddling around when others are ready and trying to shoot; or, risk missing that critical magic moment.

• Work just as hard in spotting subjects as you have a broader and higher 300 degree line of sight; whereas, ranger/drivers are concentrating on avoiding elephant pot holes, rocks/logs hidden in tall grass, thorny trees branches that love to slap you in the face/shoulders, in addition to driving on bumpy dirt roads and gullies while trying to spot for subjects.  

• Take turns with your buddy on scouting to the right or to the left.  Develop a rhythm for checking near:far and high:low.  Don't get complacent and try to be the first vehicle at a sighting.  Train your eyes to spot subjects in trees and behind bushes as you whiz on down the road (aka easy for drivers to miss).  Yes, it's a lot of work.  But, it increases your chances of home runs - and great for abs.  

Custom Functions - 1D Mark IV

Added 12.13.12

Getting great images isn't just about what camera and what settings.  But, since I'm always seeing forum posts about "what settings should I use?", here are my Canon Mark IV custom function settings (Mark III are similar):  

Group  I - all default except

•  7-1 

Group II - all default  

Group III 

• 1-0
• 2-1  Moderately Fast  
• 3-0  Exception: Change to Drive priority for erratic jumping/panning shots
• 4-1  Always set in case I switch 8-0 to 8-1
• 5-0  Exception: Change to 5-1 if hunting
• 6-4
• 7-0
• 8-0  Change to 8-1 as needed for low light/low contrast
• 9-1
• 10-0
• 11-2
• 12-0
• 13-0
• 14-0
• 15-0
• 16-0
• 17-0
• 18    High = 10 and Low = 8
• 19-0

Group IV - all default except

•  1-2  Switches autofocus to a back button
•  2-1  Switches auto focus to the "*" button
•  8-1  Settings displayed on LCD
•  14-1 Reduces shutter lag

Shooting Style - 1D Mark IV and 1Ds Mark III 

Updated 4.18.13

• This may be a surprise to most, but I shoot in One Shot 90% of the time.  That's because Ai-Servo only kicks in at a certain speed threshold.  As a result, it's more reliable for birds in flight or running subjects than it is for slow moving subjects; especially, when shooting wide open or at narrow depths of field.   Plus, it never worked for me with low contrast/low light subjects (i.e, white polar bears) and/or distant subjects that are small in the frame.  The other main reason is that auto focus locks on faster in One Shot.  And, each time I re-focus - aka pumping the "*" button in back - I know exactly what I'm focusing on; i.e., it gives me more control over depth of field and composition decisions.  Re-focusing is immediate because I have my C.fn III-2 set on Moderately Fast. 

• So, how do I eliminate another 1 second image stabilizer delay on the lens each time that I re-focus?  I use an unpublished trick that Chuck Westfall shared with me a few years back.  For those using the back "*" button,  press the shutter halfway before re-pumping and this keeps IS activated.  This mitigates worrying about timing issues.  I also shorten my shutter lag to .036 seconds (from the default of .055 seconds).

Shooting Style and Camera Settings - 1Dx

• Let me emphasize that Ai-Servo is awesome, I totally trust it, and I'm thrilled that I can nail running polar bear babies like I never could before.  However, I still prefer to pump in One Shot whenever I can because the green light indicator has been ingrained into my brain:hand coordination for ions.  Plus, it stills feels a tad faster and I can recompose as needed.  With Ai-Servo, the AF indicator is faint (light gray) and lags a bit before the flashing green light tells me that the opposite is true (aka "not" in focus which is a bit counterintuitive in my opinion).  Note: to see your AF point in Ai-Servo, set AF #5 Display During Focus to Selected (Constant).  

• My main 1Dx default settings are One Shot, Single Point, Case #1 and Tracking Sensitivity is +1.  On the fly, I can switch to Ai-Servo and/or 4 Point Expansion via the two front buttons (M-fn 2 and DOF) so that I get the best of both worlds while pumping.  Note: faster acquisition also means the faster to lose focus, so practice and see what works for you.  And, for stationary cheetahs that starts to run (pretty please), I've programmed my AF-On button for TV along with the anticipated exposure.   In addition, I set Tracking Sensitivity, AF point switching and Acceleration/Deceleration Tracking as 3 of my 6 My Menu items so that I can change behavior on the fly without having to drill down under the Case menus. 

• My other My Menu items are: Format Card, Custom Controls, and the setting for switching CF cards.  Note: Even though the Q button can get us from My Menu to the AF Menu in 2 presses, I still wish that we had the ability to store a few more My Menu items.  

• My Multi-Controller is set to center point, the Set button is set to ISO, and the M-fn button is set to AE lock.  And, most of my options are limited; i.e., shooting modes are only AV, TV and M; Zone is disabled; and Low fps is set to 10 for lowlight conditions. 

• I wish that I had one more 1Dx button for recalling a registered point; i.e., M-fn or the WB button since white balance is easy to change with the Q button.  For me, the Lens button is mute because it's hard to access when working off a monopod or beanbag.  

• Obviously, I've set up the 1Dx for my objectives (minimal time away from the viewfinder), operational style and favorite subjects, while being the most transparent when working in conjunction with the 1D Mark IV.  I could share more settings; but, then you'd never read and study your manual, AF Guide and Canon videos which are invaluable ;-)  Net:net: I highly recommend that you study, explore, practice, document - and, knock yourself out. 

Fast Action

• For fast action shots - i.e., cubs playing erratically or climbing up/down trees, I obviously switch to Ai-Servo on all three bodies.

Focus Points 

• 1D Mark IV and 1Ds Mark III:  I never use AF expansion (C.fn III-8) except when photographing white polar bears in low light as needed, or when panning (using left/right points only).  I find that this is more accurate.

• 1D Mark IV: If subjects are erratic and harder to track - i.e., hawks zigzagging before diving into water or hippos flipping their heads back - I switch to Auto/45 in Ai-Servo, initiating focus with the center point.  If I sense that the camera lost focus - i.e., the subject's body moved outside of the ring of fire (i.e., available focus points) - then, I re-pump to be safe.  

• 1Dx: As mentioned above, my default is Single Point and I rarely switch to Single Point-Spot (not needed).  To date, I haven't needed 4 Point Expansion either and feel that it covers to big of an area.  Note: The sensor is looking for detail and contrast; and, when more than 1 point is selected, the sensor could/will lock on something in front of the intended focus point.

• 1Dx: Even though I don't use Auto/61, the good news is that we no longer have to start with center point.  To maximize results should I ever need it, however, I'd start with Single Point when the subject is still small in the frame, re-pump to assist the camera, and then switch to Auto/61 at the last second using the front buttons (M-fn 2 or DOF). 

Selectable AF Points

• With all Canon bodies: I select my own focus points and try to use focus points that are cross hairs because they're more sensitive and accurate.  Note: on the 1Dx, you can set Selectable AF Point(s) to the 41 available cross hairs (AF #4) so that you no longer have to think about it.  In addition, there are several diagonal cross points which are activated when using lenses f/2.8 and faster. 

• I also try to focus directly on the cross hair - the vertical or horizontal line dissecting a focus box.  And, because vertical lines extend outside of focus boxes, I'm cognizant that the sensor may/could focus on something with more contrast beyond the focus square.  So when I see more than one box light up and I'm on single point, that's a clue for me re-acquire focus. 

• I also know that if I focus on something with little to no contrast - i.e., polar bear babies with branches in the foreground - there's a higher risk of the sensor focusing on the foreground (even when I'm in Single point). 

Metering and White Balance

• I use AV + 2/3 -1 EV (more if everything is snow white) so that I expose all the way to the right.  That's because one stop of underexposure - i.e., the right column in your histogram - is equivalent to throwing away 1/2 of the available pixels for editing.  I then fix my exposure, tonality and mood in post processing which results in cleaner files.  This way, my subjects are less muddy, especially when they're in shade.  

• If shooting subjects in trees with the sun behind them (aka in shade), I ignore highlight blinkies that come from areas that will be cropped out of the final image.  I also add a gentle touch of fill flash with a bounce card when possible. 

• I always use Daylight white balance.  Previously, I used Shade because I prefer the warmer tones of cinema film.  However, I find that I get cleaner files if I shoot in Daylight, neutralize color balance with an eyedropper, warm up the tone, and then remove color casts as needed in Lightroom.  Also, Daylight gives me more post-processing consistency over Auto WB.   

• And of course, I shoot in raw. 

ISO

• I'm still happiest with my file quality when I shoot at ISO 400 or below - and, that includes the 1Dx as well.  Even though I shoot to the right to eliminate as much noise in the shadows as possible, I'm still seeing too much noise at ISO 800 for my taste.  Unfortunately, I normally have to shoot at ISO 800 - 1600 in early/late morning light and/or because I like to keep my shutter speed at the reciprocal of my lens focal length.

• On a 2011 India trip, I would have missed this rare Indian leopard if I didn't push my ISO to 3200 using the 1D Mark IV.  But ouch, I was down to 1/15 and f/4 aka no man's land in terms of camera vibration.  So, I tried the unthinkable (per my standards), shot a few images at ISO 6400, and was rewarded with a few sharp memories at 1/30.  But the best pose was the one below at ISO 3200 even though the nose hairs are less distinct.  So my lesson learned: push the ISO when necessary and keep shooting.   One never knows what one might get.

• Important: When buying a new camera, test it and learn it thoroughly before going out on safari as every model has it's nuances; such as, 1) some perform better at 1/3 ISO stops as opposed to the whole stops that I've been using, 2) cross hairs vary, and 3) custom functions are different, etc.  Nothing is worse than leaving awesome photo ops on the table because settings weren't optimized, or having a camera that is plagued with error 99/80 or other repair issues.  

• A note on the 1Dx's file quality:  So far, I don't feel that the files are as clean (a bit more muddy) or 3 dimensional as the 1Ds Mark II/III, so there's a little more work in post-processing, especially when printing.  

To/From the Land Rover or Jeep:
Updated 1.22.13

• To the vehicle, I hand carry the long lens/body in a 35L Outdoor Research dry sack and the 2nd body/lens in a ThinkTank Glass Taxi.  On the way back, I carry the 2nd rig  with the  Black Rapid sling strap because I like to clean things up before putting gear away.

• For dust/rain protection on "open" vehicles, I use 35/55L Outdoor Research Durable Dry Sacks because they last the longest in terms of water/moisture seepage prevention.  They also have webbing on the side so that it's easy to anchor them to roll bars using straps.  They do, however, weigh 7 oz. and take longer to dry in heavier rain (waterlogged albeit moisture doesn't get inside).  So, I also like/use Outdoor Research's Ultralight dry sacks (with buckles) which only weigh 3.2 oz.  As of Jan. 2013, it appears that Outdoor Research is discontinuing their Ultralight dry sacks but I still see them around on various sites.  I buy my sacks oversized - aka 35/45/55L because it's faster to whip cameras in and out, to fold them over several times in heavy rain/dust, and to protect the Glass Taxi as well.  The 55L also fits the 800mm set-up and the 15L graphic sack makes a nice day bag companion.  Note: I tried using a lightweight 3 oz. Sea to Summit PackCover which is like a giant shower cap that fits up to a 500mm/body plus 1.4x III.  But, I found that dry sacks with buckles are faster to use.  Note: After each trip, I fill dry sack/pack covers with water in the tub to check for water/moisture seepage. 

• For my day bag, I use the Glass Taxi which has an amazing capacity for a small, 2 lb. footprint.  With a Test Drive bag attached, it holds my 2nd body with 70-200 and 1.4 extender, spare batteries, a shorter lens, sun hat and bandana, flash, battery pack, diffuser, remote cables, sunglasses, P&S or camcorder, StormJacket rain covers, straps, another dry sack, Zing neoprene pouches, rocket dust blower, dust brush, Q tips, AA batteries, headlamp, microfiber towel, fix-it tools, leatherman, nuts, water enhancer, SunX towelettes, BugX/Ben's Deet wipes, tissue/Wet Ones, first aid stuff, ginger chews, eye drops and an extra top layer; plus, gloves, hat and neck gator in winter months.  Tools and personal items are organized in a lightweight mesh.  I tried using a cheapo lightweight backpack but found that the Glass Taxi made it faster to organize and find things. The Glass Taxi also protects gear when checked in a soft sided duffel.  For clothing items, I carry the 15L Outdoor Research ultralight graphic sack.

•  Note: My safari gear travels to/from in the GuraGear Bataflae 26L which fits two pro bodies, the 500mm, a 70-200/2.8, extender/s, P&S/video and CF card cases.  I'm not using it for game drives because I like to keep my travel bags clean.  To make Bataflae's zippers run more smoothly - especially around the corners - I apply zipper wax and add TSA locks to the closing zipper direction.  I also replaced main zipper pulls with the orange ones from my Kiboko because I like the shorter length aka more control. 

• Straps, straps and more straps: camera and lenses are tucked inside dry sacks or pack covers, and then anchored to the roll bar on the back of my seat with buckle straps.  The straps keep gear from crashing to the ground during sudden stops.  They help to minimize thumps, bumps and vibrations; and, I'm more comfortable riding around on bumpy roads.  Prior to anchoring down my gear, I struggled with holding cameras/lenses on my lap without dinging them, causing more tense shoulders, neck and arm strain.  Obviously, straps are lighter for packing then long lens cases; but, this system is also quicker for me as well.  Buy buckle straps at your local camping store or find a nice variety here at strapworks.

• Triple rain protection: Having dry sacks and backpack covers on hand provides double protection when sitting in heavy rain downpours.  During a heavy rain pour earlier this year, I had Pro Storm Jacket Telephoto covers on as well - and needed all three layers.  

• My comfy little strap secret: typically, one holds onto to the roll bar in front for stability when drivers are speeding around like maniac race car drivers.  For some folks, this means that your shoulders are hunched slightly forward and are not braced against the back of the seat (kind of like riding a horse).  However, I just discovered that by holding onto a strap anchored to the roll bar behind me, my core body and shoulders are planted to the seat, so there's much less jarring around.  I can also loop my upper arm through a small strap clipped to the main strap, and it's "look ma, no hands".  Or, I  hook the small strap over the 70-200 lens when my camera is sitting upright on my lap for stability and comfort.

• I also strap 1-2 small Zing neoprene pouches to the roll bar for easy access to eyeglasses, a monocular, a P&S camera/camcorder or a teleconverter in lieu of wearing overstuffed vests.  Smashed eyeglasses is an ongoing hazard for me since I whip them off before shooting.  And, the Zing pouches have been a huge help after testing a gazillion options over the years.  I also clip things to the outside of the Glass Taxi as needed with carabiners.  I stopped wearing vests because I weighed myself down and because I feel more flexible turning side:side and around while scouting.

• 2 minutes: Getting set-up and breaking down only takes a few minutes at most, especially if I've had my morning coffee.  At the end of the day, I carry everything back to the room to clean before storing things back inside the Glass Taxi.  

• Back on the home front: after returning home, everything is ceremoniously washed down in the bathtub - the Glass Taxi, dry sacks, pouches, beanbags, straps and Eagle Creek cubes et. al - as they are filthy with dust/dirt and potential hitchhikers, etc.  My worst fear is bringing home a batch of giant orb spider eggs (or ticks) from Africa or India. 

Evening Routine on Auto-Pilot
Updated 1.25.13

• Download compact flash cards to a laptop.  With the 11" Macbook Air, I use Hoodman USB 3.0 readers and carry a SanDisk FW800 readers plus Thunderbolt:FW800 adapter for backup.   

• Verify that folder sizes (bytes) match up 100% before copying to two portable drives. 

• Do a quick image audit (see next topic).  

• Top off batteries to avoid having to charge from empty and having potential conflicts with generator/travel schedules.

• Format cards and re-set camera settings.

• To learn more about my field back up tactics and long term archival strategy, go to Chris' Packing, Travel and Image Storage Tactics by scrolling to the bottom of this page (it's the last two sections of this blog document). 

• Note: be aware that electrical currents from shared camp generators or overloaded lodge circuits may not be as strong as when testing laptops/devices at home; meaning that: a) it may take longer to charge your batteries and laptops, b) too many devices can blow out circuits, and c) you may not be able to complete your nightly back-ups as quickly as planned.  So, set priorities especially when two shooters are sharing a room.  For example, I make sure that everything is backed up before doing any importing in Lightroom; and, I always top off camera batteries nightly as opposed to waiting until they're drained.  This is even more important with the 1Dx as fps drop to 10 if the battery is less than 50%.  Also, I always unplug everything as soon as I'm done; including, the surge protector.  And, when there's an on/off switch, I try to remember to remove Canon batteries from the charger before shutting off. That's because any AC interruptions will trip them up and trigger the calibration lights aka a pain in the neck.

• Remove dust from the front of my lenses and bodies with a Giotto Q Ball Air blower and paintbrush. Wipe everything down with a damp towel.  Note: In India and at some U.S. airports, Giotto's Large Rocket Air blower could get confiscated when going through checked bag security because of it's shape.  Smaller rocket blowers don't really work in dusty environments but the Q ball does okay (and looks less threatening).  My travel tactic is to place the blower in a separate baggie and place it right on top inside the checked duffel.  Inside the baggie is a friendly note that says: To TSA, Please Note: This is just an air blower to clean the front of my lenses and inside my cameras on African safaris where there is a ton of dust.  Please allow and thanks in advance. Signed: my name, Wildlife Lover and Photographer

• In moderately dusty environments only, blow out the inside of cameras with the Q blower to avoid having to do wet sensor cleanings in the field.  If there's dust on the sensor, inspect it with a Visible Dust Mini Quasar 7x sensor loupe and do a manual sensor clean with the blower only.  Note: I never travel with the loupe's original case (quite large).  Instead, I place the loupe in a smaller/lighter Hakuba CF case.

• Verify that the All Terrain foot, HoodEye and other caps/screws/bolts are still on and tight (something is always coming apart or falling off in the field).  Do minor repairs as needed.  If there's moisture or rain, store cameras with Zorb-It packs (have been told to use rice in a pinch).   

• Replenish supplies - AA batteries and sunscreen/bug/handy wipes, etc. - and make adjustments to what's carried out to the vehicles; i.e., rain covers, straps, clothing - or not.  I keep a simple checklist visible so that I don't forget important items; and, to help document my workflow for the next trip. 

• Force myself to get into bed by a certain time as long days in the field can be draining.

Quick Audit of Images:
Updated 12.8.12

• My priority is to analyze what's working or not in terms of my technique; i.e., camera support tactics and sharpness, metering, depth of field decisions and camera settings.  I emphasize the word "quick" because if not, 2 -3 hours will blow by; and, it'd be way past a decent bedtime for getting up at 5:30 - 6A in the morning.

• Until recently, I've been using an inexpensive fast and simple drag/drop browser called Microsoft's Expression Media 2 (started when it was known as iview Media Pro) because Lightroom takes so long to see 1:1 previews for judging critical sharpness in images.  After a quick look:see, the Expression contact sheets were tossed; and, then I'd start importing raw folders into Lightroom for initial best of ratings and collections, etc.  

• Now, I've switched to Photo Mechanic 5 as my front end browser/CF card importer because it integrates nicely with Lightroom 4/CS6.  Photo Mechanic 5 is wicked fast and it can be set up so that Previews (same as Loupe in LR) fill the entire screen (important when using a 11.6" Macbook Air).  The preview zooming size can be pre-set and then increased/decreased by simply hitting "z" and/or changed in increments with "option or z" plus the "+/-" keys.  A double/single click gets you back:forth between Previews and the Contact sheet (same as Grid in LR).  And, it's easy to learn assuming that you understand a bit about Lightroom file behavior.  Here's a quick intro tutorial and a more in depth tutorial on how to integrate Photo Mechanic with your Lightroom workflow.

• After the quick audit, raw file folders (which are named during Photo Mechanic's import step known as Ingest) are dragged into LR (on the dock) for importing and then it's business as usual.  In PM, any captions, copyright info, keyboards or number/color ratings, if done, are saved to .xmp files which are then stored in the raw folder.  Sport shooters and journalists love this because the input area in Photo Mechanic is much larger and easier to access/see than in LR.  If you set up colors and descriptions for numbers 6, 7 and 8 in Photo Mechanic to match LR, the color info will carry over during the LR import.  Ditto for 1 - 5 ratings (in Photo Mechanic, you need to press "fn" plus the number).  In Catalog, press "fn plus the up/down" arrows to scroll through pages. And unlike LR, Photo Mechanic will play your video files.  

• If you make keyword corrections to files in LR (and your catalog setting is √'d to automatically write changes into .xmp), these changes -  i.e., key words - will show up in PM too (learn how to via the Dan Cox tutorial linked above). 

•  Note: you can get a 15% Photo Mechanic discount code from NAPP. 

• I don't cull images with Photo Mechanic or Lightroom in the field because I can't really analyze critical focus points sharpness; or, assess the sharpness of hairs in areas that are most important on a small 13" laptop or 11" notebook.  Unless it's an obvious user error, I wait until I'm cozy with a 30" monitor before making culling decisions.  If I tossed every unsharp image, I'd never know if it's a user error or camera calibration problem that needs to be fixed.

• Plus, an eyeball is not an eyeball until it's viewed on a large monitor.  The normal rule of thumb is that the 2nd or 3rd image in a burst will be the sharpest because releasing the shutter sometimes causes camera vibration.  However, this doesn't always coincide with the best gesture or when a subject's eyes are the most open or when the pupils are pointing in the most ideal direction; i.e., the 6th image in a burst might be the best of 8.  And in my scorebook, it's all about the eyes.

• I know my keeper rate and as focus points get soft, I send camera bodies/lenses in for servicing and calibration.  I prefer sending gear in via Canon's CPS Gold program, as opposed to doing user micro-adjustments, because wildlife subjects are never positioned at the same distance; and, one needs to assume a set distance when micro-adjustments are made for a given lens.  

Tips for working on a 11" Macbook Air w/Mountain Lion:

Added 12.11.12

• Make friends with Apple keyboard shortcuts; especially, the fn + up/down arrow keys for scrolling pages.  To zoom your screen in and out: 1) press "Option/Command plus 8", 2) "Option/Command plus =/-" keys (as set up in System Preferences/Accessibility), 3) or pinch out/in with 2 fingers.  Increase the size of a window by clicking the "expand arrows" on the top right hand corner; and press "escape" to get your menu, bookmarks and url input box back.  "Command plus up/down" arrows take you to Home or to the bottom of a page.

• In Lightoom, everything appears to work the same as in Snow Leopard; i.e., "shift-tab" hides all panels versus "f5, f6 and f7" one at a time, full screen is "f", lights out is "l", "option/command plus 1" takes you to Library mode, "d" gets you to develop mode, "g" gets you to grid mode, and "e" gets you back to loupe view, yada, yada. 

• With Mountain Lion, you have to use Photoshop CS6 because the OS's new GateKeeper won't let CS5 install (unless you implement some workarounds).  Until the Air, I never really appreciated CS6's new panel layouts.

• In safari, go back or forward a page using "command plus [ or ] " keys (unlike the delete key in Snow Leopard).  This is a good thing since it's too easy to delete items in other programs when not thinking clearly.  Or, you can press the trackpad with 2 fingers and select back or forward.

• In Photo Mechanic, hide the Toolbar via View > Hide toolbar.  Also remember to purge your Disk and Memory cache under Preferences. Toggle from the Contact Sheet (same as Grid in LR) to Preview Mode (same as Loupe in LR) by clicking the trackpad.  Hide/regain panels with the "f" key and if needed, press "r" to get the panels back.  Press "z" to see your pre-set zoom size and increase/decrease this size with "z (or option) plus =/-" keys.  Or, zoom within a thumbnail on the contact sheet by setting View > Cursor Mode > Loupe and then hitting the spacebar (or clicking) while on a thumbnail.  "Command + k" opens the keyword window.  Tag and remove tags on previews with "t" (or "command plus +/- keys") and select all tags with "command plus t".  "Command plus m" renames a file, and the rest is similar to Apple's shortcut ("command plus a" equals select all, "command plus i" equals info, etc.

• For USB 3.0 devices, use the cable that shipped with your device to avoid headaches.  Also, update firmware as needed.

• Regarding the Air's battery life and other workflow tips, there's more info below under the Putting Air Travel Gear on a Diet section below, under a sub-section called:  The Journey Transitioning to the Smaller 11" Air and Mountain Lion.

The Count Down (One Month Before):
Updated 1.25.13

• Update my Master Pack and Prep List. 

• Make sure that camera bodies and lenses have been serviced as needed.  If cameras are serviced, re-check all of the settings as they've often changed.

• Make sure that all firmware updates have been researched and installed as appropriate.  

• Obtain visas and insure that I have enough blank pages in my passport.

• Verify that immune shots are current; i.e., flu shots yearly and a typhoid booster every 2 years.  Note: always complete at least 2 weeks before travel to avoid reactions.

• Purchase any sundries, medications or photo tools that need replenishing.   Check all expiration dates as now is not the time that I want over the counter meds, emergency antibiotics, sanitizers and sunblocks, etc. to perform at less than 100%.

• Look for more ways to downsize weight ounce by ounce; and more ways to increase workflow efficiency/speed while minimizing hiccups.

• Start setting aside crisp/unmarked $1's, $5's and $10's for tips in countries where U.S. currency is accepted.

• Start cleaning up desktop/laptop computers to make space for new image folders and trip edits.  Also, clear out old email. 

• Clear the cache (in all browsers) and delete all unwanted cookies aka 95% of them.  If browsers are running slow, reset them as well.  

• Order portable drives, flash drives and compact flash as needed.  

• Obtain and install all software updates including repair software; such as, DiskWarrior, PhotoRescue, DataRescue and Drive Genius.  Run Disk Utility's Repair Permissions before and after every install.  Note: if upgrading Photoshop or Lightroom, remember to re-check preferences and color settings because sometimes they get nuked.  To optimize Photoshop's performance, see Diglloyd's Mac Performance Guide/Photoshop CS5 along with his CS6 advice; such as, this one with regards to GPU enabled.  Also, E.J. Peiker wrote a nice tutorial on how to use PhotoRescue for CF/SD cards many moons ago.  His process gives you a general idea on how to avoid image recovery pitfalls when using other image recovery software as well.

• Run Disk Utility's Verify Disk and Repair as needed.

• Maximize laptop space by clearing all images and LR libraries not related to the upcoming trip. 

• Make/update a bootable drive and update installed repair software.  I use a flash (thumb) drive so that if I have problems, I can boot off of the drive - by pressing the option key at start-up - and then accessing needed info from a 2nd flash drive. A bootable device can be made from a thumb drive, external firewire drive or CF/SD card; with the exception of 2012 Mac laptops that shipped with Mountain Lion.  Per MacWorld, there will be a way to accomplish this via a separate license on the next major Mountain Lion release (date unknown).  For other operating systems, see tutorials at macs.about, macgurulounge, maclife and macyourself, Macworld, SubRosaSoft, powerpage and OSXdaily.  Find USB 3.0 thumb drive reviews at Squidoo, Tom's Hardware, read/write benchmarks and anandtech.  Here's another roundup comparison.

• Update a 2nd flash drive with all software, manuals, troubleshooting notes and serial numbers.  For troubleshooting Mac software in the field, start by repairing permissions, verifying the disk, tossing out suspect preferences and zapping the pram, etc.  Worst case, un-install and reinstall suspect applications.  Also copy travel and photo related documents as needed to the flash drive.  I use a 3.0 64 GB Patriot Supersonic Rage XT and also add my Mac's Document and itunes folders. This way, if I need additional space on my laptop for photos, I can delete them while still having my info available. 

• Finalize all decisions on hardware/software upgrades and photography gear.  Test every new purchase for reliability and compatibility; and add labels. 

• Make the time to read manuals and thoroughly learn new cameras and software, etc.

Creative Dry Run and Depth of Field:

Updated 1.16.13

• Make clear, specific goals for every trip aka be on a mission. Define and prioritize who and what you want to photograph. This helps in making difficult lens choices; i.e., the high priorities vs. the nice to have (seen a zillion times).  

• Review depth of field charts - by camera, focal length, f-stop and shooting distance -  and do a mental dry run.  My belief is that everyone needs to build their own DOF cheat sheet because style is very personal and the process helps you to memorize DOF tradeoffs. You can get depth of field info at DOFMaster (tables, an online calculator or their iphone app) or at nikonians.org  (per Chuck Westfall, I use COC .023 for the 1D4 and .030 for the 1Ds3 aka full frame).

• This prep step warms up the thinking cap - getting one to think about what worked and didn't work on previous trips.  It makes me go back and analyze exposure settings on favorite images and what went wrong on sub-par images aka learn from my mistakes.  This helps me to define what I want to do differently on the next trip.  

• Which body on which lens can make a difference in end results, so yet another thing to think though.  As someone who doesn't like to switches bodies on game drives because of dust, I try to plan out my strategy beforehand.  For example, at 30 feet, DOF is 7 inches on a 1Ds3/500mm @ f/8 and only 4 inches with the 1D4.  But a 300mm hooked to a 1Ds3 is 9.6 inches @ f/4 and 14 inches at f/5.6 (so more forgiving, same net pixels but slower fps).  

• Stop down - or not?  Many newbies are told to stop way down when using a telephoto at near minimum distance.  But in my view, depth of field gain is minimal while the shutter speed drop is dramatic.  For example, on a 1D4 and 500mm at 10 yards, the gain per stop is only one inch.  

• Messy foreground/background distractions - Sometimes, there's only a nanosecond to decide whether to incorporate them or not, especially if you're watching the direction of light and expression in the eyes.  With this tiger cub at only 30 feet away, I wanted to isolate it's expressive eyes and minimize grass in the foreground.  I was at 1,600 ISO and 1/200 with a 500mm lens on a 1.3x body.  The depth of field was only 2 inches at f/4.  If I had stopped down to f/11, it would have given me better depth of field; i.e., 8 inches.  But, not enough to make a significant impact and my shutter speed would have been in never-never land.  Although her left eye was closer to me, I went for her right eye because of the direction of the light. 

• Group shots: It's difficult to capture a group of subjects when using super-telephoto lenses as physics is not in our favor unless subjects are all standing on the same plane at a distance.  So, focus on isolations or just enjoy the moment.

• 500mm on a 1.3x body will have shallower DOF than on a full frame body when shot at the same distance (even less on a 1.6x body).  That's why 1Ds Mark III images look more 3 dimensional to me than 1D Mark IV images. 

• Timing, timing, timing: When watching wildlife documentaries, movies or videos, mentally practice shutter release timing and adjusting camera settings so that everything is on auto-pilot.  In fact, you can learn a lot from most any movie that you watch in terms of lighting, framing, focal points, depth of field, color, tonality, style and mood.  Even going back through your point and shoot videos can help in setting up your SLR; i.e., watching the erratic movements of my babies leopards here.  

• A cheetah will reach top speeds - 65 mph - in only 3 seconds.  If you're after that shot, make sure that you've memorized your "best case" camera settings and are ready for timing the shot at the right moment without hitting the buffer.  You can review a cheetah's stride here.  

The Full-Court Press (5 Days Before Departure):
Updated 12.3.12

• Re-check all camera custom function settings. 

• Check for last minute firmware and software updates.

• Top off camera batteries and/or calibrate as indicated.

• Re-format CF/SD cards, portable drives, flash drives and digital wallets.  

• Clean lenses, drop down filters and camera sensors.

• Identify the number of AA, AAA and miscellaneous batteries needed and test them before packing. 

• Test screws and re-pack fix-it tools (see my Check Your Screws and Words of Wisdoms post).

• Test prongs and pack 2 sets of international plug adapters (one set in carry on and one in checked luggage).

• Drain/refresh batteries on the iphone and Mobile Gum batteries.  

• Download Kindle books and Apple movies/TV for my iphone. Note: I'm waiting for the next gen iPad mini in hopes that Apple introduces one with a Retina screen.

• Figure out tips and cash requirements and get crisp/unmarked bills in the denominations needed from the bank.  Separate tips from emergency travel cash and pack in color coded mesh pouches. 

• Figure out how much to convert to foreign currency upon arrival and in what bill denominations.  Note: hotels have minimal bill denominations on weekends and it's worse if arriving on a Sunday.  Also, carry more than one ATM card as I often have gotchas in foreign countries aka networks don't work or a card isn't accepted.

• Review airport layouts for lounges and locations of ATM's.  For instance in Johannesburg, you need to walk over to the Domestic terminal B, lower level to find an ATM machine.

• Update my CJ Lists folder which includes all of my travel references; such as: hardware and software serial numbers, equipment replacement value, camera custom functions settings, depth of field charts by lens, gear and clothing inventory, shooting cheat sheet, all equipment manuals, Apple troubleshooting list, customized how-to and troubleshooting booklet, copies of purchase receipts, medications/prescriptions #'s, medical history, credit card customer service #'s (plus  bank customer service #'s for countries visited), air/hotel reservations #'s, travel notes and local contact #'s, etc.

• Verify that my Documents folder, itunes apps, Music folder, Address book, bookmarks and travel related desktop folders are all up to date before copying from my desktop to the Macbook Air. 

• Copy relevant lists, air/hotel reservations and insurance info to my Address book so that info is accessible from my iphone (when synched) in addition to my laptop computer.  

• The Apple's Address Book is a very powerful tool in that I can store any/all information in a central place - i.e., I "cut" useful info from vendor websites, emails, airline/hotels, travel insurance policy, personal word/pdf docs, troubleshooting articles and keyboard shortcuts, etc. - and, then "paste" the info into a new or existing contact.  Then, I summarize paragraphs into bullet points to make it easier to scroll and read on an iphone.  When there's a lot of info on an important subject, I break it down into multiple contacts.

• Net:net: any information that I might need for travel or troubleshooting purposes is at my disposal without having to access the internet on my iphone and my laptop.  I learned this lesson the hard way when my laptop displayed the kiss of death (darkened monitor veil) after a major power surge tripped it up.  I tried all of the normal fix-it steps from memory but forgot to try the PRAM because my Apple troubleshooting notes were sitting inside the computer.   Even if I did have access to the internet, it would take me more time to research answers then to browse my own troubleshooting list.  I also learned not to depend on other Mac owners in the group; i.e., to run diagnostics in firewire mode.  An easy way to start building your own troubleshooting cheat sheet - by product/software - is to cut/paste from forum suggestions, vendor FAQ's, how to articles/blogs and vendor databases/emails. 

• Copy travel docs, personal word docs, pdf's and equipment manuals into the GoodReader iphone app via itunes.  A scanned copy of my passport and travel policy booklet are also transferred over.

•  Make hard copies of my passport, medical prescriptions and travel/credit cards (with DOB and expiration dates blackened out).

• Limit the number credit cards and provide respective companies with travel dates and the countries to be visited.  Note: I use separate credit cards for travel and when going overseas, I select cards with the lowest transaction fee.

• Verify that debit cards work in the countries to be visited, and that pin numbers are valid.  

• Order AT&T's month:month International Data plan ($30@120MG) and Messaging plan ($10@50 messages) when in countries that qualify.  I cancel these services two weeks after the next billing cycle, not upon return to the U.S., in order to allow all roaming calls to clear and post.  Also verify that AT&T World Traveler for voice is activated as the roaming cost/minute savings from just one call can cover the cost of the plan itself.  

• Pack clothes, sundries, medications, vitamins, travel folder, personal items, photo/computer gear, snacks, and spares of anything critical to travel comfort and shooting success.  See more specifics under Chris's Packing, etc. Tips below.  

• Clothes and shoes are re-sprayed with permithrin (good for 30 days) or waterproofed as needed. 

• Verify that every item has a label or ID.

• Pre-pack field supplies for my day kit and make a "grab list" to make getting ready for the first game drive quick and efficient.  That's because when items are spread between bags and hidden in pouches, it's easy to forget things (out of sight, out of mind) especially when jet-lagged and sleep deprived.

• If checking a small 2nd duffel, distribute clothes and camera support items in case one bag is late or missing in action. 

• Review/update my Master pack list and weigh all bags. 

• Then, the real fun (aka serious stress) begins; i.e., deciding what's a must have and pulling out the nice to haves  - i.e., snacks, emergency supplies and new tools to try out, etc. - aka the never ending struggle to reduce weight - ounce by ounce.

• Note: consider registering for the U.S. Customs Global Entry program which allows you to skip the long customs lines and use a lightning fast, self servicing kiosk instead (good for 5 years).  It costs $100 but it's awesome for frequent travelers.  In San Francisco, the kiosk is on the left wall of the customs hall.  In addition, Global Entry members can get a Nexus card for $15 which allows you to go through Nexus lines (aka faster) at major airports in Canada and Mexico.  3.15.12: At some major airports, Global Entry members automatically quality for the new TSA Pre-√ program.  Update your airlines profile with your Global Entry number and request Pre-√.  Currently, United, American and Delta systems are participating. I also registered for the Smart Travelers Enrollment Program (STEP) .  This replaces the U.S. embassy registration process which enables the embassy to contact you in an emergency while you are traveling abroad. 

• Start a new trip notebook - includes reservation #'s, passport info, emergency contacts, important actions items and a mini currency conversion chart - which I keep handy in a cargo pocket for jotting down trip notes. 

• Review international airport arrival and departure terminals/gates so that I can assess the amount of time I have to get from point A to point B.  On my recent layovers at Frankfurt airport, it took me 45 minutes to get from Terminal B to C (and vice versa), including rigorous security checks de-boarding and pre-boarding.  My goal is to be at the gate at least 30 minutes before check-in; and, longer in places like Bangkok where they do security checks at the gate as well.  I try to have at least a 3 hour layover when heading to a destination.

• After all last minute items are packed, tuck itineraries into every bag, lock them with TSA locks/plastic ties, and snap photos on my iphone.

Evening Before or Morning of Departure:
Updated 1.25.13

• Print boarding passes to avoid having to weigh carry on with a check-in agent.  Pay for extra luggage to take advantage of baggage discounts.

• Synch iphone, close unnecessarily apps running in the background (double-click the home button) and turn off all notifications/location services, wifi and bluetooth (drains the battery).  Note: When synching iphone via itunes, I click on Advanced and "Replace Information".  This avoids ending up with duplicate contacts/groups in my Address Book which can take hours to clean up.  Yes, this means that I have collect contact info and input them after I return home.  

• Before packing my laptop, turn off Airport wireless/bluetooth to save battery life and increase security. Also, verify that file sharing is off and firewall is on (under Systems Preferences).

• Finally, it's game over and time to rock and roll. 

• Upon arrival at the first international destination (i.e., a layover), turn off data roaming.  Also, reset usage which starts the clock on AT&T's month:month International Data/Messaging plan (email/texting/internet).  It's important to understand what countries are included in the plan.  In non-participating countries, like South Africa and India, only open important personal messages as photos/logos contained in emails drive up at the bill.  View non-sensitive email and browse on wireless networks.

Back in the Saddle Again:

Added 6.6.12

• First things first - catch up on zzzz's.  The more I sleep on Day One (aka my lights out marathon), the faster it is to adjust to the 10 - 12 hour time zone difference.

• Next up - back up all images 2x or more.  See "Backing Up for the Long Haul - My Workflow and Storage Devices" below for more info.  The ugly truth is that protecting images for the long term takes time and effort. 

• Document travel related notes while they are still top of mind - what worked and what didn't, etc.

• Inventory travel tools/sundries, clean gear, re-order/replenish must haves, and send gear out for repairs as needed.  If not, action items tend to get dragged out.

• Catch up with family and friends - aka show appreciation to those who tolerate and support our obsession.

• Store external drives/gear off site in secure, climate controlled facilities.

• Now, the creative mind is clear to focus on images. 

Lightroom Library:

Updated 4.12.13

• Several friends asked me how I manage libraries - one per trip or one per year?  

• I prefer to create a new Lightroom library for each trip and keep it together with the raw folders initially on my laptop, then the desktop while editing images, and then when they're moved with the raw files to external back-up drives.  

• After editing out the losers, I make a collection of my "best ofs" from the trip.  This best of collection could be 200 - 500 strong, and I work off of standard previews.   

• As much as I like to get things done and move on, I never rush this process.  I'll look at images on the flight/s home to get a sense of my favorites by doing a quick & dirty collection.  But, the real ranking and decision making is after everything is unpacked and put away, after I'm caught up on emails and other tasks, and I'm in a rested state.  

• Before I begin, I make sure that monitors are properly calibrated.  I use a Spyder 3 puck and ColorEyes software for this task. 

• I also use Razer gaming mouses (Diamondback and DeathAdder) because they're fast for Lightroom/Photoshop editing along with a Wacom Intuos4 tablet and Apple Mighty Mouse to reduce repetitive motions.  I like the Mighty Mouse for fast/accelerated scrolling and the Razers for zipping around monitors.  Yes, I work two handed and the Apple mouse/tablet are left of my wireless keyboard.  Warning: Razers are blazing fast and you can tailor the x and y  axle speeds to your comfort level. 

• In addition to tagging the Best of's, I'm developing the story that I want to tell and the images that will support it; i.e., I try to weave favorites with interesting animal behavior along with mother/cub emotions that always blow me away.  

• My goal is to develop the best portfolio out there on my favorite subjects, and to have a consistent style that is unique to me. 

• Next, I start making sub-collections for different purposes. At this stage, I work off of 1:1 previews to increase the speed of analyzing images.  I also crop and address white balance to insure that grouped images hang together properly.  

• I routinely select all (Command + A on the Mac) and save metadata (Command +S) to the files along the way even though I already set my preferences to do so.  And, I back up my LR catalog each night.

• With sub-collections, I can easily duplicate a WIP gallery and change the order of images to see which body of work is stronger.  If I need to fill in a storyboard, I just grab the appropriate image out of the master "best of" collection. 

• As needed, I can import sub-collections from different trips for various projects. 

• For me, having one huge library takes too much time to keep all of the links valid, i.e., they break as soon as you move raw folders from laptop to desktop to back-up drives, etc.  Plus, one huge library can get too unwieldy for wildlife photographers depending on the size of generated thumbnails.  Also, I feel that there's less risk of corruption when smaller libraries are upgraded to newer versions of LR and future operating systems.

Making Adjustments in Lightroom:

Updated 4.12.13

• Unlike most, I use Lightroom 4 to prep images for editing in Photoshop as opposed to using the software to eliminate work in Photoshop.  I feel that Lightroom's strength is in adjusting tonality, and that Photoshop does a better job with complex tonal and colorcast needs.  

• I start by purify colors using the white balance dropper and then I warm things up just a tad; 

• Next, I adjust exposure/highlights/shadows since I purposely overexposure to the right while shooting (maximizes pixels) and because I prefer to use tonality to separate subjects from the background.  I'm focused on the subject's tonality at this point because I know that I'll be using contrast (channel) masks in Photoshop for the background).  Messing with color balance to separate subjects in Lightroom (or with filters) just doesn't look natural to me.

• Then, I do a gentle dose of clarity (< 10) to add mid-tone contrast; bump vibrance ('tween 7-10) and adjust saturation (-/+ 5).

• This is followed by a gentle tone curve (+5 lights -5 darks along with +/- highlight/shadows if needed). 

• Then, I stand down and evaluate. 

• Lastly, I tweak the contrast, black, white and shadow sliders, along with the tone curve.  This is when everything starts to pop. 

• Note: in LR4, clarity darkens shadows in addition to the mid-tones which muddies the image.  As a result, black needs to be added and highlights reduced (to compensate for the black adjustment - good grief).  This is a lot of workiness and why some folks stay away from clarity altogether.  

• Before I export into Photoshop, I turn off sharpening and bump luminous noise to +2 or 3 for images shot over ISO 400.  That's because I prefer using selective input sharpening and NoiseWare in Photoshop. 

•  Once I have the look that I want, I insure that all images in a given gallery have similar treatment for consistency.

• If you want a gold standard tutorial on how to make LR4 tonal adjustments, check out Charlie Cramer's excellent tutorial.

• If you want to read a quickie overview of how LR4 tonality sliders interact with each other, see this post from an Adobe forum. 

•  Mostly importantly, run - don't walk - to favorite images sitting in your archive.  You'll be amazed at how LR 4 can fix under-exposured shadows.  You might even find some new keepers like I did.

Editing Approach:

Added 4.12.13

• Basically, I use the creative seeing approach that Katrin Eismann taught me many moons ago and it's how my brain sees, analyzes and fixes only what's important in Photoshop.  This means optimizing the main focus and de-optimizing the un-important areas.  I aim for a clean, natural looking, 3 dimensional and consistent look.  

• I own all of the Nik filters but just haven't embraced them yet.

• Editing for large prints take a lot more time because every little distraction shows up big time.  

• Before I get too far along on a web project, I always evaluate images on different monitors and laptops - including, some that aren't calibrated aka the real world - which saves time in the long run.  You'd be surprised with the variances in warmness, white points and shadows (can look muddy).  In addition, I try not over-sharpening because to me, it's distracting.  I don't use retina displays for editing.  But if I did, I'd most definitely would evaluate images on different displays before proceeding.

• For friends serious about improving Photoshop skills, I highly recommend that you join NAPP (National Association of Photoshop Professionals).  As mentioned, the discounts from Apple, Adobe, B&H and Nik Software, etc. pay for the $99 annual cost by itself.  Plus, you get high quality "how to" Photoshop User magazines, and free access to a wide array of excellent online video tutorials, etc.  Also, NAPP sponsors the Annual Photoshop User conference where you have access to a wide array of learning workshops. 

• You can join NAPP here.    

• As mentioned above, I use a Razer gaming mouse on the right and a medium size Wacom4 tablet plus Mighty Mouse on the left.  For lightening fast scrolling in LR's grid view and web browsing, I prefer using the Mighty Mouse.  For the Wacom, I swapped out the stock pen for the more comfortable Wacom Classic pen (feels more sensitive to me as well).  Katrin introduced me to Razer mice back in 2005 and back then, they had my most favorite mouse ever - the Diamondback.  But, when one my Diamondbacks kicked the dust, I tried the wireless Razer Orochi, but the wheel felt too stiff.  So, I switched to the DeathAdder even though it's wired.  Note: be sure to install the latest drivers in order to tailor mouse speeds for your comfort level and types of activity; i.e. different sets.  

Optimizing in Photoshop: Focusing on the So-What's:
Updated 9.7.12

• Like with photography (the camera versus creative vision), editing tools evolve and change (aka just tools) but your brain is what really matters.   

• It's important to express what you are trying to communicate and how you're going to grab the viewer's attention and heart before touching any sliders or palettes.  If an image doesn't make your heart patter, why expect this with others?  Don't waste time on so-so images.

• Before starting an edit, articulate what needs to be done and why?  This is the Katrin mantra that she drilled into my head.  For example, not every image needs to be sharpened; especially globally.  That's why, I turn sharpening off during raw conversion.  And, if you want to emphasize something, consider de-emphasizing the opposite; i.e., desaturating the background as opposed to altering parts of the white balance or over-saturating subjects as many folks are taught. 

• I don't do much cloning because for me, it takes character away from images.  Contrary to many, I actually like to use grass and foliage to frame subjects.  It's tricky though because it's hard to neutralize the green cast.

• What rules for me is maximizing tonality.  That's what maintains that 3 dimensional presence; and, I prefer working with channels to accomplish this goal.  That's because when we use a paint brush for dodging and burning - or painting in colors, saturation or tone curves - we are essentially painting with a flat instrument (aka a given percentage); whereas; light wraps around or falls off a subject.   Using channels in Photoshop helps to preserve this light fall off.  Note: as mentioned above, it's important that your monitor is properly calibrated.

• Studying black and white classics helps with developing tonality seeing abilities along with keeping references handy; i.e., I have Arnold Newman's Picasso portrait hanging near my reading chair along with other B&W favorites.  

• There are many ways to tackle objectives - the 30 second, 3 minute, 30 minute and 3 hour approach (again ala Katrin) - and each approach has it's plus and minuses.  So, pick your battles.  Invest your time in the editing process where it really counts.   For me, my effort is focused on making a good sharpening mask, and getting rid of color casts from foliage and rocks without ruining the mood of the lighting or flattening out the three dimensional wrap around light that I work so hard to achieve while shooting.  

• If you learn things the hard way first, you'll be able to judge the effectiveness of easier methods (i.e., advancements in raw converters and plugs-in); and, you'll end up with more consistency in your work. That's why, I like to understand what's underneath the engine - exactly what the Photoshop tools and Lightroom sliders are doing (the so-what's) - so that I can minimize overlapping, conflicting and negating effects.  

• Sharpening: only sharpen what's important.  Also, make sure that your eyeglasses, if needed, are dead-on accurate.

• I find it invaluable to take my time when first working with new versions of Lightroom and Photoshop as often, the slider algorithms can change dramatically.  

• The following folks are excellent at explaining what's important and how to tackle different objectives: 

•  If you want to learn/understand what's happening underneath the engine while performing Lightroom/Photoshop tasks  - while avoiding the pitfalls like crunchy edges, halos and garish colors - then Tim Grey is the go-to guy.  If you can't get into a course workshop (i.e., sometimes in Sante Fe), then subscribe to his Ask Tim Grey newsletters and DDQ Quarterly (you can learn a ton from reading his Q&A format), and pick up some of his books.

• If you want to better understand retouching, masking, channels and creative seeing, pick up some Katrin Eismann DVDs or books, including her Creative Digital Darkroom (co written with Sean Duggan) or Real World Digital Photography co-written with Sean Duggan and Tim Grey.  I was fortunate to have spent 2 weeks learning from Katrin, before she became Chair of the Masters in Digital Photography Program at the School of Visual Arts in NYC.  9.3.12: Katrin updated her Photoshop Masking and Compositing book and it's now available in a Kindle version for convenience. 

• If you want to improve tonality skills - seeing, optimizing and printing fine art ala Ansel Adams - then sign up for a Charlie Cramer workshop.  Charlie studied under Ansel and teaches at the Ansel Gallery workshop in Yosemite.  He only shoots in flat lighting, yet his eye and curves technique can pull out the most subtle nuances in an image while still looking natural.  His prints are drop dead gorgeous and he can start you on your roadmap to beautiful prints as well.

• Note: none of these skills are learned overnight, or even in a year.  Mastering these skills is a multi-year commitment and is no different than achieving excellence in your professional field or with other hobbies.  

Confessions of a Desk Jockey (I Digress)

Added 8.11.12

• I sit at my desk for too many hours a day to admit, between doing research, trip planning and documentation, learning, editing, web updating, doing product comparisons and pricing; and, satisfying my inquiring mind.  As a result, I always have tight, achy muscles from neck to toe to prove it. 

• Not surprising, my favorite Aeron chair finally called uncle and broke down after 9 years.  It was upsetting because it cost as much as two large format PF-03 Canon print heads.  The positive news is that Herman Miller made good on their 12 year chair warranty.  And sit4less, the company where I bought it, fixed it under warranty with a smile.  Net:net: always save your receipts.

• Before I found my original sales receipt and warranty documentation, I had searched the web for chair options.  And during the process, I discovered a totally cool ergonomic footrest.  It's called the Webble ergonomic footrest and it really makes sitting more comfortable.  It's pricey but it's built like a piece of office furniture.  I'd rather invest in a nice tool that I believe will last as long as my chair as opposed to paying one third the price for a piece of plastic or fiberboard (the other foot rest options on the market).  Back in 2007, gizmodo claimed that the Webble was a foot rest for the anxious geek which is why I probably ignored it.  Umm...150 peanuts for a gimmicky what?  But, the reviews on amazon were positive, so I took the plunge.  My take is that it prevents undue pressure on different parts of your buns and legs - and encourages you to sit properly - thereby reducing muscle knots and aches.  If you're a bit fidgety, you'll be stretching calves and ankles too.  The Webble moves wherever your feet want to go - plus, you can work your core and stretch your shoulders and back in the process.  Net:net: I love my Webble.  

For Friends Sitting on a Ton of Images From Multiple Trips:
3.19.12

• Reviewing and discovering your nuggets can be as fun and exciting as the trip itself.   Just block out a weekend or two and work on your Lightroom libraries and Best of Collections.  Seeing what you didn't know you had, what you wished you had - in addition to what you think you want - will make you a better shooter in the future and lay the foundation for a stronger lifetime portfolio.  

Cheers,

Chris