Take me to the place where the white boys dance...

To kick off this post, I have to apologise to the band "The Killers", whose song title made a perfect title for this photo and its resulting blog post.

As you may know, we recently returned from an amazing family safari-camping-roadtrip through some of the most iconic places in Namibia. One of the destinations was the famous Etosha National Park. Though it was not my first visit to Etosha, this was definitely my longest to date. We stayed a total of 12 days in the park, to ensure we made the most of each of the main camps and its surrounding regions.

One of the photographic opportunities that has eluded me on my trips to Etosha prior to this one, has been to see and photograph the iconic elephant bulls caked in the white calcium-rich mud of this particular arid ecosystem. In my presentations and workshops, I always make mention of the fact that understanding animal behaviour is key to obtaining good wildlife photos. This particular photo is also the result of such understanding, and a bit of luck...

Nikon D3s  |  Nikkor 70-200mm f2.8 VR-II @ 70mm  |  f11  |  1/1250 SS  |  ISO-560

We first saw these elephant bulls when we transferred from Namutoni camp to Halali camp. They were moving across the pan towards the mudholes at the Springbokfontein waterhole. Because we were busy moving camp and had our big trailers hitched, we could not maximise the sighting for us photographically. It was also in the heat of midday, which meant the heat haze affected the quality of our photos.

During our stay at Halali, I was tempted to see if these bulls perhaps frequent this particular waterhole. I made a late morning run to this waterhole (a 32km trip one way) - and lo and behold, they were there, albeit further from the road than what is ideal. I knew now that these boys were the locals, this was their pub, and they would probably be found here most days until the rains come.

We decided to return in that direction the next morning - and although they weren't there when we first arrived, they had made their way to the same spot far from the road by the time we got back from our brunch stop (we made delicious jaffels on the edge of the Etosha Pan, yum)...this time there were a total of 9 elephant bulls in the immediate area! The 4 we'd seen previously, and another 5. Photos were, again, hampered by the heart haze (it was upwards of 45 degrees Celcius by this time).

That hatched a plan for me. The next day we would be moving from Halali to Okaukuejo, and although the potential is there for the "white ghosts of Etosha" to be photographed around that area as well, I really wanted another crack at getting bankable photos of these boys. So we decided to scoot out to Springbokfontein one last time that afternoon, in hope that they would still be around the waterhole and possibly even close enough for decent photos. Man, were we right!! Some of them had moved off way into the bush, but 2 of the bulls were feeding right next to the road, and they were super relaxed...meaning we could work some really nice closeups and even wide angle shots of them. The golden afternoon light and some puffy clouds made for a very enjoyable afternoon of photography.

Are these photos unique - will they win me awards?
Nope.
Does it matter?
Nope.
Did my friend and I enjoy the culmination of my quest to photograph these white boys?
Immensely.

Go out there, and enjoy your photography!

Morkel Erasmus

Wildlife Photography with the Nikon D810 and 400mm f2.8

When Nikon in South Africa approached me  in September 2015 to test out the Nikon D810 and the new lightweight Nikkor 400mm f2.8E FL VR lens I was relishing the opportunity - you see, I was heading to the Mara Triangle in Kenya (part of the Maasai Mara ecosystem) to host a photographic safari in the Maasai Mara for the Great Migration for Wild Eye.

I was looking forward to putting this camera–and–lens combo through its paces in an environment where anything can happen at any distance from the vehicle. The in-camera crop factor (Image Area option) of the Nikon professional FX series provides a great option to extend the effective focal length of the lens.  

f8.0  |  1/2000 SS  |  ISO-280  |  EV -1

First off - the D810 is an amazing camera. I was blown away by its dynamic range and amazing image resolving capabilities. The D810 was improved.  Dynamic range and low light image quality (high ISO in other words), while offering a higher frame-rate for on demand shooting with an increased buffer capacity. The quiet shutter, intuitive feels and excellent build quality of the D810 makes it a joy to use.

f4.0  |  1/500 SS  |  ISO-2000  |  EV +0.3

Now for the lens! I have just traded in my Nikkor 500mm f/4 for the previous version of the 400mm  2.8 - so knowing what that beast weighs, the first time I picked up the new 400mm f/2.8 from its case which also looks quite different than previous Nikkor super telephoto lens cases, I was flabbergasted by just how light it really is. At first touch, it feels only slightly heavier than a 300mm f/4 would feel.  It is as sharp as you can imagine and the focus acquisition is snappy and responsive, making the lens a real pleasure to work with in the field.

f18  |  1/10 SS  |  ISO-500  |  EV 0

Coupling them and knowing how and when to use the aforementioned in-camera crop modes ("Image Area") you can really utilise this combo for a great range of scenarios. If you leave the 400mm f/2.8 on the camera without adding a physical teleconverter, you can achieve the effective focal length of 480mm f/2.8 at 25 megapixels on the 1.2x crop setting.  If you go to the DX crop setting you can get an effective 600mm f/12.8 at roughly +- 15.4 megapixels.  Some folks will say they'd rather crop in processing and you can - but what makes it a tempting option is that your continuous frame rate for action sequences increases from 5fps to 6fps in these crop modes. If you use the MB-D12 battery grip (also compatible with the D800/D800E), you gain another boost to 7fps in the crop modes.

f4.0  |  1/1000 SS  |  ISO-1250  |  EV 0

I always shoot my Nikon cameras in manual mode with auto ISO enabled. This allows me to select the shutter speed and aperture that I feel would contribute to the kind of image I am looking to create, while allowing the camera to select the  ISO automatically (hinged to my selected exposure   bias). I know I can implicitly trust my cameras to perform up to very high ISO and the D810 was no exception. Of course, having the option to go to an aperture of 2.8 when using varying shutter speeds helps! Read more on my preferred setup using auto ISO in THIS blog post.

f4.0  |  1/1250 SS  |  ISO-360  |  EV -0.7

I would highly recommend this combination to wildlife and sports photographers. Given the fact  that the D810 is the perfect landscape and portrait camera already, the added benefits of using it like I did for wildlife, pretty much makes it one of the best all-round combinations  I have ever had the pleasure to use. The lens is a dream. If the older 400mm f/2.8 always felt a tad heavy to you and that was the only thing holding you back – you need to get this lens in your hand and feel the weight difference. It is a strong selling point!

f22  |  1/30 SS  |  ISO-64  |  EV -1

Until next time, keep clicking!

Morkel Erasmus

Trust your Histogram

If you've been around decent caliber wildlife photographers for any length of time, you will no doubt have heard one of them admonish someone else to always watch their histogram. It's the final litmus test for ensuring our images come out as we intend in-the-field, right?

Yes.

The important thing to remember is that you need to look at the HISTOGRAM specifically.
The actual graph plotted for the data contained in your actual image.

DON'T trust the version of the image you see on the LCD screen, though.
The back-of-camera LCD is far from a calibrated monitor on which to decide whether the colour or even apparent exposure of the image looks correct.

It's easy to fall back on pure image review and forget to rely on data interpretation. Yes, of course the content of the image is important if you are reviewing or double-checking your composition - what I am referring to is exposure checking, especially in tricky and challenging lighting conditions.

Consider this image - RAW, straight conversion, no processing applied.

If, at first glance, you thought that I had way underexposed this photo, you were correct.
Yet, I had done it on purpose!

The setting was a glorious misty sunrise on the last morning of the +Wild Eye Mana Pools photo safari I hosted in July (read the TRIP REPORT). When the sun rose behind the trees as a muted fiery ball, I knew that I wanted a photo with everything decently exposed (even the sun). So I purposely underexposed enough to protect the highlights and shadows from excessive clipping, knowing from experience what I would be able to pull back and rescue in processing. I shoot Nikon, and the specific settings might not correlate with how you would need to expose with other cameras, but I used these settings:

Nikon D800 with Nikkor 300mm f2.8 VR-II Aperture: f5.6
Shutter Speed: 1/1000
ISO: 250
Exposure bias: -2/3

In this case, I specifically remember that I couldn't really see jack squat on my LCD in terms of composition or image content, the photo was simply too dark. I needed to trust my framing in the viewfinder and also my exposure based on histogram.

The resultant histogram:

Again you might think this is creeping up too much on the shadows and highlights ends of the histogram - and yet I posit to you that this is where knowing your gear comes in and knowing how much you can recover from certain tonal areas that may seem blown out at first.

A couple of delicate processing steps later:

In processing these photos I always try and go for a look & feel that would seem natural - if you were standing there looking into a hazy sunrise you would see detail, soft light and the scene would be oozing with mood. The original frame doesn't have that at face value, and we need to tease that out of the photo in processing. Remember that the human eye can process an equivalent of about 32 f-stops in one view, so a camera can never just capture the precise way in which we perceive a moody, high dynamic range scene like this.

It's easy to overcook this as well and make it look garishly unrealistic! 

The histogram now:

The brightest spots of the sun can be blown out - it's the sun after all.
The darkest shadows are not preventing me from enjoying the image for what is ought to be - a moody dawn in the forest.

The lesson?
Know your gear well enough to shoot on instinct. 
Know well enough what you want to capture to shoot on instinct.
If necessary, read the histogram and interpret what you need to change to bring you as close as possible to a USABLE image.

I hope this post has been of help to you.

Morkel Erasmus

A day spent with a Lion Creche

Every now and again, you find yourself having a day on safari that seems hard to top.

The 11th of December, 2014, was one such a day. My wife and I were on a quick safari to the Kgalagadi Transfrontier Park that straddles South Africa and Botswana. If you've been following my photography for a while, you'd know it's a destination that's on my travel list most years.

After having a fairly quiet trip thus far when it came to big cat sightings (yet a trip to the Kalahari is always special and unique in its own right), we struck gold that day. It was all lions for us on this day.

It started with us being roared from our sleep at 3am in the morning while staying in the Urikaruus Wilderness Camp, and seeing those same lions drink from the camp waterhole later as the sun rose (see the photo HERE).


When it looked like this pride of 8 lions was going to flop down for the rest of the day like lions do, we headed north to the 13th Borehole waterhole to see what was going on there.

There then found a gorgeous-looking male lion and a lioness, having just drunk their fill from the waterhole, mating right next to our vehicle! To see images of that sighting, and that particular male, check out THIS POST.

This post, however, is about the other members of this particular pride. When the male and female had mated for another round, and their throws of passion died out, I looked across the Auob riverbed and saw this bunch approaching!

This lioness was guarding a creche of 7 cubs of varying ages (we later saw that she was the mother of the eldest bunch of cubs), and she was marching them to the water at a pace!

The cubs spent quite some time drinking and playing around the waterhole...

Nikon D810  |  Nikkor 400mm f2.8 VR  |  f8.0  |  1/1000 SS  |  ISO-360

After about 15 minutes the whole bunch moved across the road where we were parked and up into the dunes. We decided to proceed north to Mata Mata as we needed to refuel.

Seeing as we needed to return to Urikaruus anyway, we decided to check up on whether the lions had returned to the waterhole at 13th Borehole when we came back down at around 11am. Sure enough, the whole creche was lying up under a bush right by the waterhole again!

They were going to be there for a while, given the heat and the proximity of water, so we headed back to our camp (about 10km from there) to have some lunch and a quick rest. The plan was to get back to this spot by around 14h00 and see what they would do for the afternoon.

Upon our return they were still lazing about - but the incoming storm caused the temperatures to drop and the light to go nice and soft, which turned out great from a photographic point of view.

Nikon D810  |  Nikkor 400mm f2.8 VR  |  f6.3  |  1/1000 SS  |  ISO-720

The lions had some shade - we didn't!

At one point the smaller cubs began playing around in one of the camelthorn trees close to the waterhole...

Nikon D810  |  Nikkor 400mm f2.8 VR  |  f4.0  |  1/1000 SS  |  ISO-1100

Afterwards, a couple of the cubs tucked into the female for a bit of milk - and she certainly wasn't having a great time between their sharp claws and fangs!

The weather was turning ominous pretty fast, and I had a feeling the lion creche would be on the move soon...

Nikon D3s  |  Nikkor 24-70mm f2.8  |  f5.6  |  1/400 SS  |  ISO-360

Sure enough, all of them got up and moved down to the waterhole again...

Nikon D810  |  Nikkor 400mm f2.8 VR  |  f5.6  |  1/1000 SS  |  ISO-640

...filling their bellies with life-giving water...

The lioness then moved back across the Auob. Seeing that they seemed to have come down from the dunes on the Namibian side I concluded that they would head back there (their place of shelter) when the storm came in.

The cubs played around for a few more moments, and then followed after her.

Nikon D810  |  Nikkor 400mm f2.8 VR  |  f5.6  |  1/800 SS  |  ISO-560

We drove around to the main road leading over the Auob riverbank heading back north to intercept their approach as they made their way back up the dunes.

Nikon D800  |  Nikkor 70-200mm f2.8 VR-II @ 180mm  |  f5.6  |  1/1250 SS  |  ISO-1800

As they moved away, we reflected on the special time we had with these 7 cubs and the lioness that took care of them. For the most part of the day, except for the morning session which was shared by about 10 vehicles, we had them all to ourselves because we stuck it out in the heat and spent time with them when everyone else was trying to relax in the uncomfortable hours of the afternoon.

It's worth putting the time in with wildlife photography! I always say - keep what you have.
Too often people see an animal, decide that it's too static for them, and move on in search of the next sighting...when much can be achieved by simply sitting, observing, waiting, and merely enjoying it for what it is - a privilege!

Morkel Erasmus