Chris Prestegard's Travel and Photo Tips

About Chris' Travel Tip Central (see list at bottom of page, updated Feb. 27, 2012)

2011-11-24T20:09:00.000-08:00

There are a zillion things involved with getting ready for safaris to photograph African big cats, polar bear babies and young Bengal tigers. Over the years, I've painstakingly documented what worked and didn't work after each trip; i.e., 1) travel logistics and gear weight issues, 2) clothing for extreme temps, 3) shooting techniques and image workflow, and 4) pre-trip and post-trip action items.

The "gotchas" keeps growing, so I do a lot of "problem prevention" planning. If I weren't so passionate about watching and photographing cubs in the wild, I sure wouldn't deal with the amount of air travel grief that we nature photographers face.

Travel weight is a major issue for wildlife photographers as a telephoto lens and camera body can weigh 13.5 lbs., not to mention back-up cameras and other lenses, etc. Reducing overall weight is a constant battle and as a petite person, every ounce that I manage to reduce is cause for celebration.

I try to make my travel workflow as efficient and comfortable as possible; and, to make it through trips with the least amount of hassles and stress (aka no surprises).

I want good value for the tools that I buy and every purchase is researched in detail before taking the plunge. Also, I have no affiliations with any of the vendors mentioned.

Because I'm a list junkie - aka easier/faster to review action items all in one place - I'm sharing some of my research and experience in a laundry list format. Check back frequently as I'm always updating "Chris' Travel Tip Central", "How to Shoot from a Safari Land Rover Plus Trip Preparation", and "Check Your Screws and Other Boring Wisdom". Yes, it's a ton to do and think through, but no pain, no gain.

Chris
See more images at www.wildliferhythms.com

Avoiding International Air Travel Grief (Updated Dec. 10, 2011)

2011-11-20T09:43:00.001-08:00

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 nuances. Plus, the rules keep getting more and more strict. Here are a few detailed tips by airport. In addition, there's more info under "Chris' Travel Tip Central".

India:

If you're traveling out of the Delhi International Airport or flying domestically within India, 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 my cameras and lenses). Looking back, I guess that it could have looked liked a grenade with a red eye dropper tip, but I digress. 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 - viola!

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, more cables and gifts), so things were spread everywhere with tons of people passing through. So lesson learned: pack with easy access to potentially questionable items, plan a whole lot of extra time for security gotchas (i.e., last year, security took issue with a friend's common lipstick tube and her hard drive). And, ditch the dirty clothes on top tactic.

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 this last trip, I used the smaller ThinkTank Acceleration backpack with a removable Samsonite luggage cart (same carry on as last year on the same airline, same route). I never had trouble getting on Asiana in business class with this combination before and I had problems both leaving and returning to the States. Friends will vouch that I am the most un-confrontational person on the planet. But on my return flight, it was a 10 - 15 minute struggle (seemed like forever) that I almost lost. In a power play, the supervisor actually yanked my camera bag out of my hands and placed it onto the checked conveyor belt. He already have a tag on it before I could yank it back. The fact that my gear was fragile or cost a small fortune didn't matter. Capitalizing on my demure Asian heritage, seasoned sales background and feminine stressed state of mind didn't matter either. New rules equal "the" rule, especially when there are more unsmiling supervisors nearby. Only by switching to outright begging and promising to place the bag "sans wheels" under my seat - even though there is no under the seat in biz class - got my camera bag on. That being said, my buddies didn't fare as well on the domestic Kingfisher flight. 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, 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 (yes, total) pat down. Unlike the U.S./Canada, 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'll 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.

Reconsider options if you typically check in 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 at 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 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. So lesson learned: even if we don't ship gear, 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 going through Florida customs. I hear that forms are online, but that we can list items, descriptions and serial numbers on a word document.

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, 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, 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.

OTHER AIRLINE AND AIRPORT TIDBITS

What you got away with last month may not stand a chance on your next trip. Rules are always changing and decisions are often captive to personnel moods of the day. So, re-verify baggage weight limits before you depart. Also, airlines seems to be getting stricter with carry on weight, so always have a back-up plan.

Germany: Allow for extra time getting through large terminals and multiple security screenings. And, don't even think of leaving items inside of your pockets. On my July 2011 Frankfurt layovers, it took me over 45 minutes to get from Gate B to my check in line at Gate A - and vice versa on the return leg. 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.

South Africa: Arriving in Johannesburg: A nice and reasonably priced hotel near the airport is the Protea Hotel. Catch their shuttle across the street (behind the parking garage and to the left of the Sun Inter-Continental Hotel). 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 (50 rand per bag) 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 out on South African Airlines: 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.

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 lines and is even faster than the flight crew line. Priceless! And at some airports - i.e., Dallas, Atlanta, Detroit and Miami - Global Entry members can participate in the TSA-Pre√ pilot as well (aka don't have to remove shoes, jackets, belts and laptop, etc.

Lost luggage: It's totally anecdotal, but I've been keeping track of lost luggage stories ever since I started traveling. It seems that 95% of misplaced luggage (based on face:face reports) were from connecting flights within the U.S. Just saying. Reduce your risks by allowing at least 3 hours or more for connections. That's because when luggage gets lost, it typically doesn't show up on the next flight; but, rather at the end of a safari (when lucky). Knock on wood, but I've had more luck flying directly to Germany, the U.K or through So. Korea, and then connecting from there.

Botswana: I've also learned (the hard way) to check-in early when leaving Johannesburg for Maun, Botswana 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.

Canada: Flying from Winnipeg to Churchill on Calm Air is also 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.

Chris
www.wildliferhythms.com

How to See Cute Polar Bear Cubs in the Wild

2011-05-13T12:06:00.000-07:00

From the comfort of your warm, cozy chair, of course. Check out this "behind the scenes" video made by ABC Nightline News while we were in Churchill, Manitoba in March 2011. Or, visit my Joy of Polar Bear Babies gallery as we all froze side by side. If you want to see the cutest and most animated set of triplets ever, then visit the this gallery.

But, if you like the craziness of minus 50 temps with wind blowing in your face, wearing 17 lbs. of clothing and boots, driving around for days without finding an active den, staring at a hole that's more than 100 yards away, and praying all day for a happy face to pop out and smile at your camera, then trek on up to the Arctic Circle. Although freezing isn't fun, the experience is truly magical.

Chris
www.wildliferhythms.com

Check Your Screws and Other Boring Wisdom (Updated Dec. 27, 2011)

2011-04-09T20:52:00.000-07:00

Traveling is extremely hard on photo and computer gear. There’s vibration from airplanes, rolling camera bags and luggage carts. And, if you don't pack properly and/or get forced to check your camera bag, you run the risk of baggage handlers tossing your bags down luggage chutes or onto conveyor belts, and then jamming them into any free cargo hold space (aka on the side of heavy suitcases where things can shift in flight - ouch). If you're too trusting and hand your luggage over to hotel porters, you run the risk of fragile gear being placed at the bottom of a stack of duffel/suitcases; or, on top of the pile where it's sure to topple to the floor when entering elevators. Plus if you're a wildlife photographer, there's the weeks on end of driving around on unpaved bumpy roads and dried up river beds littered with potholes, not to mention the sudden stops from yee-haw maverick drivers.

As a result, screws get loose or stuck, cameras disengage from lenses - and gear becomes inoperable or cumbersome to use. Worst case, the image that you thought was sharp is in reality a "what was I thinking shot?" when viewed on a large monitor in decent light.

A frequent problem: one or more screws on the camera lens mount plate gets loose (even if it doesn't appear that way to the naked eye). This results in a camera connection problem (an error code) or metal shavings littering the camera mirror. This is easily fixed by tightening the four screws on the mount. I prefer to check and tighten these screws before a major trip. Why? Because, a slightly loose screw can crack underneath the plate (meaning another trip to Canon service); and, worst yet - cause frustrating error 99's while on a trip aka the camera won't function.

Note: Canon screws use the Japanese Phillips or JIS standard. Canon screw are not compatible with non-Japanese Phillips screwdrivers and can be stripped if the screw is on tight (has to do with blade angles). As a result, I use Japanese screwdrivers and buy the XPT blades (very strong) and handle separately because it packs more compactly. The two sizes needed are 2.0 and 2.5. Microtools specializes in fix-it tools for repair centers, so you might find other things on their site as well.

Technically not a screw, but something even more important to monitor is the latch that connects your camera body to the lens. When traveling on bumpy roads, the camera latch often un-does itself and the camera gets separated from the lens causing various degrees of damage. I've seen everything from cracked LCDs, metal/plastic shavings inside of the mirror box (from banging around inside of lens/camera cases), cameras falling off onto vehicle floors; and cameras falling off onto stone flooring. So, check it once, check it twice and check it three times.

So, how to we mitigate this issue? I'm still looking for a solid answer but have been told that dust getting onto the pin on the latch is part of the cause and that cleaning the pin with a Q-tip could help. Or, perhaps latch pins get bent or weak over time? In the meantime, I try to avoid the problem by strapping my gear tightly against the seat and seat back via my dry bag and strap method (see "How to Shoot From a Safari Land Rover" post).

I like the BlackRapid camera sling strap for shorter lenses when doing casual/street photography. However, friends report that the single screw mount and the carabiner screw need to be checked frequently in order to avoid having nasty falls. Note: The Limited Edition RS-W1C for women is very comfortable. For super-telephoto lenses, I still like using my UP straps.

Carry spares: Tiny screws get chewed up easily; i.e., the ones inside Canon's battery chamber covering the small reset battery. Other "might need" screws include: 1) lens plate stop screws (prevents longs lenses from sliding off) and 2) the tripod/monopod bolt. Better safe than sorry.

Recycle: if you ever toss an outdated or broken piece of gear - i.e., an off camera flash cord or flash, etc. - save those precious tiny screws, rubber caps and port covers for future emergencies. And, don't forget to recycle straps, dividers, pouches, cords and toggles from retired camera and computer bags.

Just Do it: A wobbly piece of gear - even a miniscule vibration - could mean a missed home run print (the image that looked sharp in camera - but wasn't). So, my humble but serious advice is to check and tighten every screw in your gear bag - eyeglasses and hard drives included - before you depart.

Preventing Gotchas:

Arca-swiss clamps screws get loose, gimbal heads get stuck on tripods and tripods splay to much and crack - and, I witnessed this just on one trip. So, tighten before you go and carry your fix-it tools.

Rubber feet tend to fall off of monopods/tripods, so I typically secure them with semi-permanent glue. I like using 4th Generation Designs' Gum Drops because they're one-time use; i.e., I don't have to worry about tubes drying out. Plus, they're travel friendly.

The single bolt that secures the top plate on Gitzo tripods can get loose causing bodies with long telephoto lenses to go crashing to the ground. If you're forgetful about checking the bolt often or adding loctite to the threads, then mitigate potential problems by installing a Gitzo Safe-Lock plate (Series 3 and 5 tripods). You can find these plates at naturescapes and outdoorphotogear. Naturescapes also sells their own safety plate as well. Just consider this insurance - aka better same than sorry.

The tripod mount ring on long telephoto lenses can get sticky due to loose internal screws, making it difficult or impossible to rotate the camera. Users can take the ring apart albeit it can by dicey if you don't use the right Japanese phillips tools. Send your lens in for repair when it becomes too cumbersome; or, just do what this user did.

Flashes can become erratic due to hot shoe/off shoe cord screws getting loose (located underneath the plate). I've been able to fix this problem by following this guide http://www.conraderb.com/flashrepair/. To mitigate hot shoe scratches and potential issues, I like using Nikon BS-1 hot shoe covers on my Canon bodies (only $3). This cover also fits the hot shoe on Canon/Panasonic point & shoot cameras as well.

Most bizarre happening: a friend came running to me in distress with a 500mm lens in her arms with the lens mount plate dangling down. One screw had already fallen out and the other 3 screws were hanging by a thread. We were half way around the world; and, fortunately, the repair strike team got the lens back together. A one minute check/tighten could have prevented this potential trip disaster.

Lens latches, lens hood screws and teleconverters are another thing to check before a trip. It's a royal pain to have a teleconverter stuck on camera throughout a trip - not to mention having a long lens fall off a body - or to have a lens hood stuck on a long telephoto when you're ready to fly home.

For emergency fixes in the field, pack the right wrenches and screwdrivers. This is much easier said then done because:

Each manufacturer uses different screws, bolts, L-wrenches and wrenches (i.e., Really Right Stuff, 4th Generation Designs, Wimberley, NatureScapes (Skimmer Ground Pod and risers), Gitzo, Bogen, Giotto, HyperShop, etc.

Every product series has it’s own set of screws (i.e. Gitzo tripods); and

A given piece of gear may use different screws; i.e., even if the screws look the same at first glance, they may require a different size L wrench.

Never assume that someone else will have what you need aka Murphy's Law.

For packing efficiency, I often tape tools to products after returning from a trip - i.e., my tripods, monopods, gimbals, monopod heads and hyperdrives, etc. - because I use different support solutions on different trips.

Adding insult to injury, all of these wrenches along with spare screws/bolts start to add up in weight when every ounce is critical while flying. So, what does a prepared, weight conscious photographer do? Although it’s a pain, I’ve resorted to adding neon colored gaffer’s tape to every L wrench and labeling it by manufacturer and model. Then, I only carry what’s needed for a given trip. It’s a 3 minute sorting process once everything is properly labeled.

Pack the tool baggie last in checked luggage - I often switch out gear at the last minute because I'm always overweight. And, I hate carrying unnecessary tools (extra weight) half way around the world and back. So, my tool baggies always goes into my safari day kit at the very last moment.

The beauty of colored gaffers/electrical tape - In addition to labeling tools as mentioned above, it helps to get my tools returned to me when borrowed (happens on every trip). I buy gaffers and electrical tape at identi-tape (great selection) and tapebrothers.

These cool little pliers: There’s another bolt that’s always hard to tighten or un-tighten in the field; i.e., on the F-2 Wimberley macro arm or the Gitzo monopod foot, etc. This requires that I carry my own pair of pliers; especially, in 3rd world countries unless I'm willing to wait 30 minutes or more for camp staff to run around looking for the right sized tool (Leatherman multi-tool pliers aren't large enough). Fortunately, a good friend took pity after seeing my 6 -7 oz. pliers and bought me a small pair of channel lock pliers, the GV6 by Vise-Grip. Channel pliers are adjustable and very lightweight.

While at the hardware store picking up the channel pliers, also pick up some rubber bumpers to stick on your camera shutter and remote cable buttons for cold weather shooting (easier to feel with gloves on). Rubber bumpers are also great for the bottom of portable hard drives. This helps with air circulation, thereby keeping drives cooler. To attach bumpers to hard drives, use self stick Velcro so that they can be removed before putting drives back into their sleeve.

Okay, enough said about screws. 10 minutes spent upfront can be a trip and major stress saver.

How to Fix Canon Error 99 Action Steps
Added 1.24.12

Turn off and remove/replace the battery.
Turn off and remove/replace the lens .
Turn off and remove the compact flash card, then try shooting to clear.
Clean camera and lens contacts with an eraser (a very light touch).
Tighten the lens mount screws.
Change settings and C.fns back to default including all micro-adjustments.
Do a hard reset by removing the main battery and the small battery inside the battery compartment for at least 30 minutes.
In high humidity or moisture areas, try opening the battery door and dry out the contacts, etc. with zorb-it or rice in a plastic bag overnight.
Also, someone mentioned removing both batteries and hitting the shutter button while latching the battery cover. Sounds strange, but whatever.
If all else fails, send the camera in for repair.

How to Fix a Stuck Lens Pin

Take something like a nail file or nail and press on the pin while jiggling to see if it snaps out.

How to Remove a Stuck Filter

Grab a rubber jar remover and use even pressure.

How to Remove a Stuck Tripod Screw from a Gimbal or ballhead

Add a 2nd nut and do a reverse turn with a wrench to loosen. Note: this may damage the screw, so always carry a spare. Also, remember to tighten the tripod end of the screw before adding a ballhead, etc.

Chris
www.wildliferhythms.com

How to Shoot From a Safari Land Rover Plus Trip Preparation (Updated Dec. 24, 2011)

2011-04-06T01:26:00.000-07:00

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, African wildlife in Botswana, or tigers in India. 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:

The Basics - Camera Custom Functions

Added 12.24.11

As you will see if you read the rest of this post, getting great shots isn't just about camera 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 setting are similar). Group I = all are at default except 1-7-1 (meters with the autofocus point) and Group II = all are at default. Group IV = all at default except IV-1-2 ("must-use" back * button), IV-2-1 (switches buttons) and IV-8-1. Group III =

1-0
2-1 Moderately Fast as I prefer to re-pump. This is not the norm from what I've read.
3-0 Change to Drive priority for erratic jumping/panning shots
4-1 Always leave on in case I want to switch to 8-1
5-0 Change to 5-1 if hunting
6-4
7-0
8-0 Change to 8-1 only as needed in very low light
9-1
10-0
11-1
12-0
13-2
14-0
15-0
16-0
17-0
18 High = 10 and Low = 8
19-0

Camera Support and Techniques

Updated 1.13.12

I use a multi-tiered approach depending on the time, the subject, and my degree of jet lag (not unusual to be 12 time zones off).

My current bodies are the Canon 1Ds Mark III and 1D Mark IV; and, I primarily shoot with the 500mm f/4, 70-200 f/2.8 II and 1.4x III teleconverter (except when I'm up in the Arctic). I love shooting with the 300mm f/2.8; but, it normally doesn't get into the bag along with a 500mm due to grueling weight limits. For those without a 500mm or greater lens, I should note that I've successfully used the 300mm f/2.8 as my primary safari lens. Some of my 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 on a full frame body. The extra stop of light and pop from this lens really made a difference.

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 flaxseed or rice once I get to the first safari camp/lodge. It's fast, it's easy and it 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 successfully are the WildlifeImaging beanbag (smaller, don't launder as it shrinks) and the classic SafariSack, also from Kinesis Gear. Request rice, seeds or beans upfront when making 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. Any of the above mentioned beanbags are perfect for pop top land rovers in Tanzania as well. 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 positioned 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-Mongoose system gives me the most flexibility for shifting side: side, forward:back (when shooting through thick foliage) and pointing upwards for subjects in trees.

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 because it's very easy to handle and sturdy with a Gitzo Big Foot All Terrain shoe. I've had success with the Series 3 Big Foot too, but switched over to the Series 5 because it swivels faster. It's much faster when I leave the monopod attached to my main camera (extend legs first before opening).

For my monopod head, I mostly use a 4th Generation Designs Mongoose 3.6 upgraded Action Head with Low Mount Plate because it's strong and lightweight for travel.

When I need/use fill flash, I prefer the Really Right Stuff Monopod Head. That's because a monopod head only swivels on one axle, so it's easier to hold/open/close the rig with monopod and flash head assembled. Note: RRS's Monopod Head with knob is more compatible when using lens plates from various vendors; whereas, I prefer the speed of the levered quick release.

In addition, I use Hoodman HoodEye eyecups on my camera bodies 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. 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.

When shooting, my left hand is pressed against the Mongoose and not on top of the lens barrel which reduces stress on the lens and camera mounts. I also use a remote cable when feasible (fortunately, I'm left handed). Note: remember to remove remote cables when driving around as bumpy roads can tear port covers off of camera skins.

Sometimes, I use a "makeshift mini-shoulder brace" (a Wimberly F-2 macro bracket attached to a 4th Generation Designs bi-directional camera plate). In addition to adding another point of contact for stability, it serves as a comfy lever; i.e., for panning and recomposing with the Mongoose. Note: Bi-directional plates allow me to use a non-collared lens/camera combo on a gimbal without having to carry an extra plate or ballhead.

For "shooting low directly off of the seat", the Skimmer Ground Pod II with risers from www.naturescapes.net is nice to have for neck comfort.

For "shooting directly off of the floor", the SkimmerSack works great as a lens/elbow rest; and, Kneelons are great for kneeling and keeping pants clean.

For "shooting subjects in trees", I use 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. 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.

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) since I'm shooting off of the roll bar. 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 focusing 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. Yes, it's a lot of work. But, it increases your chances of home runs - and great for abs.

Camera Settings

This may be a surprise for most, but I shoot 95% on One Shot with my Canon bodies. 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. Most important to me, I find that auto focus locks on faster in One Shot. See for yourself! And, each time that I re-focus ("*" button in back), I know exactly what I'm focusing on; and, 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 workaround another 1 second IS delay on the lens each time I re-focus? I use this unpublished trick that Chuck Westfall shared with me a few years back. For those using the back "*" button via C.fn. IV-1-2 on Canon 1Dx bodies, press the shutter halfway before re-pumping and this keeps IS activated. Voila - no IS delay :-) You'll have to test to see if this trick works on Ai-Servo. My sense is maybe if your subject is moving left to right or in the same plane.

When I do have the opportunity for action shots - i.e., leopards jumping up/down trees, cubs about to pounce, hawk/eagles about to snatch fish from the river, or hippos throwing fits, I obviously switch to Ai-Servo.

The key here is to to keep the selected focus point exactly on target by anticipating the speed, rhythm and uniqueness of the subject's movement. My selected focus point is set to where I want the head/eyes positioned in the final frame; i.e. for a vertical portrait. If I'm off, even for a nano second, I start over (re-focus).

If a subject's movement is erratic - i.e., the way a hawk/eagle switches from left to right right before it dives into the water - I'll sometimes use Auto/45 instead of a selected point. With Auto/45, it's critical that initial focus is acquired with the center focus point on Canon bodies. If I sense that the camera lost focus - i.e., the subject's body moves ever so slightly outside of the range of focus points (also known as the right of fire) - I start over to be safe.

If I don't allow .5 -1 second for IS to engage, I know that the shot/burst will be garbage. I also know that if the subject is too small in the frame, the focus will be nuclear waste (aka a TL or technical limitation). When using Auto/45 in the bush, it's important to not to use expanded focuses points (C.fn. 8-1, 8-2) or else the sensor may lock on to something in front of your intended focus point, i.e., a blade of grass.

When focusing, I try to use points that are cross hairs (aka more sensitive/accurate); and, I'm always cognizant that focus points are not squares (aka the red focus confirmation boxes) but really a cross (a vertical and horizontal line that intersects inside of the box).

Faster f/2.8 lenses have the most cross hairs and by f/5.6 (i.e., a f/4 lens with 1.4x teleconverter), all points become horizontal. Also, on points that are cross hairs, the vertical line extends beyond the focus confirmation box. So, I try to focus directly on the cross hairs and not on the quadrants within the focus confirmation box. I also know that if I'm focusing on something with little to no contrast, there's a higher risk of the camera focusing on something with more contrast outside of the box; i.e., the dreaded 2nd red confirmation box (aka my camera sensor is confused). When that happens, I shoot another burst. Check your camera manual and manufacturer's white papers for more in- depth explanations.

I use no AF expansion (C.fn III-8) except when photographing white polar bear in low light as needed, or when panning (left/right only).

For metering, I use AV + 2/3 -1 EV (more if everything is white) so that I expose all the way to the right. That's because one stop of being underexposed - i.e., the right column in your histogram - is equivalent to throwing away 1/2 of the available pixels.

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.

Currently, I shoot on Daylight white balance. I use to shoot on Shade because I prefer the warmer tones of cinema film. However, I find that I get cleaner files if I neutralize files shot in Daylight, and then warm up my tone (and remove the greenish grass/tree cast) in Lightroom. Also, using Daylight gives me more post-processing consistency over Auto WB.

And of course, I shoot in raw.

Regarding ISO, I'm happy with my file quality when I shoot at ISO 400 or below. However, I'm normally forced to shoot at ISO 800 in early or late morning light (because I like to keep my shutter speed at the reciprocal of my lens focal length). In rare instances, I'll switch to ISO 1600 if the subject is moving quickly; i.e., the leopard climbing the tree at dusk shown above; or, flying hawks in the Pantanal. However on this last India trip, I would have missed this rare Indian leopard if I didn't push my ISO to 3200. 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 (on Canon) and 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 albeit the nose hairs are less distinct. So lesson learned - push the ISO when necessary. You never know what you might get.

To/From the Land Rover or Jeep:
Updated 11.27.11

I carry the long lens/body in an Outdoor Research (OR) Durable Dry Sack and the shorter lens/body in a ThinkTank Glass Taxi. The reason I like durables for land rovers and jeeps is that they have webbing on the sides so that it's easier to secure to roll bars with straps. Learn about the sizes I use and how I multi-task them under Chris's Travel Tip Central below (Hands Off Our Stuff, #8). In addition to Durable dry sacks, I like OR's ultralight dry sacks too because they're lighter. OR sacks seem to last longer than other brands that I've tested in the waterproof area.

The Glass Taxi serves as my "day bag" and has an amazing capacity for it's size. In addition to one body and 1-2 lenses, it also holds my sunglasses, teleconverter, P&S, StormJacket rain covers, buckle straps, extra Dry Sacks, Zing neoprene pouches, rocket dust blower, dust brush, camera batteries, ThinkTank card holder, flash, battery pack, diffuser, AA batteries, headlamp, microfiber towel, 2 Wimberly M-1's, macro arm, fix-it tools, small leatherman, nuts, water enhancer, electrolytes, SunX towelettes, BugX/Ben's Deet wipes, tissue/Wet Ones, first aid stuff, ginger chews, eye drops, extra top layer, gloves, hat and face covers, etc. Tools and personal supplies are organized inside a lightweight ThinkTank Cable Management 20 pouch. Previously, I used a dry sack or cheapo lightweight backpack but found that the Glass Taxi made it faster to organize and find things (i.e., able to see everything at once or just grab items by feel without completely opening). The Glass Taxi also protects gear when checked inside of a soft sided duffel.

Straps, straps and more straps: camera and lenses are tucked inside dust bags or backpack 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, bump, dings 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 which caused shoulder/back/neck and arm strain. I buy dry bags large so that it's faster to whip cameras in and out. I also like using backpack covers because they're even faster, albeit slightly less protection. 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 StormJacket 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 can hook the small strap over a 70-200 lens when the camera is sitting upright on my lap for stability and comfort .

I also strap 1-2 medium size Zing neoprene pouches to the roll bar in front for easy access to eyeglasses, a monocular, a P&S camera or a teleconverter in lieu of wearing overstuffed vests. Smashed eyeglasses is an ongoing hazard for me since I have to whip them off before shooting. The Zing pouches have been a huge help after testing a zillion 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 - dri-bags, pouches, beanbags and day bags, et. al. - as they will be filthy with dust/dirt and possible 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 11.30.11

Remove dust from the front of my lenses and bodies with a Giotto rocket blower and paint brush. Wipe everything down with a damp towel. Note: In India, the rocket blower could get confiscated when going through checked bag security because of it's shape; and, smaller blowers don't really work in dusty environments.

Download memory cards and do back-ups before re-formating. To learn more about my back up process and portable drives, go to Chris's Travel Tip Central at the bottom of this page.

Top off batteries to avoid having to charge from empty and having conflicts with generator schedules. Re-set camera settings.

Do quick audits on sharpness, depth of field, exposure and composition.

Every few days, blow out the inside of cameras with a rocket blower to avoid having to do sensor cleanings in the field (too dusty and there's never enough light). Just in case, I carry a Visible Dust (7x or Mini Quasar) sensor loupe and my buddy carries the Arctic Butterfly.

Verify that the All Terrain foot 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.

Reviewing and Culling Images:
Updated 9.15.11

When I have time to review images, my priority is to analyze what worked and didn't in terms of camera support tactics, metering (making sure that my histogram is to the right), best depth of field decisions by type of scene, dealing with lighting issues, flash settings, and variation in poses etc.

I don't cull images in the field because I can't really analyze the performance of my selected focus points nor access the sharpness of hairs in the areas that are most important on a small 13" laptop. Unless it's an obvious user error, I wait until I'm cozy with a 30" monitor before making culling decisions.

A 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. Be sure that you are keeping the best of the best, and don't make rush decisions. There are many variables in a good composition. But with wildlife photography, eyes capture the emotion.

Know your keeper rate and as focus points get soft, send camera bodies/lenses in for servicing and calibration. I don't do micro-adjustments because wildlife subjects are never positioned at the same distance; and, one needs to assume a set distance when micro-adjustments are madefor a given lens.

Lightroom Library Approach:
Updated 9.23.11

This blog post is about how to shoot from a safari land rover and trip preparation. However, someone asked me how I manage libraries - one per trip or one per year, etc.? Everyone has different needs and there are many professionals who can teach you the in's and out of Lightroom. I don't want to step on any toes because many instructors are good friends. So, I'm only going to address my collections approach because it goes hand and hand with image analysis and safari workflow.

I prefer to create a new Lightroom libraryfor each trip and keep it together with the raw folders initially on my laptop, then the desktop whileediting images, and then when they're moved together to external back-up drives. After editingout losers, I make a collection of my "best of trip" which includesfavorites to edit - plus favorites of primary and secondary subjects, designelements, landscapes, people, expressions, potential B&W, etc. This best of collection could be 200 - 500 strong. Then, I make sub-collections of the above categories. Note: I start the trip library in the field. But, if I feel that I made hasty delete decisions while making room on my laptop, I'll start a new library upon return from the trip.

This sub-collection workflow tactic hassaved my bacon many times when I accidentally deleted non contiguous-imagesthat remained highlighted after synching settings. I edit and synch settings from within a sub-collection, not at the folder level or "best of" collection level. That's because I've accidentally deleted images more than once when doing repetitive tasks too quickly; i.e., selecting all and saving metadata but not accurately deselecting. I use lightening fast Razor gaming mouses (Diamondback and DeathAdder) which are great for Photoshop work in conjunction with a Wacom tablet. But when working quickly in Lightroom, sometimes my fingers/brain/mouse/trackpad get out of synch. So, this limits the damage.

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

When editing right after a trip, I only work on images thatfit my storyboard and the ones that I want to print immediately. I havea lot of images set aside for future galleries identified inmaster/sub-collections. At a later date, I can import sub-collections from different trips to create new galleries; i.e., I've beencollecting people/village subjects, wild horses, other endangeredanimals, and black and white candidates, etc.

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

Lightroom's import collection/s capability allowsus to create a master library of "the best" at any given time.

The Count Down (One Month Before):
Updated 10.14.11

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.

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

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

Purchase any sundries, medications or photo tools that need replenishing.

Start setting aside crisp/unmarked $1's, $5's and $10's to include in my tips pouch.

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

Clear the cache in all browsers and delete all unwanted cookies aka 90% of them. If browsers are running slow, reset them as well.

Check available external hard drive space and order additional drives as needed.

Reorder bootable repair software disks as needed; i.e., DiskWarrior, DataRescue and Drive Genius Note: If you run into a problem using the C key to startup from a CD/DVD, try pressing the Options key after you hear the chime and then proceed. Note: when booting from a CD/DVD, you can not access or use systems preferences.

Update all software, including Lightroom, Photoshop, Nik, Noiseware, repair utilities, Under Cover, PhotoRescue* and MS Office, etc. Turn off Apple's firewall (under preferences) before downloading and installing. Also, run Disk Utility's Repair Permissions before and after every installation. Note: after upgrading Photoshop or Lightroom, always re-check preferences and color settings because they often get nuked. To keep Photoshop optimized, see Diglloyd's Mac Performance Guide/Photoshop CS5. *Note: E.J. Peiker wrote a nice tutorial on how to use PhotoRescue for CF/SD cards many moons ago. His outlined process should give you a general idea of how to avoid image recovery pitfalls when using other image recovery software as well.

Run Disk Utility's Verify Disk and repair as needed.

Clear all images and libraries not related to the upcoming trip after verifying that everything has been backed up accurately.

Update my bootable thumb drive's operating system and all repair software. I use this bootable thumb drive, formatted as MacOS Extended - Journaled, in lieu of carrying multiple CD/DVD disks which can get damaged or lost. Plus, it saves weight and packing space. If I have problems with my laptop in the field, I can always boot and operate off of the thumb drive. A bootable device (thumb drive, external firewire drive or CF/SD card) enables access to systems preferences as needed. I use the 32GB Patriot Xporter XT Rage USB 2.0 flash drive because it has better than average write speed performance, a reasonable price point ($48 at amazon on Oct. 3, 2011), and good reviews. To learn how to make a bootable thumb drive, here are some tutorials from macs.about, macgurulounge, maclife and macyourself - or see a video at Macworld. If you're on 10.7 Lion, check here: SubRosaSoft, powerpage and OSXdaily. You can find USB 3.0 thumb drive reviews at Tom's Hardware and USB 2.0 reviews at neoseeker, Everything USB and amazon.

Update my "non-bootable" thumb drive, also formatted in Fat 32, with updated versions of field applications, emergency/repair software, manuals/references and serial numbers. I use a matching, properly labeled Patriot Xporter XT Rage as well. If an application acts up in the field, I start by repairing permissions, verifying the disk, tossing out suspect preferences and zapping the pram, etc. Then worst case, I can always un-install and reinstall the application.

As needed, research and make decisions on hardware upgrades: For instance, I recently upgraded my 2009 13" Macbook Pro's 500GB drive to a larger, faster drive. I wanted more capacity so that I didn't fill my hard drive in the field (more free space = faster performance), and so that I could build larger Lightroom thumbnails for faster image review. The problem was, I had to figure out which drive (brand, model, version) in terms of reliability and performance. Issues considered were: 1) some 7,200 drives run hotter and noisier than 5,400 drives, 2) larger drives drain more power, 3) some drives with motion detection features conflict with Apple's sensor motion control, 4) drives with power efficient features can be slower to spin up or have conflicts with Apple's energy management (aka more spinning balls), and 5) some drives make clicking noises and tend to vibrate (mostly in 2011 Macbook Pros, and in some 2010). Plus, some mid-2009 Macbook Pros (installed with EFI boot rom 5.5) have problems with non-factory installed SATA 3GB/s hard drives (a possible conflict with Apple's firmware EFI 1.7). The workaround is to have the firmware downgraded by an Apple tech, or to limit the drive to 1.5GB/s by using a PC utility. Fortunately, my laptop still had firmware EFI 1.4 and I was good to go. After reading a zillion reviews, I ordered the Hitachi 750GB Travelstar, 7,200 with 16MB cache and 3 yr. warranty (model 7K750) from Other World Computing. OWC sells a Do it Yourself kit which includes tools and a casing for the old drive along with online instructional videos. There are several other "how to" videos on youtube as well. Important Note: if you use Apple's online tutorial, remember to remove the 4 screws from the side of the factory installed drive and install them onto your new drive before putting things back together (missing in the instructions).

To minimize problems when upgrading or replacing drives, I always install software from scratch as opposed to cloning old drives. That way, I know that everything is current and that I won't have any broken preferences, etc. It may take a bit more time upfront, but it's pay now or pay later. Note: whenever upgrading/replacing a drive, remember to deactivate itunes, Photoshop and any other software that has an activation process, i.e., undercover, etc. Then, reactivate on the new drive. If buying the OWC DIY kit, you can also purchase a licensed copy of Drive Genius 3 for only $39 (list is $99). It's nice for automating the removal of foreign languages from the new drive aka saves a bunch of time. Also note: I don't turn on my firewall (under systems preferences) until everything is done.

Define and prioritize what and who I want to photograph. This helps me to make difficult lens choices; i.e., the "real" high priorities (stuff that's unique) vs. the nice to have's (seen a zillion times) vs. which lens and the weight implications. I have specific goals for every trip aka I'm on a mission.

Review my creative depth of field chart - by camera, focal length, f-stop and shooting distance; i.e., the minimum f-stop for this mama/baby at "x" distance using this lens is "y" but if there's enough light, then I can go down to "z" f-stop while still getting the pop that I want. When I first started, I printed DOF charts by lens from the Canon Museum site and made up tiny field reference booklets. Now, my reference chart is based on favorite images and actual metadata.

When dealing with shallow depth of fields, every inch counts, i.e., my close up of the leopard cub at near minimum distance. And, it's very tricky when there are foreground or background distractions; i.e., messy foliage and bright hot spots. One has to know whether to incorporate them or not in a nanosecond as the shifting of an eye happens so quickly.

Conversely, it's difficult to capture a group of subjects when using a super-telephoto lens as physics is not in our favor unless subjects are standing on the same plane. The only way to get families like this is to get close and use a shorter lens. In this scene, the 70-200mm 2.8 II was wide enough.

A 500mm lens 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 part of the reason why I feel that my 1Ds Mark III images look more 3 dimensional than 1D Mark IV images even though in reality, it's the sensor. OTOH, the Mark IV has a larger buffer and faster fps speed to capture more precise eye movement. So, there's always a trade-off.

I feel that everyone needs to build their own DOF reference chart because style is very personal. That's why you get different advice from different pros and tour leaders. Also, the process helps you to memorize DOF info easier. You can get depth of field info at DOFMaster (tables, an online calculator or their iphone app) or at nikonians.org

When watching wildlife documentaries, movies or videos, mentally practice shutter release timing and settings adjustments so that everything is on auto-pilot. Actually, you can learn a lot from most any movie that you're watching in terms of lighting, framing, focal points, depth of field, color and tonality. I love analyzing tone and style.

The Full-Court Press (5 Days Before Departure):
Updated 12.29.11

Re-checking all camera custom function settings.

Top off camera batteries and/or calibrate if indicated.

Re-format CF/SD cards, portable drives and digital wallets. See Chris's Travel Tip Central below for the cards that I use and why under "Putting Gear on a Diet, #9".

Re-check for any firmware updates; i.e., click on Product Advisories on the Canon website since updates aren't always mentioned on equipment forums. Also check for updates on Epson, HyperSpace and Canon/Panasonic point & shoot device, etc. Apple updates are typically done real-time as they are announced (albeit after checking product forums for any known issues).

Clean lenses, drop down filters and camera sensors using a Visible Dust 7x sensor loupe and rocket blower.

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

Test screws and re-pack fix-it tools.

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 Pro battery.

Download more Kindle books for my iphone as needed. Unfortunately, I don't have room to carry an ipad in addition to a laptop.

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.

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 Pro.

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 and troubleshooting articles - 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 a 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.

In addition, because formatting is lost when using the Address Book, I also copy word docs and equipment manuals into the iphone GoodReader app via itunes. A scanned copy of my passport and travel policy booklet is also included.

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

Provide credit card 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; i.e., 1%.

Order the month:month AT&T International data and messaging plans. 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.

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 Travel Tip Central below.

Clothes and shoes are re-sprayed with permithrin or waterproofing 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 get the weight down.

Note: consider registering for the U.S. Customs Global Entry program which allows you to skip the long customs lines and use a lighting fast, self servicing kiosk instead (good for 5 years). 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. I also plan to register 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: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 the rigorous security checks. My goal is to be at the gate at least 30 minutes before check-in; and, longer in places like Bangkok where they do gate area security checks as well. I try to have at 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 9.30.11

Synch my 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). Also reset my usage. Note: When synching my 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.

Change my iphone case to one that has a front cover for added protection. See my favorites under Chris's Travel Tip Central below > Hands Off Our Stuff.

Update Mobile Me so that contact info is also accessible from any wired computer in an emergency. Note: when using Mobile Me to synch Address Books and bookmarks between desktops and laptops at more than one location, I click on Advanced and then "reset data" before uploading. Everything is backed up first. This means that data is superseded, not merged or synched.

Before packing my laptop, turn off Airport wireless to save battery life and increase security. And, verify that file sharing is turned off (under Systems Preferences and itunes, etc.)

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.

Chris
www.wildlifethythms.com

How to Dance With a Monopod (and Get Sharp Images)

2011-03-29T22:54:00.000-07:00

Just do the 2 step and anchor down. Start by positioning the monopod to the left of your left foot. Then, swing your left leg forward and around the monopod. Keep your weight on your left heel, bend your knees slightly and then lean your left hip towards the left as well. Net:net:

the bottom section of your monopod is anchored to the inside of your left calf,
the middle of the monopod is anchored to the outside of left hip, and,
the top of your monopod is braced against "the V" of your left elbow.

Now, relax your shoulders and let out a deep breathe. Be steady like a rock. It's even possible inside of a land rover when you're allowed to stand up; i.e., when photographing this leopard sitting underneath the bridge.

Chris
www.wildliferhythms.com