Nature Photo Magazine 2009/1

Nature photo magazine

®

free online photo magazine

2009/1.

hortobágy | adventure tour László Dezső | portfolio Best practices | butterflies

welcome Dear reader!

Are we in the present, or perhaps this is the future already?

We did ask ourselves in the editorial office. Yes, dear readers, we are in the present with a brand new, free online nature photography magazine. There are several reasons why we need to take the stage in an international setting in both Hungarian and English languages. Our primary objective is to present to the reader Eastern Europe’s natural beauty, photographers and locations. But of course at the same time we do not exclude ourselves from exploring the treasures of Western Europe and the world at large.

In the first issue you can find articles about the animal kingdom and landscapes, together with technical information. We have tried to introduce the nature photography vivid manner with our team. Our tricks and tips section could be useful for the novice photographers and for advanced artists as well, providing a form of traineeship and guidance. We have embraced both youth and photographers with compact cameras as well. And by way of speciality, representing a first in the world, we are going to start a series of astro-photography which will take the reader on a journey into the mysterious and unique way of photographing the stars and galaxies.

Our interactive magazine, initially appearing every quarter year, will provide interesting and high quality and reading material for everyone. Admittedly, our full name is rather long, but we hope within a short period of time everybody will know what Természetfotó Magazin and Nature Photo Magazine will stand for.

Our collegaues are on the ground in all corners of the world, endeavouring to capture the secrets of nature through their camera lens and bringing the beauty and fragility of Mother Nature to your doorstep. This is one of the main missions of Nature Photo Magazine. At the same time we must never forget, that even we nature photographers sometimes have to restrain from taking the perfect picture in the interest of protecting the natural world.

Tamás Imre Chief Editor

Interesting places 18 In spring time, at the end of April and beginning of May, the wild garlic coming into bloom turns the forest into a winter wonderland after a snowfall.

photo adventure in hortobágy 6

László Dezső from transylvania 20

In our current photo adventure we would like to guide you to Hortobágy National Park, which has been inscribed on the World Heritage List by UNESCO. Middle Europe largest grassy steppe is located between Tiszafüred, Balmazújváros and Karcag. Thanks to the Ramsar Convention the incredible amount of bird species the area declared to international importance.

The wonderful and magnificent mountains of Transylvania inspire the locals to wax lyrical about their beauty. In the last century the mountains provided the backdrop for the writings of the famous storyteller, Elek Benedek, and in a similar vein they are the inspiration today for Laszlo Dezso, the 39 year old photographer from Gyergyószentmiklós.

astrophotography 32

What exactly is astrophotography? Performed in high resolution, its two most important subdivisons are extended faint (deep sky) objects and bright, yet compact sized objects. In the first of our series of articles we will present an introduction to the photography of faint, so called deep sky objects.

© Tamás Imre Canon EOS 1Ds Mark II, EF 2,8/24-70mm 21sec f/20 ISO 100+ND8

tips and tricks: butterflies

38

Butterflies can be found in their greatest numbers in the tropics, but even in temperate climes such as Central Europe, they provide a feast for the photographer. The nature photographer visiting Hungary can encounter a rich variety of butterfly types. We would like to pass on a few pieces of advice.

digital image editing: raw

46

Digital photography has brought many new possibilities and changed the overall workflow of photographers. We have to have a better understanding of the Camera RAW format to get the most out of digital image capturing.

photo school

composition tips photo club Mezőföld experiences in the field

canon eos 5d mark II

nikon d3x young talents

alex rakó contests, workshops Cranes in the hortobágy compact camera

plant photography reviews book/DVD webpage

28 42 50 58 64 70 72 76 78

© Tamás Imre - Levitation Canon EOS 1D Mark II N, EF 2,8/300mm 1/800sec f/3,2 ISO 400

Photographic Adventures Rare bird species in the Hortobágy National Park In this issue we would like to take you on a journey to the Hortobágy National Park, featured on UNESCO’s world heritage list, and at the same time Hungary’s best known bird sanctuary. The Park, which became a protected area in 1973, today covers an area of 1,100 square kilometres. Central Europe’s largest grassy plain, the Park stretches between the towns of Tiszafüred, Balmazújváros and Karcag.

It primarily owes its protected status, reinforced by the Ramsar Convention, to its extraordinary variety of bird species.

Allow yourself 4-5 days to do justice to your photography. It’s more adviseable to photo one or two more special birds rather than running around, trying to capture every species. With this in mind, the Red-footed falcon (Falco vespertinus), Common kestrel (Falco tinnunculus) and Cormorant (Nymphoides peltata) , to name but three, provide wonderful subjects. I recommend taking an official guide in the reserve in order to gain access to those locations which offer the opportunity for beautiful photos. Furthermore, if you wish to enter the strictly protected areas of the sanctuary, you require an accommpanying guide and need to obtain permission. This also serves the interest of nature photographers since our objective is to protect the birds’ nests.

Regarding what you need to take with you, we categorically recommend Canon F/2.8 300 mm lens; an option is Canon F/2.8 70-200 mm lens, and it’s worth taking 1.4x and 2x extenders, which increase the focal length of the lenses. The tried and tested Gitzo tripod, together with the popular Manfrotto 503HDV head were used on our photographic adventure. If coming from abroad, a good tip would be the light carbon tripod and the Wimberley head. To facilitate our photography, the fast camera body and the Sandisk Extreme IV memory card could be employed.

Don’t forget to pack spare batteries and if possible a portable storage device which for me meant a Vosonic VP 8360.

A good choice of fast zoom lens is Sigma F/2.8 120-300 mm but even a Canon F/4.5-5.6 IS 100-400 mm, although not the fastest in this category, would fit the bill. With the Nikon nature photographers in mind, the Nikor F/2.8 VR 300 mm and Nikor F/2.8 VR 70-200 mm set the pace, closely followed by the Nikor F/4 200-400 mm.

While the advantage of the zoom lens is that it allows you to determine the frame of the picture, its shortcomings are the quality (compared to fix lenses) and inferior light conditions.

Zack Petric - Bengal tiger crossing a creek © Anikó Imre - Red-footed falcon pair Canon EOS 40D, EF 2,8/300mm 1/500sec f/3,2 ISO 400

© Tamás Imre - Eye to eye Canon EOS 1D Mark II N, EF 2,8/300mm 1/1000sec f/3,2 ISO 400

An option is a monopod to enhance our movement.

Before embarking on our adventure, we tried to collect as much information as possible abut the bird species and their behaviour. A knowledge of ornitology contributes just as much to the final product as photographic preparation and ability. The hides have to be occupied before dawn, and can only be left when our guide arrives after darkness has fallen.

Our long cherished dream finally

came true when we were able to photo in early morning and late evening light, coinciding with the birds’ most intense activity and the most beautiful light conditions. For the sake of uninterrupted photography, we required a hide which enabled us to photo the birds without them seeing us. To this end, we used a special glass hide constructed by the nature photographer, Bence Máté. At dawn, after settling in, we didn’t have to wait long; with the first rays of sunlight the

birds started their early morning greeting ritual – squawking, swirling around and then starting the mating ceremony. It was a truly unforgettable experience for us. What made it even more remarkable was the fact that the birds were unaware of our presence.

At one point in time for example, we witnessed pairing Red-footed falcons on the one side of the hide and Common kestrels (Falco tinnunculus) on the other, at a distance of only 7-10 metres.

Being in the hide surrounded by nature in all its beauty is a feeling that cannot be bettered.

The outside world ceases to exist, and all that matters is the birds and the composition itself. At the same time bear in mind that it’s impossible to take the perfect picture every day of the year: the birds’ pairing habits, weather conditions and other factors never stay the same.

After two days, we proceeded to the second hide which provided an adventure in itself, as the

water level came up to our knees.

Dressed in wellington boots, we had to carry our equipment above our heads and use lights attached to our heads to find our way to the middle of the lake in the pitch dark. Although we didn’t have far to go, I dreaded the thought of falling down and ruining the equipment. In the hide there is nothing but a foam rubber from which you photo lying down, for the purposes of achieving a good angle of view.

But the visual experience which

greeted us more than made up for any hardship we had to suffer.

Against a backdrop of Water Fringe (Nymphoides peltata), at least 15-20 small Cormorants (Nymphoides peltata) stood not more than 15 metres from us.

Photoing the squalling birds in movement from both hides was an unbelievable high point.

Escaping from the mediocrity of everyday life, we could switch off in this island of calm.

For we Hungarians this bird paradise presents limitless and

© Anikó Imre Canon EOS 40D, EF 2,8/300mm 1/3200sec f/2,8 ISO 400

© Tamás Imre Canon EOS 1D Mark II N, EF 2,8/300mm 1/320sec f/2,8 ISO 400

© Tamás Imre Canon EOS 1D Mark II N, EF 4/600mm+2x 1/160sec f/10 ISO 400

© Anikó Imre Canon EOS 40D, EF 2,8/300mm+1,4x 1/1000sec f/4 ISO 320

never ending opportunities for discovery.

We are very grateful to Bence Máté and Saker Tour team for providing the opportunities and inspiration for the many interesting and beautiful photos we could take. This year marks the second anniversary of our photo workshop when we take groups to the hides. I recommend everybody taking advantage of the workshop possibility, but I would like to point out that taking the perfect picture doesn’t happen ovennight – nature photography requires patience, stamina and a lot of early morning starts.

I wish you beautiful light and subjects for the summer season.

Text : Tamás Imre Photos : Anikó Imre and Tamás Imre

Basic essential information Location: Southeast part of Hungary.

Access: From Budapest Ferihegy Airport via the M0 motorway proceed on the M3 motorway then get on to the road 33 towards Hortobágy.

Subjects: Primarily birds and classical landscapes.

Equipment: Wide-angle lenses 16-35 mm, tele lenses 300 mm, 1.4x extender, tripod, ND filters.

Where to stay: Good quality accommodation in Hortobágy or Poroszló.

The ideal time to visit: Following the arrival of the birds from May right through to August.

Interesting places Krka National Park

the middle part of the Dalmatian coastline In our series we would like to draw your attention to places which are justifiably worthy of exploring by nature photographers. We aim to whet the appetite of not only advanced and experienced photographers, but also for those just starting out. Many people just want to take nice photos as part of the family holiday, while others well versed in landscape photography try to cover as much ground as possible. Our magazine strives to introduce the less known areas in Eastern Europe.

For the first time in our magazine’s history, we are going to visit the Mediterranean coast of Dalmatia.

My first encounter with this region was in the aftermath of the Yugoslavian war in 1997. I was totally taken by the intoxicating mix of sea, landscape and history, so much so that I’ve travelled through the whole area on two separate occasions, from the Kotor Bay to the Istrian Peninsula.

© Béla Szabó Canon EOS 5D, EF 2,8/70-200mm 0,5sec f/32 ISO 50+ND8

© Béla Szabó Canon EOS 5D, EF 2,8/24-70mm 1/60sec f/8 ISO 100

My suggestion would be to travel there outside the main tourist season, if you wish to capture the true variety of the landscape. The best time to visit is around May and June, when nature is still in bloom and can be captured in all its glory.

What’s more, accommodation at that time of year is much more plentiful and reasonable in price.

I’d like to introduce my most beloved region, Sibenik and its surrounding area. The coastline is amazing, enabling us to take

fantastic landscape pictures of the beautiful sea and islands. The Krka National Park, one of the jewels of the local area, is located within reach of the city.

The extraordinary lure of the Krka river derives from the magical combination of terraced canyons, wonderful cascades, limestone foundations, lakes and emerald valleys. The Krka National Park is located entirely within Sibenik County and encompasses an area of 111 square kilometres

along the river. The park enjoys the status of special protection on account of its outstanding natural, scientific and cultural resources. Some two thirds of the 72 kilometre long river bed are characterized by a varying, sloping, steep wall rising 100-200 metres. The limestone canyon itself was carved out of the terrain by the cascading water. 55 cubic metres of water per hour flows through the last cascade, namely Skradinski buk. Natural reservoirs were formed above every

© Béla Szabó Canon EOS 20D, EF 2,8/70-200mm 1/6sec f/14 ISO 100+ND8

© Béla Szabó Canon EOS 5D, EF 2,8/24-70mm 1/100sec f/16 ISO 100

Basic essential information Location: Croatia coastline, Sibenik County.

Access: By car from Sibenik on Road 33 in the direction of Knin, turning off near Tomilja, by boat from Sibenik and Skradin.

Subjects: Primarily landscape, waterfalls.

Equipment: Wide-angle lenses 16-35 mm, 24-70 mm, tele lenses 70-200 mm, tripod, ND2,ND4,ND8 filters, trigger cable.

Where to stay: A wide variety of beach side possibilities.

The ideal time to visit: May, June, when the flora and the river at their peak, and tourist are few and far between.

cascade, resulting in the Krka river flowing through a multitude of lakes, the largest of which, Visovacko jezero, stretching to 13 kilometres in width, lies between Skradinski buk and Roski slap.

The Fransciscan abbey can be found on the island in the middle of Lake Visovac. As a consequence of rising sea levels following the Ice Age, the last 20 kilometre section of the Krka river’s valley sank below the water, leading to this section becoming awash

with salt water. One of Europe’s most beautiful waterfalls, encased in mineral based rocks, can be viewed from the bridges and pathways all around the National Park (admission fee charged).

Accessible by car or by boat from Sibenik and Skradin.

Turning to Sibenik’s archipelago, mention must be made of the picture postcard island of Murter, which is connected to the mainland by a 12 metre long bridge. Don’t forget to pay a visit

to Zlarin Island, which has been famous for its corals and sponges since the 15th Century.

Every June, I have conducted a workshop in this amazing area for the past 10 years.

Text and photo: Béla Szabó

Fairytale world in Gerecse wild garlic Travelling by car in Gerecse, halfway between Bajna and Bajót, there is a tarmac road to the left, and by taking this road towards the mountains you will come across an area dominated by beautiful beech trees. Where once a settlement called Pusztamarót stood, today only a nice memorial, a small graveyard and campsite remain. Upon reaching the forest we can feel the mood of the local landscape, where the peace and quiet are our sole companions amidst the silver coated trees.

In spring time, at the end of April and beginning of May, the wild garlic coming into bloom turns the forest into a winter wonderland after a snowfall. The multitudes of white flowers act like a carpet on the forest floor, filling the air with a pleasant aroma. The plant itself is 20 cm long, its leaf resembling the lily of the valley, only that much thinner and brighter. Every part of it is edible, what’s more, its very tasty and is similar to garlic. Taking photos of the flower shrouded landscape is a truly uplifting, but at the same time, challenging experience. With the abundance of the little white flowers, it’s as if the forest is resplendent in it’s own wedding gown. Catch it with wide angle lenses and middle tele lenses using a stable tripod. But be careful that the big tree’s leaves don’t trick you by filtering the light and covering the scene in a greenish hue. It’s fascinating how the early morning light paints the land in a magical mist.

Text and photo: János Szekeres

© János Szekeres Nikon D1x, Nikkor 4,5/50-300mm 1/20sec f/8 ISO 400

Basic essential information Location: In northwestern Hungary.

Access: 35 kilometres from Budapest, 10 kilometres from Esztergom, left when leaving Pusztamarรณt intersection.

Subjects: Primarily woodland scenes and landscapes.

Equipment: Wide-angle lenses 16-35 mm, 24-70 mm, tele lenses 70-200, 80-200 mm, tripod, ND2,ND4,ND8 filters.

Where to stay: Tourist accommodation in the forest of Pusztamarรณt, but the quality is not the best.

The ideal time to visit: End of April, beginning of May.

lászló Dezső The wonderful and magnificent mountains of Transylvania inspire the locals to wax lyrical about their beauty. In the last century the mountains provided the backdrop for the writings of the famous storyteller, Elek Benedek, and in a similar vein they are the inspiration today for Laszlo Dezso, the 39 year old photographer from Gyergyószentmiklós, who, thanks to the camera, the 170 year old invention of M. Daguerre, is able to record for posterity the fairytale world of the Transylvanian peaks.

The territory of Transylvania, encircled by the Carpathian mountain range and located in present day Romania, belonged to the Kingdom of Hungary right up to the end of the First World War. Today the area is populated by 1.5 million Hungarians living effectively in a closed off community, of which the photographer Lászlo Dezső is one of the most prominent members. His love of nature can be traced back to his childhood, his father being a disciple of the great outdoors, and their house standing on the threshold of the deep forest. He quickly became aware of the mysteries and beauty of nature, but at the same time of its dangers as well. As early as secondary school he was moved by photography. Indeed, for his part it was inevitable that his love of nature and his addiction to photography would lead to his describing nature through a camera lens. For him its nothing out of the ordinary to trek across rock faces as easily as a mountain goat, with a 15 kilo pack on his back complete with tripod, in lands rarely frequented by man. He can be found tracking the chamoies’s mountain paths and the movements of the bears. His wife Edit, and two sons Zalán and Matyi, the latter inheriting his obsession with photography, together with the members of the Dancura Mountain Rescue Association, proved to be excellent travelling companions on his journey of discovery. While his true love remains the Hagymas Mountain, he has explored the Carpathian belt of hills, from Rettyezat to Máramarosi Alps. But at the same time the temptation to discover far off, unknown lands has proved irresistable, be it the peaks and coastline of Norway or together with companions conquering the summit of Europe, Mount Blanc. His pictures are very familiar to visitors of the Lake Gyilkos and Békás Strait. His own publishing company, Mark House, can claim to produce the most impressive albums of this region. Since 2004 he has been a member of the Győr Photo Club, founded in 1958. Additionally, he was elected President in 2008, of the Transylvanian Carpathian Association, one of the most highly reputed hiking organizations dating back to 1891. The wonders of winter, his favourite season, are captured courtesy of his trusted Canon cameras.

Text: Béla Szabó

Portfolio

Red lake (Transylvania) Canon EOS 5D, EF 2,8/70-200mm 1/200sec f/8 ISO 100

Rety

Canon EOS 5D, EF 1/80sec f/1

yezรกt

EF 2,8/16-35mm 13 ISO 200

Mont

Canon EOS 5D, EF 1/30sec f/

Blanc

EF 2,8/24-70mm /8 ISO 100

Red fox Canon EOS 5D, EF 2,8/400mm 1/500sec f/4 ISO 200

Chamois Canon EOS 40D, EF 2,8/70-200mm 1/100sec f/8 ISO 500

Photo school

Composition tips The science of composition predates photography, since numerous branches of fine arts have applied it for hundreds of years. Composing contains principles of construction and esthetic rules, which the photo must comform to. Its worth becoming familiar with them and applying them creatively.

What is composition? In short, the internal structure of the picture, together with the planned arrangement of its elements. Being an exact, but dry science, we should approach it from an emotional perspective. To produce a good photo, you have to instill the impression of completeness and wholeness in the viewer: nothing is lacking and at the same time nothing is superfluous. Every element of the picture is in the right place, playing its part in the overall composition of the photo.

The relationship of the individual elements in the picture is visible and well arranged.

The viewer does not consciously „read” the picture, but even without a knowledge of the basics of composition, can still sense which of them are well created. The photographer, however, has to consciously prepare and produce the photo in the interests of success. How should we make a start?

Since a wealth of writing has already been devoted to the subject of composition, we must confine ourselves to a few fundamental pieces of advice.

To begin with, a typical mistake made by beginners is to concentrate on the main subject, forgetting the fact that the environment and background of the picture influences the atmosphere of the photo.

If the main subject’s surroundings have something to say, then we have to at least hint at their most important details for the benefit of the viewer. In most cases, if we intentionally blur the backdrop, then this serves to highlight the main subject more.

Its often the case that the photographer doesn’t know what motivated him to take the picture in the first place, resulting in the main subject suffering from a lack of prominence. Ensure that the main subject’s size is neither insignificant nor too pronounced. Avoid taking a too colourful picture containing an excess of elements. This leads us on to the following tips accompanied by a photo in each case.

Canon T 90, FD 4/24mm 1/125sec f/16 Fujichrome Velvia 50

Landscape or portrait format?

It depends on the case. There are certain subjects which are are more suited to the portrait format, for example the slender beech trees rising up into the sky. I used a wideangled lens to enhance the trees’ height, and photoed from alsmost ground level using a narrow aperture with suitable depth of field (DOF). In nature photography it’s not considered a mistake that the trees appear to lean towards one another when pointing the lens upwards.

By using a Fujichrome Velvia slide we can capture the mystical, backlight illuminated atmosphere. With regard to the picture we must make mention of an important rule of composition, namely the golden ratio, otherwise known as the rule of thirds. If we divide the area of the picture into 3 equal parts with 2 vertical and 2 horizontal lines, then we are left with 4 important lines and intersections, representing the so called golden points, which the viewer’s eye is automatically drawn to. The two beeches with wider trunks are located close to the vertical line, while we can see the sunlight streaming into the forest on the lower horizontal line.

An interesting background Canon EOS 3, EF 2,8/16-35mm 1/90sec f/16 Fujichrome Velvia 50

Canon T 90, FD 2,8/100mm macro 1/30sec f/5,6 Fujichrome Velvia 50

Canon EOS 40D, EF 2,8/180mm macro 1/125sec f/13 ISO 100

The background is just as important as the main subject.

When taking a picture of a bunch of snowdrops I used a wide picture cutting in order to accommodate the flowers’ environment.

Using the DOF preview button, I experimented with various apertures and the photo I found most pleasing on the eye was when the snowdrops in the background appeared as small white dots, providing a special ambience to the photo taken on a Fujichrome Velvia slide. The bunch constituting the main subject was positioned along one of the golden lines. Basically speaking, its best if the main subject’s size makes up from a quarter to a third of either the length or the width of the photo, but it can be varied depending on the choice of subject and the desired atmosphere.

Triangle-composition In the picture the three flowers of a Large Pink (Dianthus superbus) form a triangle composition. Beware not to allow any side of the triangle to be parallel with the picture margins, so that we can achieve an exciting and dynamic effect. In European culture we read from left to right, from top to bottom and this applies to viewing a photo too. As a result, the left sided flower grabs our attention first and for this reason it must appear sharp, whereas the right sided one can remain relatively out of focus, if so desired. If we can see the centre of the flowers, make sure that the stamen and stigma are sharp. The background appears almost homogeneous thanks to its distance (feel free to narrow the aperture) and the 180 mm macro lens.

Because of the light projected on the flower, a bright petal structure is very appealing against the darkening backdrop.

Panoramic technique The majority of landscape photos look best in landscape format, but in certain cases some form of panoramic crop is recommended. After sunset colourful shafts of light appear on the gently rippling waters of the lake, giving the picture its special mood. The horizontal bands and cranes on the wing over the lake gave themselves to the panoramic crop. Owing to the long exposure the birds appear as blurry spots in the photo. The location of the streaks together with the bushes and trees at the top of the picture demonstrate the rule of thirds in action.

Canon EOS 40D, EF 2,8/70-200mm+1,4x 1/15sec f/11 ISO 800

A little bonus The dried out mud bed of a lake characterized by a cracked surface, although exciting in terms of its uneven contours, would not in itself leave a lasting impression on the viewer. To this end, I built the clumps of grass into the composition to offset the greyness of the dry mud, placing them close to the lower left intersection. Indeed, it’s worth looking for and capturing similar graphic themes of contrast.

Diagonal structure Two things appealed to me about the autumn leaf: the beautiful colours, contrasting of the warm red and cold green; and the exquisite structure of the leaf’s veins. I performed the crop in such a way as to make the main vein fall diagonally across the photo. It’s worth making sure that the veins are not parallel with the photo margins, so as to produce a more lively and dynamic picture. I achieved the beautiful effect of light filtering through the leaf using a flash to illuminate from behind. The harsh light resulted in a sharp, contrast rich composition.

Snapshot and composition?

Canon EOS 40D, EF 2,8/10-22mm 1/200sec f/8 ISO 400

Canon EOS 5D Mark II, EF 2,8/180mm macro 1/200sec f/13 ISO 200

In the case of snapshots, such as this one of the tit darting from a branch, the photographer is a prisoner of good fortune. Try to get into a good position, to observe the animals movements and become familiar with its patterns of behaviour. In the picture the bird’s movement is of a diagonal nature, and whats more, it’s almost perpendicular to the branch, but with it’s wing parallel to it, from where it has just taken off. Its essential to leave more space for the area into which the animal is moving, and equally important to ensure a relatively calm background.

Text: Árpád Krivánszky and László Suhayda Photo: László Suhayda

Canon EOS 5D Mark II, EF 2,8/500mm+1,4x 1/200sec f/5,6 ISO 400

Astrophotography What exactly is astrophotography? Basically speaking it involves taking photos of astronomical subjects. Performed in high resolution, its two most important subdivisons are extended faint (deep sky) objects and bright, yet compact sized objects (for example, planets or minor details of Moon craters). The two divisions differ fundamentally from each other in their requirements, be it the technical instruments or the methodology of photography. In the first of our series of articles we will present an introduction to the photography of faint, so called deep sky objects.

Canon EOS 350D, 3,5/135mm Zeiss Sonnar

8x5min f/5,6 ISO 800

What are these deep sky objects? They refer to all kinds of galactic nebula, star clusters, or even more distant mega galaxies beyond our solar system. The name derives from the objects’ paleness since they’re invisible to the naked eye with a few exceptions.

An astronomical telescope is required for observation, whereby the brighter objects are clearly discernible, and the dimmer ones are only detectable above a certain level of light. The telescope works by collecting the incoming light from the object and transferring it to our eye. The wider the diameter of a telescope’s lens ( whether lens or mirror based ), the more light it can collect, so enabling us to glimpse even more less defined objects. The lens diameter of a standard astronomical telescope ranges from approx. 60-600 mm, depending on type and performance. The bigger ones can reach up to at least 2.5 m in length.

Its not absolutely essential to use such a big telescope to capture faint deep sky objects.

Unlike the naked eye, the digital sensors are capable of continuously collecting light, in proportion to the length of exposure.

Thus, the key to this performance lies in the duration of the exposure. We can capture objects far too distant and faint for the human eye to define. The astronomical telescope is effectively a super lens which only differs from photographic lenses in it’s mechanical details and features. In other words, a photographic lens is suitable for astronomical photography, at any rate for shooting larger entities, for example, exquisite recordings of the Milky Way, using a wide angle lens. In the Milky Way, our very own city of stars, the light from billions of stars merges into one. On summer nights, visible with the naked eye from vantage points in the countryside, silvery streaks of light divide the heavens. The farther we are away from the disturbing urban lights, the more beautiful and detailed the image of the Milky Way, and the more easily we can capture the deep sky objects.

Canon EOS 350D, 130/780 TMB apo (6/780), 11x10min, ISO 800

Canon EOS 350D, 18mm

10min f/5,6 ISO 400

The Moon itself can be disturbing, as when its just above the horizon its light illuminates the sky, making it impossible to pick up the faint objects.

One problem that can arise during long exposure periods is the apparent movement of sky objects, resulting in the blurring and streaking of the stars in the picture. The reason for this phenomenon is the rotation of the Earth.

Canon EOS 350D, 3,5/135mm Zeiss Sonnar 3x3min f/3,5 ISO 800

The movement can be tracked by means of an astronomical mount with clock drive (with an astronomical tripod, obtainable in specialist shops). This device turns the mounted camera equipment in the opposite direction. Its worth shooting the Milky Way with up to a 50 mm equivalent lens, using F/4.0 at a sensitivity of ISO 400, for a recommended 5-10 minute exposure.

In summer the most captivating sights are from the constellation of Sygnus to Sagittarius. These recommendations are only valid for digital cameras. With regard to reciprocity failure, the exposure time should be increased to 20-40 minutes in the case of film (slides, negatives).

The summer Milky Way’s most distinctive deep-sky objects become definable even with wide angle shots, among others Lagoon Nebula, Sagittarius Star Cloud, M22 Glubular Cluster, Wild Duck Cluster, „E” Dark Nebulas, Dumbell Nebula and North America Nebula. All of these galactical wonders can of course be captured with longer focal length lenses, whose techniques will be presented in a later issue of our magazine.

Text and photo: Iván Éder

Pentax 6x7, 2,8/90mm

2x45min f/4 Kodak E200

Canon T90, FD 4/200mm macro 1/8sec f/8 Fujichrome Velvia 50 ric - Bengal tiger crossing a creek

Tips and tricks

Butterfly photography

The modern day lepidopterist, rather than pursuing butterflies through woods and pastures armed with a net and pins, nowadays saves pictures of them on a memory card.

Butterflies constitute a large and high profile group of insects, in which the individual types differ enormously from one another with regard to way of living, habitation, size, colour and shape. Butterflies can be found in their greatest numbers in the tropics, but even in temperate climes such as Central Europe, they provide a feast for the photographer.

The nature photographer visiting Hungary can encounter a rich variety of butterfly types.

The fact that butterflies are lightweight and agile in flight makes photographing them successfully a real challenge. For that reason we would like to pass on a few pieces of advice. We recommend using a longer focal length lens which enables you to photograph from farther away and with less disturbance.

Secondly, avoid wearing conspicuous clothing, making sudden movements and throwing shadow on the subject when approaching.

In fields of flowers a monopod or collapsible tripod facilitates tracking the butterflies, while the ballhead enables us to make a fast setting and at the same time ensuring stability.

Although the picture can be created using both smaller and larger DOF (Depth Of Field), its essential that the butterfly’s eyes appear sharp in the photo. Ensure that the butterfly is a perfect specimen with healthy wings. Try to capture it in attractive surroundings, with a calm background. It’s worth using a macro flash to gently fill in the details hidden in shadow. For the purposes of composing the perfect picture, look for the ideal timeframes, situations and circumstances, such as at dawn when the butterfly is still in a numb state or in the morning hours, when the hungry insect spends longer period of time extracting nectar from the flower. As you can see from the photo accompanying the article, you can make fabulous photos of the butterfly in its nocturnal location, provided that you approach the subject carefully.

Handheld exposure Given suitable light conditions, sharp recordings can be made shooting without a tripod or the like. On a late blooming aster in autumn, I managed to capture a beautiful Copper (Lycaena phlaeas) specimen in strong sunlight and backlight, while maneuvering the camera by hand using a macro lens. In order to ensure that the side of the butterfly cast in backlight shadow appears rich in detail and colourful, I employed a macro flash for filling.

Canon EOS 40D, EF 3,5/180mm macro 1/400sec f/5 ISO 250

Can life go on without a macro lens?

Yes! This photo of a Pieridae was taken in a late summer, early autumn flowering field, using a zoom tele lens with a 1.4 extender, rather than a macro lens.

By using a monopod, I was able to track the butterfly from a relatively long distance, without disturbing its movements. The quality of the photo is on a par with one using a macro lens. A positive side effect of the telephoto lens is the blurry background (bokeh), which guarantees a beautiful, homogeneous backdrop. I worked in natural light without a macro flash.

Canon EOS 40D, EF 2,8/70-200mm 1/250sec f/5 ISO 100

Canon EOS 40D, EF 3,5/180mm macro 1/25sec f/11 ISO 160

Clothed in a coat of dew In a flower strewn meadow on a cold early autumn morning, I took tihs photo of a gossamer-winged (Lycaenidae) specimen. Due to the cold and morning dampness the butterfly wasn’t ready to take off, hence it didn’t resist being photographed. With achieving depth of field (DOF) in mind, I used a narrow aperture, while the still conditions proved to assist me in my task, since the butterfly didn’t move despite the relatively long exposure time. The photo was taken with the excellent Canon macro lens in overcast weather conditions, without the use of a flash. This photo is living proof that its worth the effort to get up early in pursuit of the butterflies to capture them dressed in their robe of dew.

The beauty of the caterpillar

Canon T90, FD 4/200mm macro 1/125sec f/5,6 Fujichrome Velvia 50

Butterflies in their larva state is a worthy subject for photography, granted that the true extent of their colours and patterns cannot be really appreciated from a distance. That’s why we need to get up close to take expressive pictures from an advantages angle of view.

The photo depicting a carpenter moth (Cossidae) larva was taken on a Fujichrome Velvia slide, with the help of a macro lens featuring a relatively wide aperture to avoid the background becoming too sharp. I used only a slight macro fill flash for the larva’s head to prevent the backdrop becoming unnaturally dark and short of detail.

Butterfly shot in overcast, drizzly weather This marbled white (Melanargia galathea) took refuge from the drizzle under a harebell, its reluctance to move from there giving me time to create the ideal photo, made on a Fujichrome Velvia slide with a Canon macro lens.

The need to work with a full roll of film using the same settings (ISO etc.) is now a thing of the past, as digital technology enables us to adapt instantly to changing light intensity. A calm, favourable background was provided by a wide aperture, however, as this requires a relatively long exposure time we had to wait for a still moment. The flower bowing in the wind and sheltering the butterfly below provides the very enbodiment of the standing form.

group picture In dry, arid conditions butterflies often gather in damp places, such as at the muddy edge of ponds, on rotting fruit and even on animal droppings from which they suck up moisture and mineral elements. At such a time we can take a group picture, whose mood is different from the usual. To capture butterflies one after the other on fox droppings, I had to go down to almost ground level with the tripod. As the photo was taken in grey skies, offering little contrast light, I prepared it on a Fujichrome Velvia slide, with a Canon macro lens set at a medium aperture. As there is constant movement in damp places, some butterflies fail to stay in one place during the relatively long exposure time. As this can be both favourable and otherwise from the viewpoint of composition, you should aim to take a lot of photos to guarantee obtaining the perfect one.

Canon T90, FD 4/200mm macro 1/30sec f/5,6 Fujichrome Velvia 50

Butterfly in strong backlight The photo of a white-green Pieridae was taken in strong, afternoon backlight. After completely clouding over the descending Sun peeped out from behind the clouds, casting backlight on the butterfly. Because of the distance of the background, it was possible to take a photo with a realtively narrow aperture, with a tripod, on Fujichrome Velvia slide, using a Canon macro lens.

In order to prevent the areas of the photo in shadow from being colourless and without detail, I used macro fill flash, but only just so much to keep the filtered light and contoured light highly distinctive.

Canon T90, FD 4/200mm macro 1/60sec f/6,7 Fujichrome Velvia 50

Text: Árpád Krivánszky and László Suhayda Photo: László Suhayda Canon EOS 3, EF 3,5/180mm macro 1/125sec f/9 Fujichrome Velvia 50

photo club

Mezőföld Wildlife Photography Association The Association can trace its roots back to autumn of 1989 when the wildlife photographers of North-Mezőföld formed the Mezőföld branch as part of the NIMRÓD Photo Club. From 1992 it operated as an independent entity under the name of Mezőföld Wildlife Photography Club. Since 2007 it has functioned as an association, going by the name of Mezőföld Wildlife Photography Association. Its membership includes men and women alike, covers all ages and is represented by all walks of life. Hungarian wildlife photography is at the forefront of its profession internationally, and we can justifiably claim that thanks to the work of this association Dunaújváros has become the regional centre of Hungarian wildlife photography.

The association’s influence is felt far and wide: it is a member of National Federation of Creative Hungarian Photography (MAFOSZ) and enjoys professional contacts with the Hungarian Association of Ornithology, Ornithology Institute of the KTM Conservation Office, together with the Management of the Duna-Ipoly and Kiskunság National Parks. The Association serves to support the above organizations in their respective nature protection and conservation activities.

One of their most important duties in their volunteer capacity is raising environmental awareness of people, and particularly children. To this end, they often organize photo exhibitions and documentary workshops in local community centres, and schools. The Association’s activities are not only outstanding but play an integral part in the region’s green protection and cultural life. Every year an exhibition of the best pictures is organized by the Association. It’s not an exaggeration to say that these events are considered a highlight in the Dunaújváros cultural calendar. Their works are displayed annually at around 10-15 exhibitions, usually coinciding with an environmental theme, e.g. Earth Day, Birds and Trees Day and World Water Day. By taking part in domestic and international contests, the Association can assess the standard of its work and value.

Nevertheless, the most important achievement of the Association, as far as the members are concerned, is the continued existence and indeed success of this body, despite the fact that it was formed spontaneously, enjoys only amateur status, with its members coming from all walks of life. But out of their common adventures camping and holding workshops, the successes and failures they have experienced together, lifetime friendships have been forged. The inner strength of this community has truly withstood the test of time.

Contact: Ferenc Fabó E-Mail: faboferi@gmail.com Tel.: 00 36 30 911 6636

© Ferenc Fabó

© Sándor Klép

© György Somorácz dr.

© László S

© István Krizák

© Zoltán Hollósi

© László Szarka © Imre Bartos

© János Dénes

Sóti

© István Almási dr.

Digital Image Editing camera raw Digital photography has brought many new possibilities and changed the overall workflow of photographers. We have to have a better understanding of the Camera RAW format to get the most out of digital image capturing. Camera RAW is truly

the digital negative format for it works just like photographic film negatives: it captures and stores the most information without destructive changes.

Digital cameras offer several image formats and most of them are compressed. One of them is

the widely used JPEG format, which is popular for its small file size. This standard file format could be the best format to choose for shooting images if it’s able to capture the best image as well. But unfortunately a JPEG file cannot capture all the information coming from the sensor, so it has to make changes on the picture without any warnings. This automatic conversion process can be an advantage to amateurs, but professional photographers like to make changes of their own.

The Camera RAW format can save all the information coming from the sensor in its original state.

As the abbreviation RAW, that stands for file format, suggests, the pictures are truly raw, and were not changed or processed.

There are many advantages and some disadvantages of this format compared to JPEG. The most important difference is that Camera RAW can capture a wider dynamic range or color gamut than JPEG. While the JPEG format

can store 8 bit color information on each color channel (256 value/ channel) Camera RAW can store at least 12 bit color information on each channel (4096 value/ channel), which means that the RAW format can capture 16 times more detail than JPEG. This is why not correctly exposured images become too contrasty and noisy when we try to saturate them or fill light into the shadow areas when we use JPEG images, whereas RAW images can restore

more detail even in the darkest spots with less noise in them.

The picture of the bear above shows this difference very well.

A leftmost photo is the original image without any corrections.

The center one is the JPEG version with corrections to improve the visibility of the shadow areas, and the right one is the RAW version with the same corrections applied. The JPEG version is of course over-contrasty and it is not a good way to present the photo.

Jpeg or RAW? In digital image editing RAW format is definitely the best choice if we want to save and edit our pictures in their original state. Unfortunately there are some drawbacks as well, for the RAW format has much larger file size and because of that fewer images can be stored on a memory card, and the processing and shooting speed is slower as well. It is hard to say, which format is the best, but it is clear that RAW image processing technology is improving every year.

standard format There is no standard Camera RAW format that can be found on every digital camera, because every company has its own type of Camera RAW file format. Adobe introduced the DNG format (Digital Negative) to solve this problem, but unfortunately it hasn’t been built into every digital camera yet. Some photographers are afraid of using Camera RAW because they are aware of compatibility issues in the long run. DNG can be a solution for them, but this format will only become standard when major camera brands start to use it in their products.

expectations Actually the best Camera RAW capturing technology can save 16 bit color information on each channel (65536 tonal value/channel) and this number is still increasing. Sooner or later JPEGs will be forgotten for capturing purposes, because Camera RAW formats will be able to capture color gamut wide enough to restore any tonal values without noise. Until then it is highly recommended for everybody to get accustomed with Camera RAW.

Text and photo: Martin Perhiniak

Experiences in the field Canon 5D Mark II test

In September 2008 I had the good fortune to try out the Canon EOS 5D Mark II DSLR body. In the eight months since then I could test a total of 4 different versions thanks to Canon Hungary and Canon Europe. From the beginning of 2009 I was able to photograph nature with the final edition. I acquired invaluable experience in far flung locations with 5D Mark II at my side.

ric - Bengal tiger crossing a creek

Imre TamĂĄs - LebegĂŠs Canon EOS-1D Mark II N, 300 mm

© Tamás Imre Canon EOS 5D Mark II, EF 2,8/16-35mm 21,0sec f/5,6 ISO 6400

f /3.2 1/800 ISO 400

Compared to the first 5D this camera is much more user friendly in terms of portability and grip.

However, we recommend you using the vertical grip to reproduce the sensation felt by using 1D series.

Ever changing weather conditions make serious demands on bodies, and with this in mind the new 5D Mark II features a completely magnesium alloy body together

with seals. The really big breakthrough is represented by the higher ISO sensitivity, boasting reduced noise levels, together with HD video function.

Image quality and ISO sensitivity Canon built the fourth generation CMOS sensor into the camera,

producing 21.1 megapixel of an amazing standard. We can achieve very visible results courtesy of the high ISO sensitivity, particularly when working in limited light or fast movement situations. Thanks to the dramatically upgraded pixels and noise reduction, the image noise has declined considerably.

Against this background we tried out the body in Africa, Sweden and

Š Tamås Imre Canon EOS 5D Mark II, EF 4/24-105mm 1/1600sec f/5 ISO 250

Hungary, in February, March and April respectively, in a vast array of situations demanding advanced technology in photography. The results were the following.

Africa in February Armed with 5D Mark II, I put the body to the test in Tanzania shooting lions in constant rain

(but not pouring) without any protection. I took photos for an hour from the window of a Land Rover jeep and I can safely report that the camera passed the test with flying colours. This is an important development, since its predecessor, EOS 5D, got soaked.

Sudden rises in temperature and dust are represent the biggest threats to bodies when in

Africa. However, all the camera needed was a daily dusting and general cleaning. Camping under the stars, the higher ISO sensitivity proved ideal for capturing the mood of the wild at night.

The ISO 6400 sensitivity, producing 21 seconds exposure time, enabled me to bring to life the atmosphere I witnessed at first hand in the wild.

© Tamás Imre Canon EOS 5D Mark II, EF 2,8/300mm+1,4x 1/1250sec f/8 ISO 640

Sweden in March We want to take photos in extreme conditions: the below freezing temperatures in dawn, the high humiditity, the limited light, together with the constantly moving birds all conspired to make life difficult for the body and the photographer alike. The mist and the first bolts of morning light low on the horizon make for beautiful pictures.

As shutter speed is often not the best at such times, the increased ISO sensitivity is a great advantage. The body is outstanding from ISO 50 to ISO 640, while changes in noise level are virtually inperceptible to the naked eye.

The pictures can be printed in 70-100 cm size without any evidence of noise; indeed, good quality is a must in nature photography. A modicum of noise creeps in between ISO 800 and ISO 2000, but you can still capture the birds rising out of the mist in exceptionally good quaility.

In the past this opportunity did not exists. If required, ISO 2500 to ISO 6400 provides even higher sensitivity, all be it, with higher noise. I used the Canon original DigiPhoto Professional software, setting the luminance noise reduction to 6 and the chrominance noise reduction to 7.

The program works with outstanding algorithms which filter out the existing noise. Printing can also be done using a compromised form. It’s is not recommended to use ISO 12800 to ISO 25600 for nature photography.

HD Video Canon’s most significant innovation which the company was the first to launch on the professional DSLR market. In live view mode we can achieve detailed, high quality and true to life HD videos (1920x1080 resolution).

Experience shows that the body is capable of producing exceptionally high quality recordings in low light conditions. Unfortunately it doesn’t operate in full auto focus, nevertheless, it allows us to use the well known zooming function in live view mode – either 5 or 10 times – for sharpening. Its worth using a tripod for the benefit of sharp and stable images. The beauty of this function is that even with a 35 mm size sensor we can record full HD videos combined with EOS lenses. Using this function reproduces the sensation of watching high resolution films in the cinema. As a nature photographer I will probably use this feature for documenting rather than movie making given the inadequate sharpening technology. A surprising experience while recording was when the camera exposed a still picture with the largest resolution totalling 21 million pixels. The moment in question is absent from the video which then proceeds further.

However, the elements of ISO, aperture and shutter speed required for filming are in many cases not ideal for taking photos. When filming it is worth bearing in mind that the camera records based on the combination of picture style, noise reduction, sharpening, saturation and other settings.

Pay particular attention to these settings, because its either extremely difficult or indeed impossible to change subsequently. Furthermore, you can set the camera between -2 and +2 EV to meet your photographic needs. You can save your movies in .mov format on your memory card (with a 4 Gb memory card you can save 15 minutes video).

Hungary in April I went to photograph woodland birds in Bence Máté, close to Kiskunság National Park. The higher ISO sensitivity proved a valuable asset, and I realized something interesting, namely that the AI focus setting is the most suitable for fast focusing for all types of fast movement. In the stationary location, this function is absolutely advantageous for following bird’s movement when flying in a certain direction.

The AI Focus does not share the shortcoming of the AI Servo which tended to sharpen the background rather than the moving bird itself. Based on personal experience I consider it a very useful function.

The EOS 5D Mark II provides an acceptable solution fort bird photography too – the ISO 800-1600 sensitivity, the required shutter speed and depth of field allow us to produce sharp images.

conclusion The Canon EOS 5D Mark II is a very well constructed camera and a major improvement on its predecessor.

I can recommend it for nature photography and I’m sure you won’t be disappointed.

Canon Hungary and Canon Europe provided us the bodies.

Text, photo and video: Tamás Imre

© Tamás Imre Canon EOS 5D Mark II, EF 2,8/400mm 1/500sec f/4 ISO 1600

Experiences in the field nikon d3x The D3X comes with an advanced 24.5 megapixel resolution, gapless micro lens array and on-chip noise reduction, providing unbelievable quality. The CMOS sensor operates with a 12 channel readout. It can be used from ISO 100 to ISO 1600, which can be enlarged to a further ISO 50 and ISO 6400 in boost mode.

It reaches 5 frames per second in highest resolution and 7 frames per second in continuous and DX mode.

Š Jånos Szekeres Nikon D3x, Nikkor 5,6/600mm 1/125sec f/5,6 ISO 400

Nikon Hungary Kft. handed over the DX3 for testing for a whole weekend in the middle of April. I could hardly wait for the moment to hold it in my hands and feel the well-known Nikon feeling in my fingertips.

The camera didn’t leave me disappointed, the robust body and distinct weight that we have grown accustomed to only added to my delight, winning over my heart at first sight.

Appearance The high quality materials used in the camera’s construction, the carefully positioned and user friendly settings and function buttons, the professionally designed body together with the enormous LCD screen made a really good impact on me even before switching it on. What impressed me even more was the large optical viewfinder, which makes life comfortable for someone wearing glasses, as you can see all the data without your glasses touching the LCD. Since I’m one of those unfortunate people who need glasses to work, please allow me to make special reference to this feature! Perhaps this is one of the reasons I chose Nikon when purchasing a DSLR camera.

inside the camera I don’t want to go into detail here, as you will find plenty of relevant material on the internet, however the one think that I have to mention is that the designers were successful in squeezing an awful lot of ideas into this camera. What I really liked is that you can see every single shot in absolutely detail on the large and bright, high resolution LCD. This feature comes into its own in the field allowing the photographer to decide whether the shot is sharp enough or requires repeating. The resolution is outstanding. Up until ISO 400 all the photos were effectively crystal clear, at ISO 800 you can lose a little detail but still enjoy high quality fulfilling even the most subtle requirements in the process. Photos taken with ISO 1600 and the aid of noise reduction can be admired in large forms on your wall. What’s more, if you are prepared to make allowances, you can take photos with even higher ISOs, at a level where most other cameras are out of their depth. Additionally, you can produce large and sharp quality prints. I took a lot of photos in the forest of wildlife and landscapes, and this is where the virtual horizon indicator, showing

© János Szekeres Nikon D3x, Tamron 3,5 6.3/18-270mm 1/30sec f/5,6 ISO 400

Š Jånos Szekeres Nikon D3x, Nikkor 4/300mm 1/800sec f/7,1 ISO 400

whether the camera is level, really came in useful. I was sceptical about its application at first, but came to realize its value. The menu system is user friendly and well designed, and as an old Nikon enthusiast all the tried and tested settings and functions were just as I expected.

In action I was curious how the camera would perform on the field.

Let’s take a look and see what happened. I travelled in a friend’s jeep to the spring clad Gerecse. We encountered varying weather conditions, including sunny spells, showers and wind that stirred up the dust from the ground. It was by no means an ideal day for testing but I trusted the high quality seals and I wasn’t disappointed.

Come rain or shine, this camera is more than a match for any capricious spring weather.

Coming across a beautiful mouflon (Ovis orientalis) in a meadow, we stopped the engine, got out and approached the subject by crawling on all fours through the grass.

In due course, I could get to work with the Nikon DX3 equipped with a Nikor F/4 300 mm lens. Even in fast shoot the Auto Focus never made a mistake. The camera – despite its high resolution – works at an amazing speed.

You can increase the speed 7 fps by selecting the DX mode, enabling you to see not only the actual frame in the viewfinder, but also the full one. In this mode you can capture pictures in 10 megapixel. We set up the mobile hides, I put the camera on the tripod, added a 1.4x extender to the F/4 300, and waited for the moment of truth in silence. Just to pass the time I tried out the focus on the DX3 and found it to be very accurate.

After a little time had passed, a group of mouflon ewes appeared together with their young. They came so close I was afraid the slightly noisy exposure might scare them away. Perhaps this is a minor cause for concern as wild animals don’t always take kind to unusual noises and sounds. Nevertheless, the photos proved to be as beautiful and exquisite as the landscape itself.

conclusion The Nikon DX3 is a professional, fast camera with a well thought out design. It is reliable, comfortable and enjoys a user friendly menu system, that can be adapted to the individual’s needs. Nikon has come up again with an irresistible camera. If you can afford it, I recommend buying it.

Text and photo: János Szekeres

Young talents

alex Rakó

In our series of interviews we talk with young, talented and fanatical amateur photographers who have already devoted their lives to nature photography.

How long have you been taking photos?

I’ve been photographing since around 12 years of age when I took my first picture. I got more and more into nature photography. Its a great to be in the big outdoors, where the feeling of being removed from civilization and being embraced by Mother Nature is second to none.

What got you into photography?

As far as I know nobody took pictures in my family, i just simply got into it one day, starting out with a compact camera. At the end of 2005 things started to get more serious, when I acquired a DSLR camera. I really enjoyed the advantages offered by digital technology, for example being able to see and check my photos immediately on the computer. I got deeper and deeper into the subject, I started reading up about it and experimented more and more.

Do you have role models you’d like to mention?

It’s always difficult to pick out specific names, but I must mention Csaba Daróczy, György Gy. Nagy and Milan Radisics from whom I have received the most help. They have always provided assistance and advice at all times, and gladly answer any question I have. I’ve been able to put their experience into practice.

© Alex Rakó Canon 40D, Sigma 4-6,3/50-500mm 1/160sec f/8 ISO 400 Zack Petric - Bengal tiger crossing a creek

© Alex Rakó Canon 40D, Sigma 4-6,3/50-500mm 1/800sec f/8 ISO 400

© Alex Rakó Canon 40D, Sigma 4-6,3/50-500mm 1/400sec f/8 ISO 800 What special equipment does this type of photography require and what are you using at present?

At the moment I’m using a Canon 40D and a Sigma 50-500 tele lenses. They are good for photographing birds. But top of my wish list is a macro lens, which is missing from my collection.

Given the wild variety of

subjects in the natural world, which ones do you enjoy most?

My favourite is birds, together with wild animals, but I’m getting into plant life more and more.

Natural photography has various sub-divisons, such as landscape. What’s your opinion?

I’ve given a lot of thought to the idea of wandering not only

through Hungary, but indeed through the whole world.

Unfortunately, I don’t have enough time to do it during my studies. In any case, landscape is not really me, its not an adrenalin booster, you don’t have to build a hide to get within shooting distance of your animal subject.

Tell us about one of your unforgettable experiences.

© Alex Rakó Canon 40D, Sigma 4-6,3/50-500mm 1/8000sec f/20 ISO 400

There are many such moments, but one that stands out is a robin redbreast in our garden. After 2 months the bird was so used to my camera that it would land on it without any fear.

Have you received any offical recognition or awards?

Yes, im very proud of my first place and runner up awards,together with a highly

commended photo in the youth category of the February edition of the Wild Wonders of Europe.

How can we come into contact with you and your photos, and which photo organization do you belong to?

My pictures can be viewed at www.rakoalex.hu . Since 2006 I have been a member of the FényÉrték Természetfotó Klub

(LightValue Nature Photography Club). This club’s most important mission is to present the „islands of nature” still prevalent in our modern urbanized world. With our photos and related activities we aim to play our part in conserving and protecting the natural environment.

Text: Adrien Imre

news, contests, Workshops Take part in the GDT contest “European Wildlife Photographer of the Year 2009”!

For the 9th time the GDT (Gesellschaft Deutscher Tierfotografen e.V.) invites amateurs and professionals from all over Europe to participate in this event. There we will be cash prizes for the winners as well as the runners-up of each category. The overall winner will receive a cheque for € 2 000. All photographers whose pictures are selected will receive the exhibition catalogue. The overall winner as well as the winners and runners-up in each category will receive free tickets for the International Nature Photography

© Atte Hannula, Finland

Festival in Lünen.

The competition aims to highlight the excellent quality achieved by European nature photographers and wants to present the innovative and distinct style they use to focus on the living things around us.

The photographs entered in this competition shall contribute to the European idea of protecting wildlife and habitat and will hopefully evoke responsibility and understanding in the public.

The winning photographs will be presented to the public in an

exhibition at the International Nature Photography Festival in Lünen, Germany from 23rd to 25th October 2009. After the festival the exhibition will be shown in various museums and exhibition centres in Germany and abroad. In addition an exhibition catalogue with all photographs that have been awarded a prize will be published.

The award ceremony will be held on Saturday, 24th October 2009 at the Hilpert Theater in Lünen.

© Jose B. Ruiz, Spain

© Franco Banfi, Switzerland

© Diego López Álvarez, Spain

Cranes in the Hortobágy Exclusive bird photography workshop, with accommodation and full board

Programmes will include the following: First day: lecture on birds, then Tamás Imre professional photographer, Canon Wildlife Ambassador will introduce the workshop participants Date: 9th October – 15th October 2009, from Monday up to the joys of bird photography and share his experience in crane photography. until the following Thursday.

Field photography of cranes arriving at and leaving The Workshop aims at recording moments in the life their roosting sites. of cranes staging and roosting in the famous, World 3 whole days of crane photography in fixed hides for 2 to 3 persons.

Heritage Site Hortobágy National Park in Hungary.

The best chance to photograph this impressive event 1 whole night (bird movement both at dawn and at that holds its viewers spellbound when up to 15,000 dusk) in fixed hides among roosting birds. birds take wing at the same time.

Upon request, Canon and Nikon telephoto zoom lenses with bayonet mount hoods (Canon, Nikon With the following photo themes: and Sigma) will be provided in limited numbers.

Crane photography at exclusive roosting site from Accommodation: Trófea Nature Lodge, in wonderful hide, dancing cranes, flocks leaving the site at natural surroundings. dawn (in backlight) and arriving to roost at dusk.

Photographing from hides: birds’ portraits, wallowing in wetland habitats and preening. imre.tamas@naturephotomagazine.com

www.sakertour.com

Canon PowerShot SX 10 IS, 58mm 1/5sec f/5,6 ISO 100

Fuji Finepix S100 FS

Canon Po

PowerShot SX10 IS

Plant and flower photography with a

compact camera Many camera owners tend to think that you can’t take high quality wildlife photos without professional gear. While there is some truth in this, the fact remains that you can still produce beautiful pictures with a relatively simple camera if you are aware of its technical limitations. Our series of articles aims to help precisely those photographers who don’t use DSLR cameras to capture the magic of the moment. At the same time we must bear in mind that ordinary street cars don’t take part in Formula 1, so don’t expect to be able to compete with the pros! Our first advice would be to find a subject appropriate to your knowledge and equipment. By doing so, you can produce photos you’ll be proud of and want to show to your family and friends.

The most important factor is to be familiar with your camera. Study the user manual thoroughly and what’s more, take it with you on your travels if you are only an occasional photographer, and don’t feel ashamed to refer to it if you get stuck.

In the case of compact cameras, creative settings, located under the signs (A) and (AV), can provide a good solution. It’s worth pointing out that the aperture, which can be set in advance, is normally used between F/2.8 and F/8 with compact cameras. However, we recommend you setting your camera somewhere between F/2.8 and F/4 to obtain a sharp main theme and just enough blurring of the background. This can be done on the main setting dial. In this situation the camera will set the ISO and the shutter speed in semiautomatic mode.

Spring and summer provide countless opportunities for the flora photography. As flowers are a favourite theme of photographers, we would like to give you some advice in this area.

Firstly, for perfect flower pictures locate the macro or flower setting in the menu to enable you to get a lot closer to the subject than by using the automatic function. It is indicated by a little flower sign on the main dial. But be aware that with this setting you can’t use the camera in every zoom positon.

Fuji Finepix S100 FS, 12mm 1/90sec f/3, There are even some cameras (Fujifilm) you can set to super macro to allow you to get as close as even 1 cm from the subject.

However, this setting is only applicable in wide-angle focal length. We used a Fuji Finepix S100 and Canon PowerShot SX10, both featuring an image stabilizator which can be switched on to achieve sharp photos.

Apart from the technical knowledge, one of the most important consideration is using the light to your advantage. Flowers appear in all their glory in sidelight and backlight. The most beautiful lighting for photography is in the morning until 9 am (CET) and in the afternoon from 5 pm (CET).

The disadvantage of the super macro setting mentioned above is that from this close up even the lens itself can cast a shadow.

To counter this, a reflector of some kind can be a great help, be it a large piece of white poster board or a collapsible reflector available from a shop. With the assistance of the reflector you can direct the light onto the flower and in so doing even out the light on it.

The benefit of modern day compact cameras is the higher resolution, enabling you to crop your images in the post production phase. We can overcome the focal length restriction by employing a close-up lens which can be attached to the front of your lens in various ways, resulting in a larger image of the subject. It effectively funtions as a magnifying glass between the lens and the flower. You can purchase a Raynox, Hama Close Up lens with 2,3 or 4 times enlargement.

Tips A word of warning : in macro mode your camera’s focal point will shorten ( this is the field where your lens produces a sharp image ). In this case pictures taken without a tripod might not be as sharp in places as necessary. Hence, it’s worth using a small tripod or a bean bag on the ground. You can make good use of the fold out LCD’s if you want to take photos in unusal positions.

But beware of not making the mistake of not noticing that your camera has moved away from the subject, because after focusing you can’t see your hand movement on the LCD. Many times an exquisite background adds more to the picture than a rare species of flower itself. You can read more about the art of composition in this issue’s article covering the subject.

Superior compact cameras can have a focal length ( taking into consideration the 35 mm equivalent ) of a 400-560 mm lens.

These cameras are absolutely suitable for wildlife and landscape photography. We will look at this subject in more detail in a later issue.

We wish all compact camera users success and nice pictures.

Text: Anikó Imre and Béla Szabó Photo: Anikó Imre and Tamás Imre

Fuji Finepix S100 FS, 7mm 1/45sec f/2,8

,5 ISO 400

8 ISO 400

Canon PowerShot SX10 IS, 87mm 1/125sec f/5,6 ISO 400

Fuji Finepix S100 FS, 13mm 1/125sec f/3,5 ISO 400

Book/DVD review DVD : Planet Earth As never seen before With David Attenborough’s narration This 14 part BBC series, shot over 4 years at enormous cost, pushes the boundaries of our thinking about nature films. Thanks to the HD quaility, the incredible fast cameras and the detailed shots from the air, Planet Earth beautifully captures the most astonishing moments in our natural world.

A compelling visual expreince featuring rarely witnessed actions, unbelievable perspectives and virtually inaccessible locations, the film brings together our planet’s most adored, wildest and rarest creatures, revealing them in their most intimate moments. The series takes us on a magical journey through the

changing seasons, highlighting the daily struggle for survival in the most extraordinary corners of the world, from the highest mountains to the deepest oceans.

Get ready for this wonderful and unique experience that Planet Earth provides us.

Disc 1: From Pole to Pole, Mountains Disc 2: Fresh Water, Caves Disc 3: Deserts, Ice Worlds Disc 4: Great Plains, Jungles Disc 5: Shallow Seas, Seasonal Forests Disc 6: Ocean Deep Disc 7: Planet Earth : The Future

Some 71 cameramen and women filmed in 204 locations, spending around 5 years in the field, presenting us our great planet from the most incredible angles.

On numerous occasions during the viewing, the combination of exotic location and high quality camera work provided me with new inspiration for my own photography.

This DVD is a must for all nature photographers.

Through the course of viewing the episodes I was a witness to the most breathtaking moments I had ever seen on screen, making me party to this megaproduction, which required an incredible crew numbers.

permitted by © BBC Worldwide

www.bbcworldwide.com

web review Wild Wonders of Europe It’s not every day that you come across a website, where enthusiastic people are capable of motivating such huge numbers in the interests of nature protection.

The Wild Wonders of Europe was created to this end, since Europe is full of natural treasures still undiscovered by the rest of the world. A group of nature lovers came to the conclusion that it’s high time to reveal these wonders in all their glory. With this in mind they brought together several dozen professional nature photographers from all around the European Union who shared the group’s mission and were willing to work on a voluntary basis. We receive continuous information from the group by accessing their website and can find out where and when to capture a rare specimen, learning about its features and habits. The photos can be purchased, providing you not only with beautiful prints, but also with the opportunity to play your part in protecting nature. One gallery, one blog, one goal.

I first heard about Wild Wonders of Europe from a friend, and my interest led me to view the website. I encountered a professional site, whose simplicity and clarity is it’s virtue. You can find everything you would expect on a website of this kind. You can get to know the organizers and editors by reading a short profile of them, together with the 60 nature photographers who have signed up to Wild Wonders of Europe.

Although the structure resembles other nature protection sites, it’s far from boring in its format and content. From the latest news we can get to know the new discoveries made by their photographers, reading about the flora and fauna captured through their lenses. The photo gallery is user friendly and well structured, the visitor being able to search for the photos based on country. With a simple click the visitor can order a printed version of the desired picture. The website also provides an active challenge for the visitors, as they can take part in photo competitions, regardless of whether they are enthusiastic amateurs or even professionals, with the prize of seeing their entries on public display. Although the website enjoys enormous media and other support, I didn’t feel bombarded by ads too often characteristic of other websites. The advertising on the site is done in a discreet and tasteful way.

Text: Balázs Biró

www.wild-wonders.com

Staffan Widstrand Managing director staffan@wild-wonders.com

Photo: Florian Möellers / www.wild-wo

onders.com

Photo: Peter Cairns / www.wild-wonders.com

Photo: Vincent Munier / www.wild-wonders.com

Photo: Staffan Widstrand / www.wild-wonders.com

editorial Tamás Imre

Anikó Imre

János Szekeres

Béla Szabó

Árpád Krivánszky

László Suhayda

Adrien Imre

Iván Éder

Editor in Chief : Tamás Imre tamas.imre@naturephotomagazine.com

Editors: Anikó Imre

Árpád Krivánszky

Béla Szabó

János Szekeres László Suhayda Associate Editors: Adrien Imre

Ágnes Kiss

Balázs Biró

Bence Máté Iván Éder Martin Perhiniak Copy Editor:

Árpád Krivánszky Art Director: Anikó Imre Graphical Design: Martin Perhiniak Web Design: FX designport Web Product: Mesharray Translators:

Balázs Biró Gabriella Szekeres Paul Morgan Advertising: Anikó Imre aniko.imre@naturephotomagazine.com

Nature Photo Magazine www.naturephotomagazine.com info@naturephotomagazine.com English contact: Balázs Biró

Bence Máté

Ágnes Kiss

balazs.biro@naturephotomagazine.com

Publisher: Thomas Picture Publisher Ltd. Address: Hungary Budapest 1576 Pf. 3 All rights reserved © 2009 Thomas Picture Publisher Ltd. The Nature Photo Magazine assumes no responsibility for solicited or

Balázs Biró

Martin Perhiniak

unsolicited contributions and materials.

© Tamás Imre

next issue

August 17, 2009