Favorite Galleries

Saturday, August 3, 2013 | 0 comments

In July 2012, I had my most heartwarming African experience ever when I focused 90% of my time on 5-week old leopard twins.  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 day trip focused on polar bear babies in March 2013 was over the top as well.  Although it was my coldest experience ever (minus 55 - 60 with wind chill), 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 wildlife encounter with a leopard mom and her twin 2-week old leopard cubs.  Stay tuned for my next gallery which will be called Leopards VI: Moving Day.



How to See Cute Polar Bear Cubs in the Wild

Friday, August 2, 2013 | 0 comments


  • 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. 



                    - Polar Bear Babies V - Romp and Roll (2013) 
                    - 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 approach 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 the right expedition clothing (base/mid layers, parka/bibbs, Pac boots, gloves/mitts, etc.) is expensive aka >$2,000, you need a sturdy tripod/gimbal, the learning curve is steep, and there are up/down years.
          • 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

            Avoiding International Air Travel Grief (updated Sept. 5, 2013)

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            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.

            Checking In and Boarding:
            Updated 7.20.13
            • Avoid lost luggage issues by double checking your luggage tags - the final destination -  before agents move your bags to the belt.  Once it disappears - in a blink of an eye - it's tough to correct tags with certainty.  Also, checking in on small planes is an art - i.e., on Calm Air in Winnipeg - and you can find some of my tactics under  Putting Travel Bags on a Diet. 
            • Some airline liability terms do not cover cameras, jewelry or computers if lost/stolen in checked luggage.  So, make sure that expensive items like camera chargers and support tools are insured.
            • Your ticket may state that you need to be at the gate 30 minutes before; but, some lines queue up 60 minutes before.  Delta Gold SkyMiles and United Platinum cards will help to get you in the first boarding group.

            U.S. Global Entry and TSA Preê:
            Updated 8.2.13
            • 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 before going through security (although my small gold pendant did set off the alarm at SFO).  At SFO, the Pre√ lines are still non-existent and going through is lightening fast.  TSA uses daily random passenger selection, yes/no is embedded on your boarding pass, and for me, I'm approved 90% of the time.  Participating TSA Pre√ airlines include Alaska, American, Delta, United and US Airways.  If you're a frequent flyer, contact each airline and provide them with your Global Entry number.
            • U.S. Global Entry is a stellar program for international travelers.  It cost $100 to apply, lasts for 5 years, and allows you to bypass the long customs lines when arriving back in the U.S.  Priceless.  
            • Note: some TSA scanners are sensitive to hand lotions and sunscreen (i.e., false readings) and you may have to get scrubbed for explosives if you go overboard.  Conversely, flying internationally can dry out hands and make it difficult for Global Entry scanners to read fingerprints.  Net:net: clean hands before going through TSA and moisturize fingers before using Global Entry scanners.
            • Also, register for the Smart Travelers Enrollment Program (STEP) .  This replaces the U.S. embassy registration process which enables U.S. Embassies to contact you in an emergency while you are traveling abroad and/or the State Dept. to send you important Travelers' Alerts. 
            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 RFID risks more seriously.  If you want to see something scary, check out this youtube video  and Consumer Report.  Dollars to donuts, you'll think that you need to buy a protective RFID wallet and passport cover.  But if you already have favorite wallets/purses, you can use RFID credit card shieldspassport shields and Scanner Guard Cards instead.  Worse case, you can line wallets with foil/duct tape to save on expense.  Note: 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 precautions on how you dispose of credit cards as well; i.e., smash the chip with a hammer, cut them up, and toss 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 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.  
              • For me, 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 to your laptop (or earbuds, etc.) when folks loose their balance and fall into your seat.  Best case is to hold them, of course.

              Airline, Airport and Bush Plane Tidbits
              Updated 9.5.13
              • Boarding times have slowly been getting earlier on United/Lufthansa - i.e., an hour before departure (probably to compensate for stricter checked luggage rules and behavior).  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 gate area.  But, some of the Lufthansa boarding gates in Frankfurt now have scanners which allow passengers to self-scan, reducing boarding times back to 30 - 40 minutes before departure (good news if you have a short layover).  
              • Lightweight, see-through mesh pouches - are great for keeping things organized and reducing weight.  Plus, they make it easier for TSA inspectors to see what you're carrying without messing up your packing effort.  I use color coded meshes - i.e., red, teal and lime green sets from Barnes and Noble - and several favorites from Walker Bags 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.  They also make a perfect passport, travel insurance and travel cards pouch.  I even organize pouches within pouches; i.e., the 2 x 7" for keeping thumb drives or Apple adapter/cord sets together.  When reducing weight is key, I also double up eyeglasses - i.e., in the Sun Cloud Trekker using cloth sleeves as protectors - plus inexpensive plastic cases for travel. 
              • Lighter packing cubes and checked luggage tactics: most seasoned travelers use packing cubes to keep things organized; i.e., the original Eagle Creek cube and knockoffs.  In 2013, I converted to Eagle Creek's Ultra-Light Specter cubes because they only weigh an 1 oz.  And because they're opaque, they're good at hiding items that I don't care to lose; (i.e., flashlights, headlamps, Swiss Army knives and technical clothing, etc.).   And, double layering makes it harder for inquiring eyes and probing/sticky fingers to work their magic.  For expensive items like monopod heads, gimbals, camera chargers and flashes, I prefer to lock them inside my dayback (ThinkTank Glass Taxi) and then cover it 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 also protects breakables and makes it faster to pack/find things.  
              • Re-verify carry on specs and baggage weight rules before departing.  Specifically, read the fine print of your actual ticket.  If you're returning via different airlines (i.e., operated by or an alliance partner), luggage rules can/will be different.  Here are Lufthansa's latest baggage rules.  
              • Last Minute One Bag Carry-on Rule:  Some of United's Star Alliance Partners can be ridiculously callous re: last minute one bag carry on policies even if you're carrying expensive photo gear; i.e., my experience with Asiana's strict enforcement in San Franciso, Delhi and Seoul; and, Lufthansa semi-enforcement in Frankfurt and Munich.  Note: At Lufthansa, the trick is to dress nice and monochromatic, have a Star Alliance Gold card out, and to minimize the size of your bags so that they don't notice you/bags (i.e., I wear and carry bags in charcoal gray).  Also, domestic flights in foreign countries are always at higher risk for the one bag rule. When checking in at Lufthansa in Germany/Italy, friends were surprised to find that their carry ons were weighed; and, Icelandic Air seems to have the same practice.  So, always have a back-up plan.
              • 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 to 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 colored clothing will make you stand out when standing at the front of boarding areas (aka more risk for a gate security 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 alert, often resulting in foul moods and boarding problems.   All of my bags are listed in the section below "Putting Travel Bags on a Diet - Ounce by Ounce."
              • Boarding: If you have a Star Alliance Gold/Platinum card, keep it handy to get into the better airport lounges and/or to board with the first group.  The Delta SkyMiles Gold AMEX card gives you early boarding as well (but not necessary lounge access).
              • Connecting Flights (Especially When Small Planes are Involved - Int'l or domestic): always plan extra travel days in case of bad weather flight cancellations or for luggage delays.  That's because Alaskan/African/Indian commuter flights and tundra trains aren't always scheduled on a daily basis.  And when it rains, it pours.
              • Protect your overhead space/gear: 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 the large airport terminal and multiple security screenings; i.e., upon arrival and departure even if connecting.  In Frankfurt, it takes about 45 minutes to get from Gate B airport lounges to Gates A/Z check-in lines and vice versa.  If you arrive in the Gate A area from the US, you don't have to go through security upon arrival when connecting.  If you depart in the Gate Z area (same pier, different levels), I recommend staying in that pier even though restaurant options are still slim.  If you want to go to the main restaurant/shopping arcade in the center of the terminal, you need to allow time to go through two securities; i.e., to enter the Gate B/arcade area and again when re-entering the Gates A/Z area. Geez.  If you arrive in Gates A/Z from South Africa, you go through security upon arrival no matter what.  The worse is, if you arrive in an A gate and depart in a Z gate, they route you through this bizarre bogus detour which takes you to the very end of the security line (thereby giving priority to those going to B/C gates).  Net:net: if you're first off of the plane, you just wasted 40 minutes.  My last arrival in a C gate also required going through security right off the plane; and, then again to enter the B gates.  And if you are flying SAA, passengers line up at the gate 30 minutes or more before boarding time.  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.  Also, if you're flying coach and thinking about boarding from a 2nd level Senator lounge, don't do it as you'll be entering from the back of the aircraft aka against the flow of traffic. 
              • South Africa: Arriving in Johannesburg: Airport/hotel porters and van drivers are happy with dollar bills; and many bush camps accept U.S dollars/credit cards.  So, check before leaving home.  If you only need a small amount of rand (i.e., 60 rand per checked bag for shrink wrapping when you leave the country, refreshments and server 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 in the baggage area and to the left before you enter the main lobby.  The minimum exchange fee was $25 the last I checked in 2012 which is why I use the Bank of Barclay ATM.  Note: I've always tipped game drive rangers in U.S. dollars using a mix of $50/20/10/5 new'ish bills.  Avoid carrying $100 bills to 3rd world countries because they're more concerned with counterfeit issues; especially at hotels.  If you forgot sundry items or needs adapters, the stores are located in the Domestic terminal (a short walking distance).  nice and reasonably priced hotel near the airport is the Protea Hotel.  The Sun Inter-Continental is excellent and right across the street; but, the rates are now 3x more.  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 back.  Shuttles leave every half hour.  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, not liquids).  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 (i.e., Federal Air)  means dealing with extremely strict weight limits of 44 lbs. for total bag weight. So, bite the bullet and purchase a 2nd seat to avoid travel grief.  The price/per seat each way is approx. $300  which you can mitigate if traveling with a buddy or two.  Note: With the extra seat, you still need to 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 and the Senator lounge is very nice. Note for the ladies: there are only 3 stalls for the entire large Senator lounge which means that the queue can get long right before boarding times.  So if you need more timing for changing clothes, etc., don't wait to the last minute.  In addition, Lufthansa lets you check-in several hours before departure (i.e., 5 hours plus) as opposed to South African Airlines.  If you need more than a bowl of soup/light sandwich 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 couple of small eateries on the other side of security for both Terminal A/B.  
              • Reduce lost luggage risks by allowing at least 3 hours or more for connections.   Whenever someone tells me lost luggage stories, the connections were too tight 90% of the time. If your luggage isn't with you at the start of a safari, it 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. - and everything is weighed for safety purposes -  now is the time to radically pare down; i.e., see my Putting Gear on a Diet - Ounce by Ounce below.  Don't make the assumption that because you're petite that you can get away with more luggage. That's because weight is averaged out (and the "planning average" is less than the "actual average" of most Americans).  Plus, planes are typically loaded with bush supplies and/or luggage catching up from earlier flights.  Don't take the risk of missed luggage because it's a headache.  As mentioned, I always buy an extra seat, 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.  Wear a jacket with large pockets to hide some of the weight; but, don't look overstuffed or else agents will ask to weigh your jacket.  Personally, I only put small, dense items in my jacket, like batteries, portable drives and camcorders, etc. along with eyeglasses and other flat items.  On this flight leg, I pare down to the absolute minimum as described in more details under Small Plane Tactics  under the Putting Photo Gear on a Diet section 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.  
              • 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.

              Be Ready for the Next, Next Leg and 3rd World Tactics
              Added 8.8.13
              • Going on international photo trips means lots of changing or tweaking; i.e., for airlines with different carry on rules, planes with different storage space, airports with different security measures, lodges and camps with different amenities; and vehicles (bush planes, buses, trains and jeeps) with different configurations. Good grief!
              • The goal is to be as efficient as possible without any hiccups along the way; i.e., walking away from valuables or losing one's sanity when things go haywire.  
              • It's a major effort to pack in an organized manner so that it's easy to shift gears - i.e., change camera bags - along the way.  My tactic is to work with a Packing and Workflow list that's tailored by trip.  I mentally walk through how I'm going to carry things on the next travel leg, identify where things need to go, and make reminders for important action items (i.e., getting local cash, checking luggage status, and swapping out adapters, etc.)  That's because using sleeping aids on international flights can fog the brain for a day.  Important sundry items/adapters are redundant so that there's no need to move items between bags (carry on, day bags and toileties) I also pre-pack items in separate pouches so that I can utilize a pick & pack approach; i.e., the travel home outfit, rain kit and game drive kit, etc.  And, all important travel docs/references are stored in my laptop and iphone - plus, a notebook.  
              • My approach use to be: get ready for the next leg at each step of the way -  i.e., switching between international and 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 flights/luggage are delayed or when there's no time in-between flights.  
              • 8.8.13: When traveling to 3rd world countries, there's a much higher risk of travel interruptions and it's easier to fix problems if you're prepared; i.e., having all local telephone #'s handy (airlines, hotels, credit cards/banks and embassies) for each country that you're visiting.  Since cell service may not be available and/or wireless is often slow, have important travel resources bookmarked and copied into an Emergency Contacts file (i.e., how to get a hold of AMEX Globla Assist).  You'd be surprised as to how hard it is to hunt for customer service numbers when you need it.  When things are written down, you're also more efficient when using a public computer.  And since companies are always enhancing security measures,  know your answers to security questions.  Researching hotel options and airline lounge hours for emergencies is also valuable, as well as carrying a few extra passport photos.  Lastly, I always pack a few tees/undies, a shower kit and a mini sundry/cosmetic/first aid kit in carry on in case of major luggage delays or longer than expected airport layovers. 


              Tips for First Timers to 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 30 minutes or more for every pocket and pouch to 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 follow my mantra, I've still had to remove everything from my camera bag - i.e., cameras, lenses, teleconverter, CF card wallets and firewire reader/one cord - and put them into a flimsy plastic bin for re-X-raying.  Good grief!  And, make sure that everyone in the group is on the same page because one delay is a delay for all. 
              • Re-think what you pack. At domestic airports, they also do a pre-screening X-rays scan for checked luggage, just like when departing the state of Hawaii.  So, only pack your must-haves.  On my last visit, my Gitzo monopod was scrutinized (not because of any metal but because of the rubber grip); and, my rubber air blower (used to blow off dust from cameras/lenses) was 99% rejected until a friend came to the rescue.  Regardless, it was a time killer.
              • Re-think how you pack.  I had to have a dust blower on this trip (very dusty riding in open jeeps); but unfortunately, mine was buried at the bottom of my duffel.  As a result, my entire duffel was emptied out in front of a zillion passengers - gasp!  Now, I always put the blower inside a baggie at the top of my duffel with a friendly note/photo explaining it's purpose.
              • Don't use rolling camera bags for carry-on unless you're willing to risk your bag getting snatched away as checked luggage.  Also, be careful when selecting airlines if your carry-on is overweight as foreign airlines can be very rigid.  On my last visit, I used a small ThinkTank Acceleration backpack with a removable Samsonite luggage cart (same carry on as the previous year, same airline, same route).  I never had trouble with Asiana before.  But on this trip, I got serious grief departing and returning - in Biz Class!  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 did not faze him.  I managed to keep my bag by a quarter of a thread; but, my travel buddies didn't fare as well.  So, be warned.
              • Make a pack with buddies to watch over each other's gear before/ after the security X-ray machine.  With everyone having their own security hurtles and hassles, it's easy for things to fall between the cracks.  Unlike the U.S./Canada, you are not allowed to hang back and watch your (or your friends') valuables disappear into the X-ray machine.  Plus, people routinely cut in line.  So, your bags/purse can sit exposed for a while and it feels like a scam waiting to happen (aka very stressful!)  To add insult to injury, females are segregated and moved to another line - up to 3 lanes away - in order to get pat down in a closed curtain booth (while you pray that one of your buddies is watching your valuables).  In the meantime, more folks are cutting into the X-ay line.  So by the time you get back to your belongings, items are separated and/or buried under a pile of other travelers' stuff.  So, plan accordingly and be on top of your mental game.  
              • Remove all tools and extra stuff including lipsticks: A friend who just returned from another wildlife trip inadvertently left a small pair of personal scissors in a pouch.  Even though they were readily found, every other pouch had to be opened up and examined as well.  Ditto for a guy friend with a small L wrench; and; searches can take over 30 minutes - per person!  Also, it's not fun having to run to the boarding gate while carrying heavy backpacks in hot weather.  
              • Think twice before checking lenses in baggage:  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 buddy had his 400/2.8 lens detained by Indian customs.  His only saving grace was that the lens was registered with the U.S. Customs Dept. and he had his original U.S. Customs stamped paperwork on his possession (plus some cash).  But, it still took over 4 hours of multiple meetings and tons of paperwork to get it released.  Other photographers have reported the same Customs hassle as well - but, with carry on, not just checked.  
              • 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 rupees for exchanging dollars - it's advisable to exchange your currency at the airport upon arrival (for all service/game drive tips, laundry, drinks/water, luggage fees, spending moneyand emergency cash.  Be prepared to lose a whooping 8% of your U.S. dollars - the exchange cost in both directions -  as opposed to a combined cost 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 right away.  A buddy almost didn't get his Canadian money because locals tend to interrupt/disrupt ongoing transactions which created 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 50s.  Hotels don't keep a small bill inventory either, especially during the weekend.  So, your best bet is buy $100 packs of 100 and/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. 
              • 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 very special to see in the wild.  

              Chris
              www.wildliferhythms.com

              How to Shoot From a Safari Land Rover, Safari Prep and Image Workflow (Updated Sept. 5, 2013)

              Thursday, August 1, 2013 | 0 comments


              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 Africawildlife in Botswanaor 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 8..8.13
              • I tweak my tactics depending on airline rules, type of planes, camp terrain, type of vehicle, distance of subjects, lenses, number of time zones away, and number of buddies on the vehicle (if at all).
              • It's important to define priorities before selecting what gear to bring gear because there will always be trade-offs.  If your priorities are solid, the shots that you missed for not bringing the right focal length may bug you in the short term; but, become unimportant in the overall scheme of things.  My priorities are feline and polar bear babies; and, I'm always on a mission to find young animated families in good lighting.  So with increasing airline weight hassles, I know that I have to sacrifice other cool, nice to have images.  But, I make peace with it by knowing that I'm prepared for my top priorities; and, that I had the pleasure of viewing (and remembering) other fantastic wildlife moments.
              • I primarily shoot with a 500mm f/4 IS lens on a Canon 1Dx or 1D Mark IV body, a 70-200 f/2.8 II on the 2nd body, and a 1.4x III teleconverter.  Reducing travel weight is always a major issue and I've been considering the 500mm f/4 IS II to save another 1.5 lbs.  But, my gut feel is that I won't get significantly better images.  And although the extra reach of the 600mm f/4 IS II would be nice, I don't want the hassle of lugging a larger camera bag because weight issues at airport check-ins are already an issue.   
              • Gear decisions are always tough and trying to figure out what not to bring is the most stressful aspect of safari packing. If scenics, landscapes and animal-scapes are important to you, then consider traveling with smaller bodies to allow room for additional shorter lenses.  See more tips under Putting Photo Gear on a Diet - Ounce by Ounce under the Chris' Packing/Travel, etc. Tips section below.  Also keep in mind that every camp/terrain/vehicle is different and you'll never have everything that you want.  Just do the best with what you have and be creative.  For me, carrying fewer lenses means less fiddling around and I limit myself to 3.  Note: On private camps in Botswana and South Africa, you can travel off road more often than not, so subjects tend to be closer.  
              • 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 a 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.  Also, if 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 wildlife photo trips with planned side excursions - like in China or India - then of course I bring a wider zoom.  
                • I use to carry a point & shoot for 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.  And since I've never been thrilled with P&S still files, I finally stopped buying a new one every year in hopes of a better performer.  Now, I use a small camcorder - the Sony GW77V with 10x optical zoom (same footprint as the TG1 that I use to carry) plus 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.  That was a ache that never went away.
                • 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.  This works if you're not a birder; and, more so in Botswana as opposed to Kenya or Tanzania.  The extra stop of light and pop from this lens is really a stunner.  
                • In Botswana and South Africa, I always book an extra bush plane seat because of strict weight and safety limits. This enables me to carry gear inside the cabin and mitigates the risk 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.  In Tanzania, I prefer to drive to and from camp (normally stay in the Southern Serengeti) to avoid bush plane constraints.
                • For camera support, my "no brainer” method is to use the SkimmerSack molar type beanbag on the roll bar (made by Kinesis Gear).  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. 
                  • M"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 have no choice but to lean back a bit and work with a monopod on the floor.  To keep it steady, I wrap my left foot around the lower leg; and, the 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 head, 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. attached to a  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 since 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. 
                    • It's important to lock down solid - monopod, face, elbows, knees and feet; and, to relax the upper body.  Whatever set up you use, always keep a hand on your gear to avoid long lenses from bopping someone's head, or whizzing out the window.  If you're changing batteries, cards or a teleconverter, at least have the camera strap wrapped around you wrist for good measure.  
                    • I also use 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 between snug bags dividers.  So, always have a spare handy.
                    • 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/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. 
                      • 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. 
                      • 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 and only works when I remove the BlackRapid camera strap.
                      • 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 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, Be Ready to Shoot in 5 Seconds
                            Updated 9.5.13
                            • The faster you can stop, the quicker you can shoot.  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.  And, if you're not ready to rock and roll, you just missed the shot as well.  A minute before the vehicle stops, remove noisy dry bags and have your monopod/bean bags adjusted to the right height and position.  Cover/protect your camera/lens from dust with a quick throw over instead.  Also, re-check/decide on your metering.  Be prepared to shoot in 5 seconds or less without swinging your big lens up in a way that would disturb subjects.  A male leopard fight lasts 25 seconds or less.  If the driver is fiddling to move you to the perfect position, you just lost the shot as well.  So, agree on the best case car position and nose direction in advance - even if you could get closer or better lighting - and, commit to it so that you can start shooting ASAP.   I'd rather get the shot and crop than not at all.  There is no perfect spot when subjects are moving around quickly; so, have a mental plan on how you're going to shoot in multiple directions.  A bit of grass in the way?  Just shoot and use it for framing.  You can try other vehicle positions in a bit. 
                                  • 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 with 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 real-time shooting objective.  So, communicate clearly and politely before you reach your subject/s.  Hand signals - i.e., cut the motor - are more effective when there's a noisy motor or loud wind.  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 - Canon 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 1D Mark IV custom function settings (Mark IIIs were similar):  

                                      Group  I and Group II = all default except I-7-1.
                                      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 - Canon 1D Mark IV and 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).




                                        1Dx Camera Settings
                                        Updated 8.7.13
                                        • Ai-Servo is awesome and I'm thrilled that I can now nail running or tumbling polar bear babies like I never could before.  However, I still pump in One Shot whenever possible for more precise control.  In Ai-Servo, the AF indicator is more subtle (light gray letters when set inside the frame or a small green symbol when set outside).  Note: to see your AF point in Ai-Servo, set AF #5 Display During Focus to Selected (Constant).  To re-compose, lift your finger off of the * button.  
                                        • My 1Dx default settings are One Shot, Single Point, Case #1 and Tracking Sensitivity +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.  My * button is set to Start AF/metering; and, my AF-On button is set for Hail Marys - TV, auto ISO, and case #4 - which I've never had to use.  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 for my registered AF point (center), the Set button is set to change ISO, and the M-fn button is set to AE lock.  Also, 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.  Yes, 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. 

                                        AiServo Primarily for Fast Action
                                        • For fast action shots - i.e., cubs playing erratically or climbing up/down trees, I obviously switch to Ai-Servo on all Canon 1D bodies.




                                        Focus Points 

                                        • 1D Mark IV and previous1D/1Ds Mark IIIs:  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/Noise
                                        Updated 5.20.13
                                          • 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.  
                                                • 1Dx file quality:  So far, I don't feel that files are as clean or 3 dimensional at ISO 800 on the 1Dx as compared to the 1Ds Mark II/III files at ISO 400 (aka a bit more muddy using Lightroom raw convertors).  So, there's a little more work in post-processing, especially for printing.  
                                                To/From the Land Rover or Jeep:
                                                Updated 9.1.13
                                                • To the vehicle, I carry the 500mm lens/body covered in a dry sack and the 70-200mm/2nd body 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 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).  
                                                • If I only need dust protection, I've been using Outdoor Research's Ultralight DryPack Liners which weigh 3.0 - 3.6 oz.  I buy dry sacks oversized - aka 35/45/55L - because it's faster to whip cameras in and out, to fold them over several times in dust/rain, and to protect the Glass Taxi if it starts raining.  I've since upgraded to the lighter weight Ultralight Dry Sacks because they come in a more subtle gray color and weigh 2.5 - 2.9 oz.  The 45/55L also fits the 800mm/body/1.4x extender combo (with hood reversed); and, the 1.9 oz 15L graphic sack makes a nice companion day bag for storing clothing layers.  For 'tweeners - i.e., when not driving around - I switch to an REI backpack cover for even faster speed.  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 my system works faster.  After each trip, I fill dry sack/backpack covers with water in the tub - to check for water/moisture seepage - and replace them as needed.
                                                  • 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, sunscreen, 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 soft sided duffels.  I don't use my air travel camera bag - the GuraGear Bataflae 26L - for game drives because I like to keep it clean.
                                                  • Note: If sunscreen or deet are getting on LCDs/camera grips from your nose or fingers, clean up often throughout the day with a microfiber towel to prevent damage.
                                                  • 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 and/or bumping against each other 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.  Buy buckle straps at your local camping store or find a nice variety here at strapworks.  To buffer vibrations, I use a small beanbag under the hood of my long lens and camp blankets under the cameras. 
                                                  • Triple rain protection: Having dry sacks and backpack covers on hand provide double protection when sitting in light rain.  For heavier downpours,  I also use Pro Storm Jacket Telephoto covers.
                                                  • My comfy little strap secret: Typically, one holds onto to the roll bar for stability when drivers are speeding around like race car drivers.  For height constrained folks, this means that your shoulders are hunched slightly forward and are not braced against the back of the seat.  Instead, I prefer to hold onto a strap anchored to the roll bar behind me.  This way, my body and shoulders are planted to the seat and there's much less jarring when hitting potholes.  And, when I loop my arm completely through the strap (often modified with a 2nd short strap), I can lean forward and do side:side180 turns for more effective game spotting. 
                                                  • I also strap 1-2 small Zing neoprene pouches to the roll bar for fast access to eyeglasses, a monocular and P&S camera/camcorder in lieu of wearing overstuffed vests.  For eyeglasses, I also use a lanyard flip top hard case which I wrap around the roll bar.   
                                                  • 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).

                                                  Evening Routine on Auto-Pilot
                                                  Updated 9.1.13
                                                  • 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; i.e., back to card slot 1 on the 1Dx. 
                                                  • To learn more about field back up tactics and archival strategy, go to Backing Up in the Trenches - My Workflow towards the bottom of this page.
                                                  • 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 remove Canon batteries from the charger before shutting off.  That's because AC interruptions will trigger the calibration lights which is a pain in the neck.
                                                  • Remove dust from camera and lenses with a Giotto Q Ball Air blower and small 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 work in dusty environments, so the Q ball is a good option.  My current tactic is to place the blower in a separate baggie and place it right on top inside a checked duffel.  Inside the baggie is a friendly note that says: "This is just an air blower to clean the front of my lenses and inside my cameras on African safaris where there's a ton of dust.  Please allow and thanks in advance".  So far, so good.
                                                  • 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 small Hakuba CF case.
                                                  • Verify that the All Terrain foot, HoodEyes, BlackRapid straps and other caps/screws/bolts are still on and screwed tight.  Do minor repairs as needed.  If there's moisture or rain, store cameras with Zorb-It packs in a baggie (or use rice in a pinch).  Note:  HoodEyes/Canon Eg eyecups are prone to tearing, so I always carry a back-up.  And, Hoodman loupes tend to break from the lanyard.  As a result, I reinforce with a small plastic tie and threaded dental floss. 
                                                  • 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 early as 11 - 12 hour days in the field can be draining.  Also, promise myself to drink more water the next day.
                                                  • On the last eve, all the gear is wiped down with a damp towel and dry sacks are rinsed so that items are relatively clean upon return home.  Empty bean bags, dirty straps, dust covers and pouches are consolidated into one sack. 

                                                  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 late 2012, I used an inexpensive fast and simple drag/drop browser called Microsoft's Expression Media 2 (use to be iview Media Pro) because Lightroom takes so long to see 1:1 previews for judging critical sharpness in images.  After a quick look:see in Expression, I'd start importing raw folders into Lightroom for initial best of ratings and collections, etc.  
                                                  • Now, I use Photo Mechanic 5 as my front end to Lightroom. 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.  
                                                  • I strictly use Photo Mechanic for quick audits, separate from Lightroom.  The integrated method is to re-named raw folders during Photo Mechanic's import step (known as Ingest) which are then dragged into Lightroom (on the dock) for importing.  In Photo Mechanic, any captions, copyright info, keyboards or number/color ratings, if done, can be saved to .xmp files which are then stored in the raw folder.  Sport shooters and journalists love PM because the input window 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 PM to match LR, the color info will carry over during the LR import.  Ditto for 1 - 5 ratings (in PM, 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 as well (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 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 a 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.  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.  

                                                      All the Other Stuff Packing List (Tailored by Trip)
                                                      Updated 9.1.13
                                                      • Dust/Rain/Snow Gear Protection: Outdoor Research Ultralight dry sacks, Optec neoprene lens and body covers, LensCoat neoprene lens covers, Zing neoprene pouches, buckle anchor straps, Storm Jackets for camera/lenses 1-2 sizes larger than recommended,  ThinkTank/GuraGear rain covers, and trash bags, etc.
                                                      • Gear Cleaning: microfiber towels of various sizes, Q tips, small paint brush, Giotto Q Ball Air blower, Arctic Butterfly II, Visible Dust mirror brush, RayVu/Formula MC Lens Cleaner, gray microfiber clothes, iKlear LCD/laptop/iphone cleaner packets, alcohol packets, Visible Dust 7x Mini Loupe, 30x jewelers' LED loupe, Barnes & Noble pull out magnifier light and eyeglass/iphone cleaning clothes. 
                                                      • Travel Protection: ThinkTank Glass Taxi (also serves as a day bag), Tucano neoprene portable drive cases, SunCloud and plastic eyeglass cases for flash drives/adapters/cables, LensCoat neoprene Travel Coats, Giotto microfiber lens pouches, cardboard camera bag brace, ThinkTank flash pouch, mini Rimowa case (fits 3 portable drives or the Canon 1Dx charger), medium/large Zing neoprene pouches (protects RRS monopod head/leveler and Gitzo monopod for travel), Zorb-It dehumidifier packets), Fragile labels, and TSA note explaining the rocket blower (always packed on top)
                                                      • Primary Shooting Tools: 500mm/4 IS lens, 70-200mm/2.8 V.2 IS lens, 1.4x III teleconverter, 384 GB CF cards, remote camera switch (2), HoodEyes (2) plus spare Canon eyepiece, LensCoat lens covers, SkimmerSack beanbag, smaller custom bean bag, Series 3/5 Gitzo tripod or Gitzo GM-5561T monopod, RRS monopod head w/ RRS leveling base, 4th Generation Mongoose w/L plate or Wimberly II, Zeiss 8 x 20 monocular, All Terrain Foot and spare Gitzo foot, spare Gitzo rubber caps, 4th Generation bi-directional camera plates, 580 flash, Demp reflector, CPE-2 battery pack, AA batteries, Hoodman loupe, spare 77mm lens cap, spare body cap, Nikon flash shoe covers, long/short buckle straps, shoe strings, carabiners, BlackRapid or UP straps, and my depth of field cheat sheet, etc.
                                                      • Camcorder or small camera: Sony GW77V camcorder, batteries (5), travel charger (2/3), micro-SDHC adapter (2) and 32GB microSDHC Class 10 cards (4); or, Pany LX5 or Canon S95, batteries (2), charger, and 16GB SDHC cards (3) and USB 3.0 reader (Hoodman readers also have SDHC slots).  TBD if carrying the LX5: 21mm Voigtlander optical viewfinder, FL200 flash or LitePanel. 
                                                      • Packing Aids: Eagle Creek Specter packing cubes, Eagle Creek legacy cubes (labeled and with zipper pulls), REI dry sacks for separating shoes/laundry, Eagle Creek compressor baggies for reducing space, colored see-through mesh zip pouches, large/medium baggies, and sandwich/pill baggies.
                                                      • Image Back-up Tools: 1TB USB 3.0/FW800 portable drives (2), Patriot SuperSonic Magnum flash drives (256GB x 2,128GB x 2), Patriot SuperSonic Rage (64GB for video), Hoodman USB 3.0 CF/SD card readers w/updated firmware and Hoodman cables (2 sets), firewire800 cables (2), and laptop diagnostic/photo software installed on another flash drive. Unfortunately, making an emergency boot drive is possible w/Mountain Lion which is why a bring a ton of CF cards.
                                                      • Fix it Tools: Fenix PD22 and E05 flashlights (2), Princeton and Black Diamond Spot headlamps (2), Barnes & Noble pull out magnifier for splinters, pointed tweezers, Squirt S4 Leatherman w/scissors, Sears Craftman 4 way keyring screwdriver, white eraser, small channel pliers, Canon 2.0mm and 2.5mm screwdrivers (Japanese blades), the correct L wrenches, a General multi screwdriver pen, spare RRS/4th Gen/Gitzo screws and bolts, ties/rubber bands, zipper wax, single use loctite/gum drop semi-permanent glue (2), single use crazy glue (2), rubber jar remover, a lens pen, alcohol packets, egrips, my Troubleshooting cheat sheet, and pre-cut reflective Kelty cord.  
                                                      • Godsend Tape: mini roll of yellow electrical, pre-cut duct/gaffers/electrical tape strips spread out in various bags, a mini scotch tape and Nathan's neon tape.
                                                      • Electrical: EuroSurge 1,200 joule surge protector, Monster Outlets to Go power strip, Int'l plug adapters (2 sets), and a small North America plug extender for airport lounges.
                                                      • Apple Paraphernalia: iphone 5 cable/chargers (12V brick w/12" cable and small brick w/6" cable); microfiber screen cleaners, thunderbolt:firewire adapter (2), thunderbolt:ethernet adapter; Just Mobile Gum battery pack with mini Belkin cables (2), NewTrent and no name stylus pens (3), Ultimate Ear earphones (2) plus extras (Filo cable, Comfy tips and an angled jack extender), iphone 5 lightening adapter, Macbook Air chargers (2) plus one extender, airplane charger (enough volts for Macbook Airs but not Retina displays), MagSafe adapter, euro headset jacks (3), Hoodman USB 3.0 cable (2) and a FW800 cable. Note: the Apple 12W charging brick charges iphones much faster than the A/C adapter that comes with the iphone 4/5s (made/sold by Apple).  
                                                      • Note: all things new or altered - i.e., every cable, cord, portable drive, flash drive, screws, caps/covers, adapters, batteries, chargers, memory cards, readers and plates, etc. - are tested in advance (used and connected as if in the field). 
                                                      • Battery Arsenal: camera bodies (4), camcorder (3), point and shoot (2), AA (Canon flash and power packs) plus RadioShack tester, AAA (alarm), CR2025 (Canon and Visible Dust), CR2032 (head lamps), CR123 (Fenix flashlight) and LR41 (keychain lights).  
                                                      • Security and Speed Aids: PacSafe TSA luggage straps (2), TSA luggage locks (2 spares), REI calf wallet, spare luggage tag, PacSafe retractable TSA Extender lock, large/small luggage ties, Samsonite luggage cart, zipper pulls (zipquix, niteize and Sargent knots), Streamlight nano/egear Pico keychain lights on lanyards or wrist straps (a bunch), carabiners, RFID passport and credit card sleeves, plastic sleeves in various sizes, mesh pouches in various sizes, and dry bags to hide valuables in checked luggage.
                                                      • Personal: Biobands (3), travel pillow, travel clock, several nail clippers, keychain flashlights (in every bag, on lanyards), scissors to cut ties/tags, eye glasses (lighter weight plastic cases, screwdriver, a lanyard case to wrap around a roll bar, cleaning packets and microfiber clothes), tipping planner, tip envelops, rubber bands/paper clips, slant tweezers, keychain thermometer, writing tools (small notebooks, colored index cards, mini sticky pad, Sharpies, fat Sharpie, silver labeling pen and name/address labels), cleaning (woolite soap packets, Dryall spot cleaning pen, mini sewing kit, velcro, clothes line clips, rubber drain stopper, Nice 'n Clean wipes and Mephisto shoe brush), bug/germ fighers (sanitizer spray/packets, deet spray/packets, non-deet spray, fly swatter, SeaSummit mosquito head net, flip flops, StingStop/AfterBite, emergency OTC and prescription meds, alcohol packets, peroxide, topical staph antibiotic, Nalgene cup, rubber glove, mini pill organizers and spare ziplock/pill baggies), snacks (small thermos, nuts, turkey jerky, protein bars, ginger chews and Starbucks coffee packets), dust/grime/harsh water fighters (extra shampoo, conditioner, facial scrubs, toners, nail brush, microfiber hair towel and travel hair dryer), and sun damage preventers (physical sunscreens with a high a % of zinc oxide, SPF shirts w/side vents, wide sun hat, sun gloves and bandanas).  Staying comfy under the sun: I also just added dual clip lanyards to my arsenal which is handy for making sun shelters when there's no shade to hide under (much cooler than wearing a SPF gaiter) and a strip of a Frogg Togg cooling towel. Also, my stash of kleenex packs, daily sundries and cosmetics.
                                                      • Note: all packets are tested to insure that they're not dried out; and, all meds and personal products are replaced before expiration dates.
                                                      • Sub-Zero Temps: rubber bumpers for shutter buttons, D rings sewn onto parkas and carabiners for hanging mitts, a generic tool to open battery/card compartments, hand warmer pouch sewed into a fleece cap to keep camera batteries warm, spare neoprene lens/camera covers (in case something drops in snow or blows away in gale winds), boxes of Super Hot Hand warmers plus insoles, extra fleece hoodies to double up as needed, a carabiner watch, and a dry sack tucked inside a L611 Kinesis Long Lens case. To find: squeegee for removing frost/ice from viewfinders (something better than Q-tips or glove fingertips).
                                                      • Other Shooting Tools (Mostly Left Behind Due to Weight Constraints Unless Known to Be Needed): wide and macro lenses, polarizers, Lee filters, angle finder, lighting reflectors, 2x extender, laptop mouse, Wimberly M-1 quick release plates, 4th Generation Safari Companion, naturescapes skimmer with extenders, Wimberly M-4 macro arm (quasi panning handle), Leica Tabletop tripod with small ballhead (quasi shoulder brace), kneelons and walking stool/stick, etc.

                                                      Tips for working on a 11" Macbook Air w/Mountain Lion:
                                                      Updated 8.2.13
                                                      • 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 + 8, 2) Option/Command + =/- keys (as set up in System Preferences/Accessibility), 3) or pinch the trackpad out/in using 2 fingers.  
                                                      • Increase the size of a window by clicking the expand arrows on the top right hand corner of a window; and press escape to get your menu, bookmarks and url input box back.  
                                                      • Command + up/down arrows moves up or down one visible section at a time; whereas, fn + right/left arrows takes you to Home (top of the page) or 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 the letter f, lights out is the letter l, option/command + 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 + [ 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  panels back.  Press z to see your pre-set zoom size and increase/decrease the size with z (or option) + =/- 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 + t.  Command + m renames a file, and the rest is similar to Apple's shortcut (command + a equals select all, command+  i equals info, etc.
                                                      • For USB 3.0 devices, use the cable that shipped with your device to avoid headaches.  Also, update firmware as available; i.e., for UDMA 7 cards.
                                                      • 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 8.13.13
                                                      • 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 settings as they're often changed.
                                                      • Research firmware updates before installing. 
                                                      • 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 for the trip; and, archival hard drives if more space is needed for backing-up upon return home.
                                                      • Update all software including emergency tools; 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 on the laptop and repair as needed.  It's also a good time to run a diagnostic program - like Onyx on travel and home computers - to insure that all are healthy and are void of hidden cache files which hog up space.
                                                      • Maximize laptop space by clearing all images and LR libraries not related to the upcoming trip.  Worse case, delete 1:1 previews.
                                                      • Update a dedicated flash drive with photo/diagnostics software.  I use an old 32GB USB 2.0 Patriot Rage drive which includes all software, manuals, troubleshooting notes and serial numbers.  To troubleshoot a Mac, disconnect all peripherals, check systems preferences, repair permissions, verify the disk, toss out suspect preferences and zap the pram. Worst case, un-install and reinstall suspect applications.  
                                                      • Update a dedicated flash drive with my Documents, itunes and desktop folders.  I use a 128GB USB 3.0 Patriot Supersonic Magnum drive which allow me to remove these folders from the laptop in a nano-second when I need more space for images. 
                                                      • Finalize all decisions on hardware/software upgrades and photography gear.  Test every new purchase for reliability and compatibility; and, add name labels. 
                                                      • Make the time to read manuals and thoroughly learn new cameras and software, etc.

                                                      Creative Goals 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 tradeoffsYou 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 full frame body/500mm @ f/8 and only 4 inches with the 1D4.  But a 300mm hooked to a full frame is 9.6 inches @ f/4 and 14 inches at f/5.6 (so more forgiving)
                                                        • 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 full frame 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 8.13.13
                                                            • 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 and flash drives. 
                                                              • 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 series for my iphone (still waiting for an iPad mini with 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.  Pack more than one ATM card to avoid gotchas when networks don't work or when a card doesn't participate on the ATM's network.  Also print wallet sized currency converter charts (to avoid unnecessary AT&T roaming charges).
                                                                • Review airport layouts for lounges and ATM locations; i.e., in Johannesburg, ATMs are only located in the Domestic terminal B, lower level.
                                                                  • Update my CJ Lists folder which includes all travel references; such as, hardware and software serial numbers, equipment replacement value, Canon custom functions settings, Canon lenses depth of field charts, shooting cheat sheet, equipment manuals, my Apple/Photo gear troubleshooting cheat sheet, keyboard shortcuts, purchase receipts, medications and prescriptions #'s, medical history, credit card customer service #'s (plus  bank customer service #'s for countries visited), air/hotel reservations #'s, travel insurance, travel notes and local contact #'s, gear/clothing inventory, 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.  
                                                                    • Note: Apple's Address Book (or Contacts in Mountain Lion) is a very powerful tool in that I can store any/all information into a central repository - 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 "paste" 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 is at my disposal on my iphone/laptop without having to access the internet   I learned a lesson the hard way when my laptop displayed the kiss of death (darkened monitor veil) after a major power surge tripped it at a safari camp.  I tried all of the normal fix-it steps from memory but forgot to do the PRAM because my Apple troubleshooting notes were sitting on the computer.  And even if I did have access to the internet, it would take me longer to research answers then to browse my own troubleshooting list.  I also learned not to depend on other Mac users for help in running diagnostics in firewire mode (not always cooperative).  Anyway, 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).  Note: if you haven't done so already and travel abroad more than once a year, register with the U.S. Customs Global Entry program which allows you to skip the long customs lines at your port of entry.  All you have to do is scan your passport and fingers on a lightning fast, self servicing kiosk.  The program costs $100, is good for 5 years, and is awesome.  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.  At some major airports, Global Entry members automatically quality for the TSA Pre-√ program.  Update your airline profiles with your Global Entry number and request TSA Pre-√.   Participating airlines include United, American, Delta, Alaska and U.S. Airways.  
                                                                    • 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 Data Global Add-on plan ($30 for 120M) and Global Messaging 50 plan ($10 for 50 messages) when in countries that qualify.  Also verify that AT&T's $4/month World Connect for voice is still activated as the roaming cost/minute savings from just one call covers the cost of the plan itself.  It's important to understand what countries are included in the data/messaging plan and if you have cell service reception to utilize these plans.  Even though we have wi-fi acess in airport lounges, major hotels and some camps, we've become so dependent on real-time web access - in route and while waiting for whatever. These data plans help to avoid excessive roaming charge surprises and allow your inquiring mind to be productive whenever appropriate.  Monitor your plan's usage by resetting data usage as soon as you set foot abroad; and, if you start to hit your plan's ceiling, you can always upgrade/back date to the beginning of your current billing cycle.  And, always cancel un-needed services two weeks after the next billing cycle - not upon return to the U.S. - to allow all roaming charges to clear and post.   In non-participating countries when not on wifi service, only open important email as a random 5 meg photo attachment can cost you $40 - each!   While on topic, only view non-sensitive email and web pages when on public wireless networks.
                                                                    • Update the Smart Travelers Enrollment Program (STEP) with your trip itinerary This replaces the former U.S. embassy registration process; and, enables embassies to contact you in case of emergency while abroad.
                                                                    • 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; and replace batteries on travel watches if due for a change.
                                                                    • 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 or 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.  
                                                                    • 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 bags in front of a check-in agent.  
                                                                    • 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 for AT&T's month:month Global Data Add-on and Global Messaging plans.  
                                                                    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, 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 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. 
                                                                        • 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
                                                                        • 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:
                                                                        7.25.13
                                                                        • 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.  
                                                                        • Also, if you don't work on your images soon after you return from a trip, it will become more of a task (as opposed to fun) the longer you wait. 
                                                                        Chris
                                                                           
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