Nature Photo Magazine 2009/3

Nature photo magazine

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free online photo magazine

2009/3.

BBC, GDT, naturArt | Nature photographer of the year contests sharks in the bahamas | DĂĄniel Selmeczi frost flower | Tips and tricks

welcome Dear Reader!

First may I take this possibility to thank you for your support and for the many hundreds of encouraging letters we have received. They provide us fresh impetus during these difficult times to continue our work.

We can proudly state that the readership figures serve to reinforce our mission, so the Nature Photography Magazine’s online edition will continue on its journey. In terms of numbers, 35 000 readers from all 5 continents of the world, to date from 83 different countries, have enjoyed our articles and photos. Be apart our common project by recommending our magazine to as many potential readers as possible, so that they in turn can revel in the natural treasures of our planet and, at the same time, aware of their fragility, they can change their reading habits for the sake of the trees.

Our editorial staff set itself an unprecedented goal. The BBC Wildlife „Veolia Environnement Wildlife Photographer of the Year Competition”, the European GDT „European Wildlife Photographer of the Year” and the Hungarian naturArt „Nature Photographer of the Year” contests’ winning pictures are only available at our magazine in an exhibition quality. I would like to thank all 3 competition coordinators for their cooperation, and of course, on behalf of the editing team, congratulate the respective winners. I would particularly like to highlight the fact that Hungary performed extremely well in the contest.

In the 2009/3. issue yet another column has been set in motion in which Dániel Selmeczi, famous diving photographer, guides the reader through the secrets and mysteries of shark photography. In keeping with the season, we endeavour to present to you the cold winter in all its glory, the truly famous landscapes found in the Lofoten Islands, the Cappadokia of Turkey and the Slovakian Little Fátra (Malá Fatra). Our photo portfolio guest is József Gergely from Serbia, whose photos met with great success in the Serbian National Geographic Competition. The new talent, Martijn Roos, from Holland, speaks frankly about his plans and tutor. In the Tips and Tricks column László Suhayda leads us on a wonderful adventure into the fantastic world of frost flowers.

You will left breathless by the beauty of the photos. Photo school continues its series on compositions, with the spotlight focused on light this time. We haven’t forgotten our compact camera amateur enthusiasts in this season of goodwill: two of our colleagues share their ideas for capturing wintry landscapes at their best. One of the most beautiful light phenomena in astrophotography, the Aurora Borealis, is brought to your doorstep courtesy of Iván Éder’s text and the photos taken by Anikó Imre and Tamás Imre. Ágnes Kiss and Bence Máté tell us the tale of the little weasel named „Csirik”, embellished with delightful photos. We gave a test run to theCanon EOS 7D and the Nikon D300s, both cameras have been built with nature photography in mind.The section on processing Perhiniák Márton, by video tutorial, shows us how to assemble our photos. Last but not least in the DVD column we reccomend the film named HOME, which gives enormous food for thought and really arouses attention. It really moves everyone who sees it to spread the message. Mother Earth will soon be no more, we have to take action now to save the planet otherwise there will be nothing left for future generations.

We trust that you will enjoy our third issue.

Cover: Aurora Borealis Photo: Imre Anikó Canon EOS 1D Mark II N, EF 24-70mm f/2,8L USM 1min f/4,5 ISO 400

Tamás Imre Chief Editor

Canon EOS 1Ds Mark II, EF 24-70mm f/2,8L USM 20sec f/16 ISO 50 panorama

Astro photo - aurora borealis 34

TIPs and tricks - frost flower

According to public opinion research, one of the main dreams of most people is to see the Northern Lights. Granted the Northern Lights, otherwise known as Aurora Borealis, is not a rare phenomenon, but nonetheless is mainly confined to the Arctic Circle.

In cold weather vapour disposition might be formed on the windows of closed places. If it is very cold outside and the windows are not well insulated, the temperature of the glass decreases below freezing point and the vapor freezes.

On clean glass a little crystal coat is formed, giving a matt colour to it.

42

young talent: martijn roos

70

With landscapes you can wait for the best light, that is the beauty of landscape photography. You can wait until the light is most conducive to your kind of landscape. For beautiful Dutch clouds I like the harsh contrasting light, but for for waterscapes I prefer the warm light of the mornings or evenings.

That means you having to get up at 5 o’clock in the summer, but it’s worth it

Lofoten - Venice of the North 6 Anikó Imre and Tamás Imre

life underwater - sharks

74

The Bahamas might remind you of the sunshine, palm trees, the white sand, and the luxury holidays, but for me it is more than careless sunbathing on a sandy beach. I have heard a lot about the sharks of the Caribbean Sea, mainly the tiger sharks that are considered one of the largest predatory sharks and can be found in crystal clear shallow waters.

landscape with compact

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It is getting less and less frequent for people to go outdoors, in our globalized fast-paced world families with children go out rather to the malls than to the great outdoors to experience the changing of nature. Although there are still people who prefer being under the light of the sky to the artificially lighted concrete jungle. During these and similar trips compact cameras come into their own.

interesting places cappadocia Slovakia portfolio

józsef gergely photo school composition III. digital image editing Panorama field test canon eos 7d

Nikon D 300s review dvd ÁGNES KISS and BENCE MÁTÉ csirik the weasel contests bbc, gdt, naturart

14 18 20 28 54 56 66 95 96 102

Photo adventures LOFOTEN

venice of the north

In the latest edition of photo adventures we are going to guide you around the Lofoton islands.

This part of our planet is famous for its 800-1000 metre high mountains and its sea stretching out at the foot of them. The beauty of the islands was depicted by numerous painters, writers and photographers. The artists travelling there are amazed by the incredibly wonderful natural world.

The total area of the Lofoten Islands is 1227 km2 with a population of 24500.

Canon EOS 1Ds Mark II, EF 16-35mm f/2,8L 0.3sec f/2.8 ISO 100

In the latest edition of photo adventures we are going to guide you around the Lofoton islands.

This part of our planet is famous for its 800-1000 metre high mountains and its sea stretching out at the foot of them. The beauty of the islands was depicted by numerous painters, writers and photographers. The artists travelling there are amazed by the incredibly wonderful natural world. The total area of the Lofoten Islands is 1227 km2 with a population of 24500.

My affection for the islands began in 2005 thanks to the art album I received from the Norwegian ambassador. I had been deeply touched by the pictures in it, and I felt an incredible compulsion to shoot some pictures and introduce the world to the charms of the Venice of the North.

The picturesque islands of the Norwegian Sea include 60 smaller islands reaching a height of about 1000 metres. Those visiting the islands need to spend several days here or a week, if possible, to make sure that they will have some clear, sunny days.

Due to the extreme weather conditions, it is recommended to bring durable equipment in case of rough weather. The ideal time is November, January, February and March. Lights can be varied depending on the month chosen.

What we should bare in mind that we will have about 3-4 hours of daylight and additional 1 hour’s light at sunrise and 1 hour at sunset. It means 5-6 hours of light, the rest of the day is dark which is ideal for shooting photos of the Aurora Borealis.

We reach our destination after a flight and a 600 km-long drive. On our way the frozen brooks, trees, mountain tops and the rays of the sun give us some very nice photo topics. By the time you reach the port of Skutvik from the city of Trondheim, you can face a temperature of minus 20-25 C - that is why photographing takes less time at the sites’.

Canon EOS 1Ds Mark II, EF 24-70mm f/2,8L USM

f/2,8L 0.8sec f/18 ISO 50

We arrived at Svolvaer at about 9pm and after finding our accommodation in Kabelvag we had some rest. During the night the thought occurred to me that taking sunrise photos would be very nice so we got up relatively early, and were at the site by 7 in the morning to witness the fantastic sunrise. The lights were almost futuristic; I had never before seen such pink and reddish tones during photographing. This

is probably due to the low-angled sun. At most places, the steep snow-capped granite mountains reaching from the sea up to the sky provide gorgeous photo themes that are probably one of a kind for landscape photographers.

This extraordinary phenomenon gives a unique experience to the viewer. We spent 5 days photographing this wonderful land. According to local residents the weather is very unpredictable

as there are days when it`s snowy in the morning, sunny at noon and rainy in the evening.

Photographers need to cope with this and similar weather anomalies and take advantage of them rather than regretting the bad weather.

If you prefer a warm climate, it`s better to stay at home, but if you are ready for the challenges it`s worth travelling to this wild untouched archipelago at least once in a lifetime.

Canon EOS 1Ds Mark II, EF 24-70mm f/2,8L USM 1/25sec f/13 ISO 100 panorama

In the evening I would advise you to visit an internet cafĂŠ and get some information on the frequency of sunbursts as at this time we can take pictures of the Aurora Borealis. We also took the opportunity to go out after 8pm to shoot some pictures. In our column Astrophotography our colleague Ivan Eder explains the physical attributes of this phenomenon, but I would prefer to give you some general

information on how it is formed.

Polar lights - or as local people call them the `Northern Lights` is the result of the coronal mass ejections on the surface of the constantly moving Sun. During sunbursts, the solar wind might blow electron and ion particles towards the Earth which are in turn pushed to the North and South Poles by the planet’s magnetic field. The charged particles, clashing with the components

of the atmosphere at a height of 100-1000 metres, induce nitrogen and oxygen atoms to generate light during the friction. This phenomenon has a greenish tone most of the time but in the case of bigger sunbursts you can see purple reddish colours as well.

Those who have never seen this will have a fantastic experience.

Northern people thought that these lights were the souls of unborn children playing in the sky.

Canon EOS 1Ds Mark II, EF 16-35mm F/2,8L USM 0.3sec f/16 ISO 100

The intensity was not very strong and long, but provided a good theme for the pictures. On the islands it is worth visiting fishing towns such as Reine that has been put forward as a World Heritage site. The scene is so special there that I went photographing at 4 in the morning before sunrise only to take pictures of the town bathing in bluish colours.

We need to preserve the wonders of the Earth for the next generations and through our photo draw their attention to the planet’s vulnerability, because most people don’t have the opportunity to get close up to nature.

If you have the chance, break with the boring weekdays as the Lofoton Islands provide great photo themes. Furthermore, we arrange photo workshops there which I can happily recommend.

Don’t be disappointed if you don’t manage to take the longed-for pictures. Landscape photographing requires a lot of energy and early rises in the morning.

Text: Tamás Imre Photo: Anikó Imre and Tamás Imre

Basic essential information Location: Norway, Lofoton Islands over the Arctic Circle.

Access: From the airport of Trondheim on Road E6 to the north, over the Arctic Circle, then to the fjords by ferry.

Subjects: It`s worth photographing the landscape on the islands.

Equipment: 10-22 mm, 16-35 mm Wide-angle lens, 70-200 mm and 300 mm telephoto lens if possible with 1,4x teleconverter, a tripod, an ND filter, and as many memory cards and batteries as you can.

Where to stay: You can find good accomodation in Svolvaer and in the nearby area.

The ideal time to visit: Taking winter photos is best from January till March.

Interesting places cappadocia (turkey)

Canon 2,8L/80-200 1/200f/10 sec ISO 400 Canon EOSEOS30D, 5D, EF 24-70mm f/2,8Lmm USM f/16 1/250sec ISO 100

Canon EOS 5D. EF 24-70mm f/2,8L USM 1/80sec f/16 ISO 100 tripod

Cappadocia is a scenic region stretching across the central part of Anatolia in Turkey. The Göreme National Park, which is a part of this region situated at an average height of 1000 m, became an UNESCO World Heritage Site in 1985. It is a place where man and nature have been living in harmony for thousands of years and has created a wonderful world.

Besides the natural resources, we have been bequeathed enormous

Canon EOS 5D, EF 1/15sec f/13 ISO

cultural heritage in this area.

Human civilization has been shaping this region since ancient times bequeathing a wide variety of treasures from early Christian times and villages created by lava creek tuff.

Cappadocia was formed from the hundreds of metres thick volcanic tuff in the aftermath of the eruption of two volcanoes: the Erciyes Daği (3917m) and the Hasan Daği (3267m).

The devastating power of nature has formed incredible geological shapes in the soft rock. Even 30 m high pillars, towers, pyramids and buttes can be found reaching above the valley floors. Here and there, harder rocks topped these cones, saving them from erosion, and producing the so-called “fairy chimneys”.

The land in the triangle formed by the Nevşehir-Ürgüp-Avanos cities is truly spectacular.

EF 70-200mm f/2,8L IS USM ISO 125 tripod

Canon EOS 5D, EF 70-200mm f/2,8L IS USM 1/60sec f/10 ISO 100 tripod

Basic essential information Location: The setting is the Anatolian peninsula in Turkey, Western Asia. Most natural resources and national monuments can be found in the triangle formed by the cities Nevşehir-Ürgüp-Avanos.

Access: Approachable by plane to Turkey.

The main roads are in good condition and the sites are easily accessible.

The main attractions are indicated by signposts.

Subjects: First and foremost, the landscape, but we can take photos of buildings, while locals also provide a good subject.

Equipment: A fisheye lens, a 16-35 mm wideangle lens, a 24-70 mm wide-angle zoom lens, a 70-200 mm telephoto lens, a tripod, ND2x, ND4x, ND8x, an ND transitional filter, a shutter release cable. A pair of hiking boots might also be useful. Please ensure that you take your photograph equipment as hand luggage on board, while the tripod can go in a suitcase.

Where to stay: Numerous opportunities are available in the Nevşehir-Ürgüp-Avanos region, but it is worth enquiring and booking the rooms in advance.

The ideal time to visit: In my opinion, the best time is winter, especially if it is snowing. Please ensure that you have the necessary apparel as well.

The most beautiful valley famous for its fairy chimneys is Peribacalari Vadisi, near Ürgüp. The valley of Göreme is also situated in this triangle.

The climate is bearable even in the summer in Cappadocia, as the average 1000 m height moderates the temperature, but its tourism is extremely dynamic. The long days and the high position of the sun do not favour landscape

photography, that is why it is worth visiting the land in winter. At this time, tourists are more scarce, the light flatter, the air fresher, and we can also experience snow falling which gives the land a special image. Admittedly, services are limited as most of the hotels and guest houses are closed, but we can still find something to suit us even at more favourable prices.

Text and photo: Béla Szabó

Slovakia Vel’ká Lúka in Malá Fatra Slovakia is rich in natural beauty, especially in the mountains. One of these spectacular landscapes is Malá Fatra. You can start your trip at Martin, which is a town of 50 000 residents, founded by the Hungarian King Béla IV in 1250.

It was an important industrial centre until the mid-nineties.

The town was the capital of Turóc county of the Hungarian Kingdom for centuries.

The ski resort developed at

Martinské Hole provides great possibilities for the lovers of winter sports. The neighbouring Vel’ká Lúka is the third highest point of Malá Fatra at 1475 metres. The area is a superb place for hiking as well.

Winter produces conjures up magical shapes and forms high in the mountains. When going there, the right clothing is very important because of the very

cold weather, the temperature could be as low as minus 15-20 Celsius. The rapidly changing weather and the extreme cold are quite a challenge for the gear and the batteries. Always have extra batteries and protection against snow. There is nothing more frustrating than just looking around with a dead battery when the excitement reaches a crescendo.

Fuji Finepix S2 Pro, 19-35 mm

1/60sec f/11 ISO 160 panorama

Basic essential information Location: Middle Europe, northern Slovakia.

Malá Fatra mountain region nearby Martin.

Access: Cross the border at Komárom, follow road 64. until Nitra, then road 65. until Martin. Leave the city in the direction of Zilina. Turn onto the mountain road at Vrútky. During the winter, it is obligatory to have a snow chain. The traffic on the mountain road is twoway. It is a toll road.

Subjects: Primarily landscapes and winter sports. One can shoot architectural photos in the nearby cities.

Equipment: Fisheye lens, wide lens (16-35mm), wide-tele zoom lens (24-70mm) tele lens (70-200mm), stand, ND2x, ND4x, ND8x, ND gradient filters, remote control. Winter hiking boots, snowshoe or ski.

Where to stay: There is are plenty of possibilities there but its worth to get checking things out in advance and making a reservation.

The ideal time to visit: Winter time, especially after a fresh fall of snow. Appropriate clothing is a must.

The peak is a wonderful sight to behold for the non-experienced tourists as well. It is quite easy to go there, you can travel by lift from the city. If you prefer not to swing over the trees attached to a wire, you can travel by car as well. The road starts from the nearby Vrútky. Last time there were six hour shifts for going up and down. This is a toll road and having or using a snow chain is obligatory in winter. It is a good

idea to practise in advance how to put on and remove a snow chain.

If you seriously want to do some winter photographing, snowshoes are good to have. It is quite unpleasant to get stuck in the ice-covered deep snow up to the waist. You may be inclined to ask yourself: “What on Earth am I doing here?

Text and photo: Béla Szabó

József Gergely (Serbia - Vojvodina) One of the most in fluential individuals in the Serbian nature photo scene is József Gergely, who was born and currently lives and works in the Vojvodina Autonomous Province. The biologist, now in his early fifties, graduated from Novi Sad University of Sciences, Biology faculty. He works for the paper called Magyar Szó as a photographer and journalist, which provides information for the 300 000 Hungarian natives living in the region. He regularly appears in other papers as well.

He fell in love with photography in primary school and has remained true to it ever since. Today he is a member of the Pannonia Photo Club at Subotica.

He started to take nature photography seriously during his university years. As a journalist he is involved with press photos too, frequently publishing environmental and other reports. He does illustrations for his own and colleagues’ writings, books and other publications.

His compositions have been displayed at galleries, and he has held many independent exhibitions in his homeland, at Zenta, Ada, Csóka, Magyarkanizsa, Topolya, Szabadka, Újvidék and in Hungary at Hódmezővásárhely and Szeged.

Despite his career in journalism, he has never been unfaithful to his first true love, Nature.

He participates in ornithology and ecology research projects.

Additionally, he is a founding member of Richárd Csornai Association of Ecologists, founded in 1987 at Szabadka and the co-editor of the association’s publications, Panurus and Ludasi jegyzetek.

József Gergely co-founded “Vajdasági Madártani és Madárvédelmi Egyesület” in 1988 at Újvidék; since 1998 he has been the president of the association. He is the co-editor of the yearbook called Ciconia.

Besides that he has published science articles in Aquila, Túzok and Ornis Hungarica and was one of the European Atlas of Nesting Birds’ Yugoslavian coordinators.

He published a book in 2001 at Zenta about the life of Richárd Csornai, pharmacist and ornithologist; publication of Gyula Dudás Society of Musem and Archive Friends.

He successfully participates in contests on a regular basis, with awards being commonplace in recent years. He won second prize at National Geographic Srbija’s nature photo contest in 2007 and 2008, while his photo won “Best Bird Photo 2007” title at the Belgrade foundation, GRIFON’s competition. In 2008 he took first place at the 1st International Photo Exhibition at Nis and the 31st International Photo Exhibition at Pozarevac.

In Hungary, his photo was among the ones chosen the best of 2008.

More information at www.gerjofoto.com Text: Béla Szabó

(Na

Sunset ature Photographer of the Year 2008, Hungary, resulted as highly commended) Nikon D200, 600 mm 1/2500s f/5,6 ISO 400

Portfolio

Big (egre Nikon D200, 600 mm 1

et) catch 1/2500s f/5,6 ISO 500

Climate (National Geographic Srbija Nature Photo Con Nikon D200, 24 mm

e change ntest 2007, second place in Animals category) 1/60s f/11 ISO 200

Bal (National Geographic Srbija Nature Photo C Nikon D200, 600 mm 1

llet Contest 2008, 2nd place In Nature category) 1/3200s f/5,6 ISO 640

article’s sponsor:

Canon EOS 1D

© Anikó Imre Ds Mark II, EF 70-200mm f/2,8L IS USM 1/80 sec f/5,6 ISO 100

photo school composition III. The Essence of Our Photo:

light

The current subject of our series does not belong to the category of composition, but it is closely related. We are trying to take photos consciously, designing them and connecting each part with the laws of composition and recommendations in mind. This kind of conscious planning is worth applying to the lighting of our topics. It is easy when shooting at a studio, but in nature we may encounter some difficulties as we can barely or cannot influence the natural light at all. What we can do is to choose the right season or period for photographing our subject.

From a photographer’s point of view, the strength and colour temperature of the light, together with the quality of lighting, the socalled contrast ratio play very important roles.

Light can be poor, good and occasionally strong. We have several solutions for improving poor light conditions, such as increasing the ISO sensitivity, using the right shutter-priority, a tripod or some artificial light. However, when we would like to take motion-blurs and the light is too strong for it, we can decrease the quantity of light projected on the sensor by the grey filter.

The colour of the light can profoundly change the mood of our pictures. With certain photo topics, it is important to choose the right colour rendering index considering the colour of the lighting. The most interesting pictures can be shot in slightly overcast weather when there are grey clouds in the sky. When photographing nature, the mood is more important than the use of realistic colours. Early in the morning, or late afternoon near sunset, the sun has more of a yellowish-red colour that can make a great impression on our photos.

In the period before sunrise or after sunset the blue sky growing darker and darker creates a completely different mood with its cold bluish colors. In clear weather when the sun is high in the sky, the pictures taken also have some bluish tone. In addition, the light radiating from too high, results in a `flat` lighting.

Contrast ratio is the difference between the lighting of the bright and dark parts in the pictures. If the contrast is too high we talk about strong light, and if it is too low it is called soft or diffused light. The light reflecting our theme lies between the two extremes.

Usually it is better to avoid the too contrasting lighting because under extreme circumstances it can cause blurred whiteness or blackness. Usually, soft light is necessary for capturing plants (of course there are exceptions), while for taking landscape photos the moderate contrast is recommended. We need to use higher contrast for photographing animals, especially insects and birds when the pictures should capture the shininess of their body. Unfortunately, we don’t have advice for every photography situation, but below we would like to give you some examples for lightening particular photos.

Photos in Counterlight The shape of this comfrey and the surface of its stem inspire us to take counterlight photos opposite the direction of the light. If we would like to emphasize only the shape and the silhouette of the chosen theme, we don’t need to use lightening. In other cases, we need to brighten the darker side of our topic. But there might be certain details – like the petals of the comfrey – that the sun shines through.

Digital cameras are useful in experimenting with the lighting. First, we should take a sample photo that we can check on the LCD monitor correcting the settings when needed. Using this as a starting point, it is worth taking an exposure bracketing from which we can select the most appropriate ones at home. For the stem covered with bristly hair and for the details illuminated by the sun, we need to find the appropriate luminous intensity. In the worst-case scenario it can ruin the photo.

Canon EOS 3, EF 180mm f/3,5L Macro

© László Suhayda 1/125sec f/5,6 Fujichrome Velvia 50

© László Suhayda Canon EOS 3, FD 300 mm f/4L 1/15 sec f/5,6 Fujichrome Velvia 50

Greater Pasque Flowers (Pulsatilla Grandis) In varying light The greater pasque flower is the treasure of the fields, growing on hills and mountains in early spring. It was near sunset when I came across this group of flowers of which I took some pictures in different lights. In one of them, the rays of the sun are illuminating the flowers with warm yellowish light, while the picture taken five minutes later – when the light of the sky dominates instead of the setting sun – shows cold bluish colours.

The yellowish-red colour of the sun near sunrise is very favourable, what’s more – if the weather is not humid – it can be so strong that it results in hard light. At this time, we need to lighten the shadowy parts.

© László Suhayda Canon EOS 3, FD 300 mm f/4L

1/160 sec f/5,6 Fujichrome Velvia 50

© Árpád Krivánszky Canon EOS 300, EF 28-105 mm

1/4 sec f/3.5-4.5 Fujichrome Velvia 50

Photographing under special circumstances The picture of Lake Lugano and its environs was taken on Monte Bre during the so-called `blue hour` half an hour after sunset. You can see that the earlier glowing yellowish red colours of the sky are fading away and near the surface of the lake the bluer sky determines the colours. Besides the special light, a thin layer of fog and the twinkling lights of the neighbouring villages strongly influence the mood of the picture. Town photographers like this period even more than nature photographers as the weakening of the light doesn`t suppress the artificial lighting of the buildings. In addition, the bluish dawning makes a contrast with the yellowish colours of the light.

The light can be so unique that it can be a photo theme in itself. For instance the picture of a ploughed field from the previous page bathed in the setting sun`s last yellowish red rays. Despite the interesting geometric patterns of the land, it wouldn’t inspire us in average light and would not be a good picture. It is worth searching for the exceptional lights, but be don’t delay as they can quickly change and fade away.

© László Suhayda Canon T90, FD 24 mm f/4

1/60 sec f/16 Fujichrome Velvia 50

© Árpád Krivánszky Canon EOS 30D, EF 80-200mm f/2,8L 1/5 sec f/20 ISO 100

A Lavender Field in varying light When I took these two photos of the lavender field on the Tihany peninsula, fast moving clouds varying size gathered in the sky. The light was changing quickly; it changed almost every second. During the shooting of the first picture, thicker clouds were floating across the sun and a little later the beams were shining through the thinner layers. The difference in colour is easily visible, and by looking at it more carefully you can recognize that the picture taken in overcast weather has a lower contrast than the one shot in the veiled sun. It is a matter of taste which one you prefer.

Autumn Crocuses (Colchicum autumnale) I found these two flowers on the edge of a forest, stretching toward the light from the shadows. The pair appealed to me. It was around midday and I was very happy that they were in shadow because I couldn’t have taken good pictures of them in strong sunshine. The light toned flower in the shadow prompted me to take a photo with a dark background. I went about my work and by the time I found the right angle and setting, the sunrays illuminated the flowers and the dry moorland through the leafy trees. The mood of my picture showing on the viewfinder did not meet my expectations…

The light was changing relatively fast and 5 minutes later I took a photo with a dark background with similar settings.

© Árpád Krivánszky Canon EOS 30D, EF 80-200mm f/2,8L 1/8 sec f/20 ISO 100 © László Suhayda Canon EOS 5D Mark II, EF 180mm f/3,5L Macro 1/50 sec f/5,6 ISO200

These two pictures perfectly exemplify how light conditions can influence the mood of a picture. If possible, it is worth photographing in different light conditions because we can have an effect on the mood by varying the lighting.

The modified ambience in the pictures is not only caused by the different lighting, but by the colours appearing as well. In our next article, colours will be the subject.

Text and photo: László Suhayda and Árpád Krivánszky © László Suhayda Canon EOS 5D Mark II, EF 180mm f/3,5L Macro 1/60 sec f/5,6 ISO200

Astro photography

Northern Lights (Aurora Borealis) According to public opinion research, one of the main dreams of most people is to see the Northern Lights. Granted the Northern Lights, otherwise known as Aurora Borealis, is not a rare phenomenon, but nonetheless is mainly confined to the Arctic Circle.

© Tamás Imre Canon EOS 1Ds Mark II, EF 24-70mm f/2,8L 6 min f/5 ISO 400

The occurrence of the Northern Lights is closely intertwined with the Sun’s activity. Our Sun’s diameter is more than one hundred times that of our planet’s. It is an active heavenly body with a temperature of 15 million degrees centigrade an extremely high pressure in its core. It is composed of mostly hydrogen and partially helium, formed by nuclear fusion. This fusion generates high rates of energy heating the Sun, the surface of the Earth and the whole Solar System. This energy heats the Sun and naturally warms the surface of our Earth, too.

The energy escapes from the bowels of the Sun in the form of radiation, which also maintains the exterior part of the Sun in motion. On the surface of the Sun this leads to, among others, eruptions in the course of which substantially sized, high velocity fragments are thrown into space. Our planet’s magnetic field protects us from such charged fragments. However, along the magnetic power lines, namely the poles, they manage to get close to the surface. Upon penetrating the atmosphere, they collide with the gases found in the upper layer, ionizing them and thereby producing the spectacular light display which we call the Northern Lights.

In accordance with the significant fluctuation in the intensity of the Sun’s activity, the Northern Lights can be both more frequent and stronger, as well as more seldom and weaker. Each period of change spans 11 years, with the intensity of activity at a maximum and a minimum during this cycle. Presently we are approaching the end of a minimum period, so that within a few years solar activity and with it the Northern Lights will increase substantially with regard to intensity and frequency.

As the Norther Lights develop around the magnetic poles, along a belt wide in diameter, it most commonly occurs above those countries along the Arctic Circle. While taking place at a height of around 70 to 1000 km, it tends to be most vibrant in the region of 100 to 110 km. In the event of extraordinarily strong activity the lights may be observed over a much wider area, indeed in rare cases they may even be visible in Central Europe and the southern states of the USA.

© Tamás Imre Canon EOS 1D Mark II N, EF24-70mm f/2,8L USM

1 min f

f/5 ISO 400

© Iván Éder - Nagykovácsi Minolta X-300 SLR 28mm, 1min f/2.8 Kodak SUPRA 400

© Anikó Imre Canon EOS 1Ds Mark II, EF 16-35mm f/2,8L

30 sec f/3.2 ISO 400

http://www.san

Forecasts regarding the lights and information about their present intensity and positioning can be obtained from numerous websites. Experience shows however, that the autumn and the spring months provide the best chances for viewing. If our luck is in, we may be witness to a very speciel phenomenon. Aurora Borealis is the master of transformation, it can appear in different shapes ranging from ’curtains’ to ’quiet arcs’ often enshrouding the whole sky. Most of the time, their colour is greenish yellow and sometimes bluish and purple as a result of the ionized oxygen and nitrogen atoms.

Photographing the Northern Lights Given the fact that the Northern Lights cover an extensive area, a wide angle lens is the most suitable for capturing this sight. Depending on lightness and other parameters the exposure can last from only a few seconds up to several minutes.

Using a tripod is therefore essential, and a remote control can be employed.

Copyrights: Joulupukki TV and Arctic Academy

In Joulupukki TV Northern lights DVD postcard: ntatelevision.com/dvdpostcard/en0705/en0705.html

As the forming and appearance of the Northern Lights is slow but continuous, it can effectively be followed with the naked eye, its contours moving during exposure. If you wish to photo its form without movement, focus on a short shutter speed, with a high ISO value and wide aperture. Nonetheless, the movement can serve to enhance the composition if achieved with the right direction and quantity. But this cannot be planned in advance. If the Moon is above the horizon it illluminates the sky , thereby ruining the contrast between the sky and the Northern Lights. Our job is made harder when the intensity is not strong enough. But if the Aurora Borealis is visible in the picture, the Moon turns the sky blue, lighting up the landscape and gifting us beautiful colours. What’s more, the foreground is clearly visible. It’s worth pointing out that if the Northern Lights are sufficiently bright they themselves can illuminate and add colour to the scene. It’s worth incorporating the foreground into the shot because in my opinion it makes the pictures more interesting.

If the Aurora Borealis is not really intensive and the Moon isn’t shining, we can resort to exposing for a longer time, during which time the stars appear to move in the heavens drawing streaks across the sky. In this case use a lower ISO value and narrow aperture. One or two unobtrusive clouds can add a special flavour to the picture, so do not despair if the sky is not completely clear!

I recommend various methods for focusing.

As the automatic focus can hardly produce a sharp image of the lights, I suggest, where possible, trying to focus on a distant light source and achieving a sharp image as a preliminary step. Even the Moon itself, if it’s visible. If the automatic focus still doesn’t work accurately, employ the Live View function and zoom in. In this event the focus must be subtly adjusted manually. If the sharpening proves successful, take care not to disturb the lens to avoid accidentally winding the sharpening ring. If you sharpened the picture using automatic focus, don’t forget to switch back to manual mode, otherwise the camera will try to sharpen the picture at the next exposure, stopping the carefully set focus.

Be prepared for the air to become more damp at night, which can pose a problem for the lens. Dress particularly warmly because you are liable to freeze much more quickly at night than during the day.

Text and photo: Iván Éder Photo: Anikó Imre and Tamás Imre

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.

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 © Anikó Imre Canon EOS 1Ds Mark II, EF 16-35mm f/2,8L 5 min f/4 ISO 400

Canon T90,

Tips and tricks Frost flower

, FD 100 mm f/4 Macro + 75 mm 1/30 sec f/8 Fujichrome Velvia 50

Canon EOS 5D Mark II, EF 180 mm f/3,5L Macro 1/200 sec f/8 ISO 200

In cold weather vapour disposition might be formed on the windows of closed places. If it is very cold outside and the windows are not well insulated, the temperature of the glass decreases below freezing point and the vapor freezes.

On clean glass a little crystal coat is formed, giving a matt colour to it. Vapour disposition and crystallization begins when there are tiny microscopic particles on the surface of the glass forming frost fields varied in size and shape.

The size of the motives ranges from 1 mm to 10 plus cm. The bigger ones, though different in their details, are quite similar in their character, providing less interesting photo topics. However, those of 2-3 cm or less are much more exciting.

How to take nice frost pictures If you would like to take frost pictures, you will need good lenses to take 1:1 photos, but it is even better if they can do 2-3x zoom. A stable tripod and tripod head are inevitable accessories. To avoid any motion blurs it is worth using the remote release or the timer, or, if available the Mirror Lock Up (MLU) function as well.

Tips and Tricks It is essential to choose the right surface for photographing that doesn`t contain any visible dirt (e.g. water stain), or scratches. These are noticeable in the picture and can ruin the effect. It is advisory to take the photo from the icy side, therefore preventing the incidental distorting effect.

Canon EOS 3, EF 180 mm f/3,5L Macro

1/60 sec f/8 Fujichrome Velvia 50

As these are relatively big magnification pictures, their depth of field is quite small.

In the case of most of these photos it is a must for them to be sharp; therefore you should pay attention that the direction of photography be at right angles to the plane of the glass. It is recommended to use the advanced settings of the lens which is usually a moderate aperture ratio. Though with strong aperture ratio the depth of field is higher (with this we can correct the blurredness caused by the lack of particular position), but with the tightest aperture the quality of the picture can get worse.

If possible, chose the highest resolution camera and try to take frost photos with the best available picture quality (or the highest resolution film). Paying careful attention to the details is an absolute necessity for these pictures - that`s why you should maximize your effort.

The basics of a good photo: the appropriate lighting The most important circumstance that you should consider is the lighting. Even a slight difference in the lighting can make huge changes in the picture. Because of the diversity I cannot give specific advice on it.

Generally, the less lighting and less contrast is the best solution. As the ice crystals act as mirrors or prisms, we should make sure to avoid sparkling. The overexposed details may ruin the photo. To find the best lighting I would advise you to experiment. You should alter the direction and try different backgrounds, or you can place conspicuous objects near the topics, the colour of which will appear on a part of the crystals. We can use different lamps with cold or warm colour lights that change the mood of the picture‌ You should be careful with the colours and coloured lights as it may alter the picture.

Canon EOS 5D Mark II, EF 180 mm f/3,5L Macro 1/13 sec f/16 ISO 200

Canon T90, FD 100 mm f/4 Macro + 50 mm

1/250 sec f/8 Fujichrome Velvia 50

Canon T90, FD 100 mm f/4 Macro + 120 mm

1/4 sec f/9,5 Fujichrome Velvia 50

Canon EOS 3, MPE 65 mm f/2,8 Macro 1/250 sec f/5,6 Fujichrome Velvia 50

Canon EOS 3, EF 180 mm f/3,5L Macro

1/180 sec f/5,6 Fujichrome Velvia 50

Canon T90, FD 100 mm f/4 Macro + 50 mm

1/60 sec f/8 Fujichrome Velvia 50

After exposure…

When using a digital camera, you should not judge the picture by the image found on the panel. It is hard to judge the quality of the photos because of the relatively small resolution and its small size. Most of the time the picture shown on the monitor is not even as good as on a quality print, therefore I recommend you getting the best quality pictures developed. As very soft lighting is recommended due to the sparkling, you should use higher contrast than usual during the image processing. I would advise you to use RAW format for the pictures because in this way you have the opportunity to make corrections and make a better picture.

If you would like to take frost photos no matter what…

Thanks to the modern layered insulation techniques, frost can hardly be found.

If you would like to go for it and have the opportunity to make a small frost greenhouse, you can do it easily. Provided that you don’t live in a tropical climate…

Approximately 1m3 is sufficient for it. The building in the picture was made of 4 onelayered glass of the same size: I just screwed them together and sealed it with insulation foam on the top. You should build and position the greenhouse in such a way that airing is excluded as the airflow blows out the vapour from which the frost could form.

It is important for the house to be in the sun at midday: the sun warms the air inside, it gets saturated and when it gets colder the water vapour condenses on the glass. As soon as it`s below zero, frost begins to form patterns…

I like this tiny, continuously developing and changing world very much and hope I aroused your interest.

Photo: László Suhayda Text: László Suhayda és Árpád Krivánszky

digital image editing

making panorama We deal with panoramic pictures merged together from seperate photos. For it is difficult to write down all the steps needed I decided to wrap it up in a tutorial video. It is much easier to understand this way. I use two softwares together in this clip.

First I import the photos into Adobe Photoshop Lightroom.

From here I send the photos to Adobe Photoshop to merge them together there. I use Photoshop CS4 Extended in the video but the techniques work in earlier versions as well.

You need to have 15-20 percent overlay between each of your photos. This will allow the photomerge function to work correctly, which can detect

automatically these parts and fit the seperate photos together and hide all the border lines with layer masks.

You should use a tripod when shooting your photos, but it is not compulsory. If you have a high resolution camera you only need to take 3 to 4 landscape format photos. With a smaller resolution camera you should take portrait format photos to be able to capture more detail.

For incredible details you should capture 7 to 9 portrait format photos, but beware it will significantly increase the progress time during editing. It is possible for a panoramic photo to reach 1 Gbyte file size if you don’t flatten the layers.

It is important not to use auto-focus and instead of any other mode you should use the M manual mode not changing the settings during the photo series for a panoramic picture.

Thanks to this the parts will be in the same depth of field and will have the same exposure as well.

It should look a bit difficult to make panoramic photos for the first time, but eventually it is easy to learn and the results are always worth while.

The photo used in the tutorial was captured by Tamás Imre in Norway.

Text and video: Martin Perhiniák Photo: Tamás Imre

In this video Martin Perhiniak presents the way to work with panorama photos in Adobe Photoshop and Adobe Photoshop Lightroom.

field test

canon EOS 7D I got the Canon EOS 7D final commercial version by courtesy of the Canon Hungaria and Camera Ltd. at the end of September and the middle of October.

The advertising message suggested that the machine inherited the extras of the EOS 1N nature photography body, so I thought the best way to test it would be out in the field. I grabbed my freshly unwrapped body and headed for my favourite photo destination, the Hortobágyi National Park’s bird reservation. At this time of the year there are a lot of common crane in the reservation.

ric - Bengal tiger crossing a creek

Canon EOS 7D, EF 600mm f/4 1/15sec f/5,6 ISO 640

Imre Tamás - Lebegés Canon EOS-1D Mark II N, 300 mm

f /3.2 1/800 ISO 400

design The body is a totally revamped satisfying the photographer’s needs. According to Canon the camera had been tested with the help of 5000 photographers. I couldn’t put a label in this new camera. It looks like the Canon EOS 5D camera but has many more features. Better grip, form and positioning of the buttons. The EOS 7D was designed for the field therefore the magnesium alloy body had been insulated wherever possible thereby resisting cold, dust, rain and minor bumps. The biggest revelation was the higher ISO sensitivity, the lay-out, the HD video function and the newly designed auto focus. Before testing the equipment, I ran through the menu and the new auto focus system so as not to miss the good photo opportunity in the field. The menu differs slightly from the EOS 5D II, but the focus system is absolutely different. The camera has been equipped with a new 19 points cross-type AF sensor that radically differs from its predecessors so let’s list the setting possibilities.

Single Point AF: we can choose an AF point out of 19. The system weighted towards this area using, uses the surrounding points when setting the sharpness.

Spot AF: only one AF point is working, neglecting the surrounding points.

AF point expansion: the AF points could be narrowed to five, four or three points areas out of 19 in any direction even suitable to the rules of trisection.

Zone AF: we can choose from five different zones selecting 9 or 4 focus points.

19 points automatic AF: in any of the 19 points there can be an AF edging, that in a mode of ensuing AF the cross-system is transmitting to each other.

Indeed there are lot of possibilities we can choose from, in accordance with the speed, mobility and light conditions of the subject. Arriving at the field I could hardly wait to test these functions.

Canon EOS 7D, EF 800mm f/5,6L IS USM 1/2000sec f/8 ISO 640

Digital Photo Professional - AF points

speed and quality In the Canon 7D the fourth generation Digic 4 processor is working as in the Canon EOS 5D as well. The essence of the machine is the 18 megapixel APS-C CMOS with the 8 pictures/sec continuous shooting. I made use of it many times during testing, and based on

my experience I could say that this speed with the ScanDisk Extreme IV card can only be obtainable for 2-3 sec., 14-16 pictures could be taken but in amazing quality.

The quality of a photo is an important factor nowadays.

The EOS 7D compared to the 1D series comes at a favourable price. My results are: the smaller sensor is working louder than its bigger counterparts. (eg. Canon

EOS 5D Mark II.) I worked under natural lights in the fields. The ISO sensitivity results: Between ISO 100 and iso 400 there is a small difference in quality, and I also got good results with ISO 500 and ISO 640. Please look at the pictures I attached to the article.

Most of them were taken with ISO 640. Using ISO 800 there was a little noise, but nothing disturbing.

Canon EOS 7D, EF 300mm f/2,8L IS USM 1/1250sec f/5,6 ISO 640

I had the noise filtered with a moderate filter.

The ISO 1000 and the ISO 1250 weren’t more slushy than the ISO 800 therefore I only used the medium filter for the good outcome. using the ISO 1600 there was noisier but it’s perceptible with the bigger sized print. It is still a good result. The ISO 2000, ISO 2500 and the ISO 3200 are very noisy but in the Digital Photo

Professional program we can set the Luminance Noise Reduction at 07, the Chrominance Noise Reduction at 10, so we can have a reasonable result. These pictures are only enjoyable in A/4 size.

The ISO 4000, ISO 5000 and 6400 represent making a serious compromise, but I wouldn’t recommend their high sensitivity for nature photography.

All in all, I advise using it from

ISO 100 to 1250 in the field. Don’t forget taking a 32 GB card since the RAW pictures are 21-22 MB big.

field experiences The first testing took place in the grey crane’s favourite gathering area. There was cloudy but sunny weather when I set up my tent and waited for fortune to smile on me.

Canon EOS 7D, EF 800mm f/5,6L IS USM 1/800sec f/8 ISO 400

I put a Canon EF 800 mm f/5,6 L IS USM lens on my EOS 7D equipment. I needed this because the cranes are very shy here, in the Hortobágy, as I was testing the autofocus first and foremost I set the camera at ISO 640 and put focus system for 19 point automatic AF and I chose the pursuit focus (AI servo). I was wondering how far off the focus and light metering would be. It’s not easy taking photos of moving birds with such a huge lens but I wasn’t disappointed in the new system. The birds started to cluster together, around 3500-5000 cranes flew over my tent and in the sky so I had numerous opportunities to test the focus system. The outcome was fantastic, the EOS 7D did a good job together with the new light metering system. The new light metering is working as follows: based on the focus, colour and light (iFCL) data, the intelligent processor executes and evaluates the measurements in 63 zones, then sets the sharpness, the colours and the lighting rates. Why is it good for us? The cranes came to contrast light many times and as with the older machine it so happened many times that the power of the sun had deceived the AF system. The EOS 7D had overcome this difficulty, the pictures’ sharpness-unsharpness proportion was 90% in favour of sharpness.

The next morning when I took pictures of the shy cranes in a well built hide, I used two lens: the Canon EF 300 mm f/2,8 L IS USM and the Canon EF 800 mm.

I had a fantasic opportunity to take pictures of the birds in a suddenly warmed up weather as they were bathing in the water. I used the AF zone setting for to prevent the system sharpening on the background or the splashing water. The sight of the dabbling cranes provided me an unforgettable experience. It’s worth mentioning that the exposure compensation could be +- 5 light value, this could come in handy for those who work in AV priority and want to react quickly to the changing light circumstances. Obviously I had tried the video function as well. It hasn’t changed much compared to its predecessor, we can choose among full HD 1920x1080 (25 and 24 fps), 1280x720 (50 fps) and 640x480 (50 fps). Everybody can satisfy their needs regarding resolution and quality.

summary The Canon EOS 7D is a new nature and sport photography camera, with its new developments it is the uncrowned king of the APS-C sensor cameras. For those who already own the EOS 5D Mark II or the EOS 1D, it’s still worth buying it as a second camera. For the professionals it is a must.

Text and photo: Tamás Imre

Spring bird-photography workshop in the Hortobágy National Park

© Tamás Imre

Date: 29th of April to 3rd of May, 2010.

This Workshop gives a unique opportunity to photograph some of the special birds of the World Heritage Hortobágy National Park in Hungary. We shall be hoping to capture as many moments of the target birds as possible with our cameras! This will include both hide photography and stalking. Our Workshop will be led by Tamás Imre professional photographer, Canon Wildlife Ambassador.

With the following key species: Great White Egret, Little Egret, Pygmy Cormorant, Ferruginous Duck, Redfooted Falcon, Collared Flycatcher, Middle Spotted Woodpecker, Hawfinch. Also a wide range of waders and passerines possible. Approximately 30-35 species of birds during the workshop.

Since the maximum number of participants to this workshop is limited to 9 person, we accept reservation in order of registration!

Price: 850 euro / person and SRS is 60 euro The price includes all transport (with minibus for airport transfer and 4x4 cars in the Hortobágy), all

accomodation in the Trófea Nature Lodge, all meals, all guides, available professional photographer assistance, all national park and fisheries entrance fees and the usage of the unique hide system.

Upon request Canon and Nikon lenses are provided with limitation. First evening Tamas Imre will guide you through the secrets of the bird photography.

• On Thursday afternon/evening landscape photo opportunity: sweep-pole well trio.

• Three full day bird photography in fix hides with maximum 3 persons/hide.

• For hide details check out the Sakertour website • Friday, Saturday and Sunday evening photo analysis about the taken photos.

Registration by email : sakertour@gmail.com Or via phone : +36 30 9957765 or +36205575572 The workshop organizer is Tamas Imre, Canon Wildlife Ambassador Co-operation with Janos Oláh, SakerTour

www.sakertour.com

field test

nikon d300s No sooner had I got hold of the Nikon D300s at the start of October that I wanted to try it out on the ground. It just so happened that an excursion to Csákvár had been planned by my friends for that very time, so it seemed ideal to capture the sumac in all its glory. Rise and shine at 3 in the morning – the photographers’ labour of love – followed by a quick breakfast, then on our way to Csákvár, arriving at our destination at 5 o’clock A.M. After overcoming a surprisingly steep mountain side, a beautiful panorama lay before us. A fine drizzle was in the air and the wind gently ruffled the leaves on the trees. The sun started to peek out from behind the mists, providing ideal conditions for photography. I took out the Nikon D300s and the wide angle lens and got the show on the road.

Altought the forest was not yet fully resplendent in its autumn colours – probably on account of the dry weather this year – the sumac gleamed from the foot of the trees and bushes. We got down to work on taking photos and videoing.

Nikon D300s, 105mm f/2.8 Makro 1/100sec f/16 ISO 800

Nikon D300s, 12-24mm f/4 1/5sec f/11 ISO 200

The body: The D300s boasts a DSLR camera in a DX format, enabling the creativity hungry photographer to substantially widen his horizons. The widely recognized ergonomics factor associated with Nikon has been taken one step further on the new model, which features the selection button already part and parcel of the D3 series and the D700. The middle button can be used for starting and stoping video recording.

The quiet exposure mode is ideal for shooting in silence, as the photographer can guide the mirror. This is a real bonus in extreme situations! The separate

info button simplifies the display readout information thereby making it easier to obtain the most commonly settings. Additionally, the camera is equipped with the D-Movie Function, and provides a built-in editing function. The user can swiftly change from stationary picture to stereo sound video function. Similarly to the D5000 and D90, the video feature provides HD resolution. This represents maximum 1280x720 pixels, from which we can make at most 5 minutes clips, together with sound recording if desired.

The D300s is capable of recording sounds thanks to an exterior microfone, and given the right

accessories this can be achieved in stereo, too. An important refinement to the video function is the fact that we can now use a contrast sensitive autofocus while recording a moving picture. The extremely sensitive CMOS registers 12.3 megapixels, while the series recording speed is an astonishing 7 pictures / second. In the body’s card slot CF and SD, or a SDHC card can be used simultaneously, serving to produce more creative output. For example, its possible to set it up so that the photos are stored on one card while the videos on the other. The NIKON’s famed 51 point AF system facilitates not only wide coverage

but also a precise and fast setting in poor light conditions. The taken pictures options simplify the post production of the images taken. The big resolution, 7.62 cm, 920000 pixel LCD panel supports the D-Movie mode and the Live View option. Particularly useful is the virtual horizon, making light work of keeping the camera straight. The camera wide array of service functions is enriched by the finely adjustable Active D-Lighting, which provides the foundations for the automatic burst and the silent exposure mode. In terms of handling the Nikon D300s only slightly differs from its predecessor: they left out the card

slot opener, while the info screen and Live View switches are now seperate buttons. What’s more, the navigation button has became more user-friendly. Durable but light, its well-sealed magnesium alloy fittings protects the insides of the D300s.

Summing up the attractions: The D300s boasts a video mode with sound recording and autofocus, video editing, large flash coverage (16 mm equivalent), quiet shutter-release mode, selfcleaning sensor unit, Live View, EXPEED processor, HDMI output, dust and moisture resistance body, shutter mechanism with

150000 cycles, virtual horizon, copyright data saving, optional GPS connection and AF assist.

Whoever buys this model will not be disappointed. They will rather be the proud owner of the currently best-equipped and most up-dated Nikon model.

The morning quickly passed, and, complete with photos and videos, we slowly parted company with the beautiful autumnal landscape and headed for home. The Nikon D300s did its job to perfection.

Text: János Szekeres Photo: Anikó Imre

young talent

Martijn Roos

Interview by Adrien Imre Did you learn photography in class or did you teach yourself?

I’ve never attended a course , a school or the like, so it’s mainly self study. I’ve studied a lot of other Dutch nature photographers, for example Jaco Ottevanger. (www.jacoottevanger.nl) In my first year of photographing my pictures left a lot to be desired,, but every ruined picture just motivated to shoot something good.

Do you have a mentor or tutor who can help you analyse your work and give you inspiration?

I’ve already mentioned Jaco Ottevanger, he examined my photos critically and is a big source of inspiration for me in bird photography. Several internet communities are assisting me in improving my pictures, too. Other sources are Ben Hall, Marsel van Oosten, André Maurer and Vincent Murier.

Impressionism also provides an additional source of inspiration.

What is your opinion regarding talent? Do you think endurance is enough to become a nature photographer?

Without natural talent you can still attain a satisfactory, technically competent level. But only the talented photographers will stand out from the crowd, their pictures are not merely registration ones.

Everyone with the necessary equipment is able to shoot regristration pictures, as is the case with birdphotography today. A good photograph is more than a sharp, good quality picture. Expensive lenses do not guarantee good results. Good pictures feature an element of passion which is absent in registration.

Common Frog, when the light started to be gold, Canon EOS 40D, Tamron 90mm f/2.8, 1/100sec f/5 ISO 500

Common blue, shot trough some flowers, Canon EOS 40D, Tamron 90mm f/2.8, 1/320sec f/4 ISO 250 Your website contains a lot of portraits and other subject types. Which came first chronologically, nature subjects or other types?

I started with nature because it allows for development through trial and error: it doesn’t matter if the pictures don’t turn out well.

Jaco Ottevanger took me into the field and taught me the principles of (nature) photography. Now being capable of producing technically good pictures I’ve moved onto shooting people

among other subjects. Portraits have always constituted a pleasant diversion.

You won the Your Crew Category on European Wild Wonders competition with your entry entitled „Frog”.How did it change you and did you get more absorbe in nature photography?

Winning a competion always gives you a boost to your photography. Winning something makes you more motivated. Since the award image I have spent

Very early in the morning, Damselfly, Canon EOS 40D, Tamron 90mm f/2.8, 1/1 more time outdoors.

What kind of equipment is needed for your macro photos?

I use a Canon 40D and a Tamron 90/2.8 for macro. I rarely use my tripod or a flash for macro.

Sometimes I use my reflectors to fill in some shadows. I almost always use my Tamron at F2.8. The bokeh of my Tamron is lovely.

On your landscape pictures we can feel the atmosphere of the light. How important is to you?

For me it’s very important. With landscapes you can wait for

Blue-tit godwit, half an hour before sunset, Canon EOS 40D, Sigma 70-300mm f/4-5.6, 1/1000sec f/8 ISO 640

125sec f/2.8 ISO 500 the best light, that is the beauty of landscape photography.

You can wait until the light is most conducive to your kind of landscape. For beautiful Dutch clouds I like the harsh contrasting light, but for for waterscapes I prefer the warm light of the mornings or evenings. That means you having to get up at 5 o’clock in the summer, but it’s worth it.

I treasure mornings more than evenings because the light is very soft and nicely coloured, often accompanied by dew or fog.

Damselfly, Canon EOS 40D, Tamron 90mm f/2.8, 1/125sec f/2.8 ISO 100 Do you have any favourite photos?

The pictures in this interview are my personal favourites. Of course the pictures the works of Ben Hall, Marsel van Oosten, André Maurer and Vincent Murier are favourites, too.

What would you be your message to a young photographer just starting out?

Spend the bulk of your time out in the field. Show persistence, listen to comments and critisism on your pictures and analyse the

works of great photographers.

Decompose each good picture you see; what kind of composition is used, what was the depth of field in question used, why backlight used, etc.

What is your website address where we can see your photos?

My personal website is www.martijnroosfotografie.nl.

Every message in my guestbook is appreciated, feel free to leave your comment.

Life Underwater Sharks in the Bahamas

The Bahamas might remind you of the sunshine, palm trees, the white sand, and the luxury holidays, but for me it is more than careless sunbathing on a sandy beach. I have heard a lot about the sharks of the Caribbean Sea, mainly the tiger sharks that are considered one of the largest predatory sharks and can be found in crystal clear shallow waters.

Video by Zsolt Sasdi

Hungarians on top At the end of the pier, Jim`s ship the Shear Water was waiting for me. The nine of us spent the next few days and together with the four-member crew on board the 20 metre-long ship.

Guests had come from America, England, and Germany and of course Hungary. Jim greeted us as the first Hungarian guests on board. We spent the night preparing the cameras and the equipment, and then went to get some sleep. At night I woke up from the noise of the engines: I dreamt that we had already left, and the weather conditions were also favourable. Then the sea rocked me back to sleep and I continued dreaming about sharks.

We arrived at Freeport by the next morning, where we received the necessary papers. Finally, we could go to our first diving site.

Jim oriented us during the cruise that began with the guests telling about their experiences of sharks - who saw what, what size and where. Then we had a really interesting presentation on the behaviour of the different species of sharks – mainly on the bigger ones like tiger and bull shark or the great hammerhead - and last but not least on the attitude of the divers. I haven’t mentioned it yet, but we didn’t use a cage for the dives. At the briefing, Jim drew our attention to what happens when a shark shows some interest in our cameras or even would like to taste it (so far it has happened 9 times); or if a large tiger shark is approaching towards us. We got to know how to use our plastic sticks, and not to stay on the surface. Our diving suit must only be black or dark blue and despite the 29-degree water, a hood and gloves are also recommended. During my dives, I have encountered thousands of species of sharks – among them the big white one - nevertheless I got an adrenalin rush when Jim told us that the Hungarian team would go first.

Sean was preparing for anchoring and the baits (plastic baskets, in which fish is placed so that sharks cannot get them) got to the end of the ship and the reef. Meanwhile Caribbean reef sharks (Carcharhinus perezi) had arrived behind the ship – not bad for a start, we thought.

Getting into the water was something out of the ordinary. There was a platform underwater 40 centimetres from the surface behind Shear Water where we sat and jumped into the water from. Why? Jim gave the following answer: When the bait is in the water and there is a big splash, the bigger sharks think it is the really big prey falling into the water. After all this, we went into the water very suddenly, within seconds.

We dived into the turquoise crystal clear Caribbean Sea, and headed to the coral reef a few metres away. I hardly registered the water world underneath, my attention focused on the torpedoes gliding beside me and I was `shooting` them quickly as there were about 15 Caribbean reef sharks circling around us. We were diving for about an hour as there was something wrong with the vacuum, so I was a bit angry, but thought, anyway this was only the warm-up. We spent the day at different diving sites in the neighbourhood and had a good time with the local reef band. I shot as many photos as otherwise in a week. Underwater, we glanced one another and we both knew – this is why we came here.

The next day, we got up early in the morning. It had been my plan – I had devised it in the Red Sea – to take a nice sharp photo when the longimanus (oceanic whitetip shark - Carcharhinus longimanus) is swimming near the surface.

But I cannot stay in the water for hours and we would like to photograph only near the surface anyway. Then the idea come to me that I could shoot from the ship using a remote release.

I had a couple of ideas on how to attach the camera because it weighed 12kg and it was quite a big weight. I made a telescope from a hoe at home, but it was only 1.5m. No problem, we thought, we`d get one in the States. Before boarding, we bought a more than 3-metre long fibreglass stick. We had set up the equipment in the dark and on the first Bahaman morning we were sitting on the platform ready to shoot the longed-for photos.

Plastic basket for elevenses By the morning, the lemon sharks had appeared (Negaprion brevirostris), that are about 2.5 metre-long slightly frightening but peaceful creatures. More than a dozen were swimming around the ship becoming the central theme of our photographing. We spent the rest of the day in Chain that got its name from the more than a hundred-year old chain stretching across the sandy beach. The dives were quite easy: getting in the water, swimming as far as about 8-10 metres in the warm water in the slight stream, I just had to push the shutter release as we could find a lot of topics. When we got hungry or out of oxygen, we just went up filled our flashes, had some rest and returned to the water. At the end of the day we spent among the lemon sharks, we named our new friends lemonade sharks. I was talking to Jim on the deck in the evening twilight and I recognized that there is no Zodiac on board in case of a drift. When I asked him about it, he surprised me. `Oh, we had about 3 of them, he said, but the tiger sharks bit them apart so nowadays we ignore using them.` I stared at him incredulously when he continued: `Believe me; they attack everything they find floating at the end of the ship.

That was the point when I decided not to improve my waterskiing skills on this trip. We began the next morning like the previous one: half pictures at the first rays of the sun. We shot a lot and it was not easy to catch the right moments but we didn’t give up trying. We saw several pictures in which the `lemonade` shark can be found with its mouth open and we said that we could do with some more of these. `Ok guys, it is possible, but we have some problems. We need fresh fish.` It is not an issue, we said, the sea is full of fresh fish. After some hours of fishing our box was full of fish. Problem solved. In the other position the shark`s mouth is open, but the bait is no longer in the picture, but due to the use of the fish-eye lens the camera got closer. This was the source of the problem. Jim told us that it happened almost about a hundred times that a lemon shark bit some parts of the camera causing lasting damage to the 1000 euros worth of glass. It was not the financial loss that came to my mind first, but the fact that if it happened I wouldn`t be able to continue photographing. That is why we thought through things and decided to take the open-mouth photos on the last day. It was time for diving and we went to a depth of 20 metres, making it the deepest dive of all this week.

This time the group was mixed: Caribbean and lemon sharks also appeared with a headcount of 25 or more. When our time was up, we took turns with the other teams. We were waiting for them to return so that we could dive again. Jim excitedly told us that he had encountered a 4 metre-long hammerhead (Sphyrna mokarran) and showed the picture of it. Then we put on our suit as quickly as possible and were heading down into the deep. I had been eagerly looking for the sharks as I am really attracted to them and I could only see a different type of the great hammerhead in Cocos and Sudan. Unfortunately, I could not find any this time either so I concentrated on the old `friends`.

When about half of our diving time was up, one of us knocked on their tank. I paid particular attention as it meant something interesting would happen, maybe the great hammerhead had returned. I was staring at the blue water above the reef and saw something very interesting coming, something more than average shark. It was approaching like an American submarine majestically moving slowly forward. Other sharks excitedly streaked beside it like torpedoes. Getting closer, its striped body confirmed to me that yes, this is it. A nearly 4-metre long female tiger shark (Galeocerdo cuvier). It swam 4 metres past us giving us a glance with its big black eyes, and stayed on track towards the bait. After a short sniff, it opened its jaws wide apart and snapped at the cage that immediately fell to pieces leaving fish pieces in the nearby area. No wonder that the sharks from the neighbouring waters come to this some cubic metre area.

It came to my mind that at the briefing they mentioned that only tiger sharks can bite through the bait cage. In this case it is worth staying in the background because this is when the party begins. We got a piece of the action at first hand, witnessing to chaos for themselves.

The big `boss` sometimes bit the little ones when they got into its way. Then came the next cage that the shark destroyed with similar ease, though the plastic lid of the cage stuck into the striped jaws of the shark. It started to open its jaws several times to try to remove the black piece of plastic. During all this time, we were only some metres away from the bait with Bumbi.

I tried to pretend to be some kind of a cliff or a coral; I could not believe my eyes. I couldn’t take photos; I only stared through the mask. I realized that if the shark had coped with this plastic piece then we could easily be the main course. We knew that it could destroy our tank and cameras as well. But then came the unexpected; the current got stronger, and my computer beeped to stop for a moment while heading up to the surface.

I thought – good - I`m getting out of oxygen, the stream also prevents me from going up normally, plus here is a tiger shark that is eating a plastic piece for dessert like I usually eat a vanilla wafer. For some minutes we were watching the water carefully underneath, and at that moment I was already standing on the deck. I didn’t linger with taking off my flippers; I just exploded from the water. We had some rest and packed our stuff in astonishing silence.

circus tigers The next day we went to Tiger Beach named after the tiger sharks living there. By the end of morning we had taken all the lemonade from the surrounding diving sites and met familiar faces at the morning half pictures. We tried the open-jaw pictures as well. We were lucky as in two cases only our sunblind got ruined, the glass remained unharmed and it was not that difficult to remove the broken teeth off the plastic. Then it was time to dive and I observed a big interesting shadow near the ship, so I was almost absolutely sure it was our tiger friend. Jim divides tiger sharks into two types: wild and top model sharks.

The wild ones haven’t met divers so they don’t come close to humans; they are usually shy and stay further away on horizon.

In contrast, the top model types are braver and sometimes come too close. Basic rule: you always have to keep an eye on the tiger shark. When using a bigger camera wait until the shark swims close, do not move the camera away from the shark or push it towards the shark. After the first attack you should watch out because it may come back. Continue this as long as it takes possible to ensure the shark doesn’t swim away. It might so happen that it becomes attracted to our camera and would like to borrow it to shoot some pictures. Unfortunately we don’t have any choices against the lord of the sea. The expensive equipment at best can get away with only some scratches. As we had to stay in vertical position all the time, we didn’t look like any species of fish and it would have been more difficult for the shark to bite us because it would have to turn sideways.

Dรกniel Selmeczi taking photos of sharks

Special rules applied to photographers are that we were not allowed to browse in the search field or delete photos underwater. The basic rule is to watch the big sharks and follow them. Knowing all this, I began diving. We were in the second team, Jim picked us up in 45 minutes and we left. The depth was 6-7 metres, the bottom was sandy, and the waves whirled the sand causing poor visibility. We got into a jam right away, sharks were swarming around us and I didn’t know where to look. The slight current was on our side as sharks arrived against the strong currents and we had to watch only in one direction. I recognized the first striped one approaching on the bottom. It was just coming and coming staying on track, and when it was only about centimetres away from me I had to act as he didn’t seem to change directions, so I let the stronger survive. I didn’t want to fight so I moved upwards and looking down I saw the four-metre long creature, perhaps the most perfect one in nature, swimming below me. Then I heard Jim screaming to watch out the other shark was coming from behind.

I raised my head to face the lord of the sea. I could see only a big nose, a mouth and two tangerineshaped black eyes. It touched my camera a bit, not much only slightly to see what it is. I recognized that its eyes were covered with white layers before our encounter. I turned back and forth intuitively pulling the release button of my camera. The flash went off continuously without a halt, forcing my machine for another exposure. I didn’t really know where I was, I was just looking around trying to follow the events.

I had learnt to differentiate them from the nearby 15-20 lemon sharks. After 20 minutes, I realized that only three of us were left there, Jim, Sean and me, the others had disappeared. I moved to between the two of them, feeling relief in the process, as 3 pairs of eyes are always better than on for following the sharks’ movements. 70 minutes later, with my oxygen level way beyond the safe zone, I still considered it a good performance in this 2 or so metre deep.

As all this got the adrenaline going, we left for the ship. The others had been waiting for us thinking we might have become the baits. We excitedly told them what had happened, and I was in an euphoric state when I could breathe again without a diving regulator.

After only some minutes, I wanted to go back though I didn’t have time to think over the events, I wanted to live them through again. I didn’t even take off my suit, I was just waiting for the tank to be refilled. This time I had the opportunity to have a closer look at these gorgeous, intelligent creatures that had evolved perfectly down the centuries.

The sharks were

approaching less actively, but it was still wonderful anyway. On our next dive, we were with Jim and the events speeded up. Jim, a 50 year-old gentleman, loves sharks more than anything else.

With a big camera in one hand and a plastic basket full of fish in the other, he was watching while his camera was shooting the theme.

As if he was Clint Eastwood from a Western film, the only difference is that the action took place underwater this time. Once

there was a 3,5 metre-long tiger shark `playing` with us for long minutes. Its peculiarity was a big hook hung from the edge of its mouth. Jim suddenly moved to the other side of the shark and tried to take the hook out of its mouth.

I could not believe my eyes. On our last dive, there were 9 `top model` sharks with us. Jim was controlling them as if it was a circus show. It was a fantastic experience, but unfortunately – like all good things - it also came to an end. It

Dániel Selmeczi won these prizes wit Veolia Environnement Wildlife Photographer of the Year 2009

GDT Eur

The Underwater World - Highly Commended

Under

was weird that during this week we hadn`t met other diving ships or any other ships for that matter and that we could dive freely near American waters. We had to take the anchor aboard quickly as the weather forecast wasn’t promising; we were between two tropical thunderstorms. We headed back to Palm Beach under rough conditions with 5-6 metre high waves but our little ship endured them. During the dives, the divers had the opportunity to get to know

the real face of these wonderful creatures. Sharks are considered as wild monsters, in addition, film producers and documentaries give a false picture of them. I have always known, and still do now that sharks do not eat humans. This trip had taught me to save these animals and show the world that they are not worse than other land predators like bears or lions. They do what they need to do at the top of the food chain.

th this photo:

ropean Wildlife Photographer of the Year 2009

rwater World - Highly Commended

Faulty toasters kill more people than sharks, even so if there is a tragic shark attack, the media tends to exaggerate it. These sharks only confuse their prey with humans when protecting their territory.

Text and photo: DĂĄniel Selmeczi

Landscape Photography

Using a Compact Camera It is getting less and less frequent for people to go outdoors, in our globalized fast-paced world families with children go out rather to the malls than to the great outdoors to experience the changing of nature. Although there are still people who prefer being under the light of the sky to the artificially lighted concrete jungle.

During these and similar trips compact cameras come into their own.

Nowadays, compact cameras are in their heyday great varieties being in circulation with different technical features. The most common types have 3x zoom, but there are models with 10x zoom and image stabilizers. I would like to highlight some brands of the wide range of varieties. Canon PowerShot SX10, SX20 or G 9, 10, 11 are worth taking into consideration. From Nikon, the Coolpix P90 or the P5100, P6000 is recommended. From Fuji`s FinePix series the S200EXR, S2000HD and the S100FS are good choices. Olympus targeted the amateur underwater photographers and those who like hiking when it released the µ TOUGH-6000, µ TOUGH-6100, and the µ TOUGH-8000 models.

These cameras are water and pressure proof. It is good for the lovers of winter sports too. From Panasonic`s Lumix series, the FZ8, FZ28 and FZ38 might be useful in your trips. From Sony the Cyber-shot DSC H50, H20 or the DSC HX1 is the winner.

I would like to point out here that zooms and lenses like the f/2.8 are always a good choice.

Pictures free of motion blurs are guaranteed by image stabilizers built in the lenses of Canon and Nikon, while other manufacturers put it in their sensors.

Olympus µ-7010

Panasonic FZ-28

Basic rules for composition While developing image composition, imagine arranging the elements of the landscape we are about to shoot into scenes. Pay attention for the main theme to achieve the best effect. An interesting and unique landscape photo always has an object of interest providing a point of reference for the viewer of the picture. If you have a look at a photo with a specific object in it such as a lone tree, then you already have a main topic. In order to make this picture enjoyable for others as well, you need to be familiar with the rules of composition at least with the basic ones.

The most important part of taking a picture is to find out where to put the different components of the land. A photo is aesthetically pleasing only if the elements are arranged in the right compositional way. A significant number of photographers say that it is not the equipment that is important but rather the artists’ own point of view.

We give a detailed description on the rules of composition that I recommend for studying in our column Fotosuli (Photo school) from our previous issues. These articles are published in issues 1/2009 p 28-30, 2/2009 p32-37 of Nature Photo Magazine.

Compositional Techniques Do not use digital zoom as it may result in lowquality photos because in these cases it uses only a part of the sensor. It is preferable to make changes to the photo later. You should do it at home and not when photographing outdoors.

Bear in mind the following when adjusting the camera: for beginners it is recommended to use the icon of the landscape photo adjusted with a mode dial. In this case the distance goes to infinity mode on the lens and the camera controls apply narrow aperture to take sharper pictures. What is important here is to pay attention to certain details. For example when the camera displays the icon of a shaking hand warning that it would be blurry, it`s highly recommended to put the camera onto a tripod.

If you don’t have one, you need to stabilize the camera, for instance on a stone or your camera case, thus preventing blurriness.

More advanced photographers should set their cameras to priority A or Av and choose the aperture to get the appropriate depth of field. This is good between f/6,3 and f/8 in the case of compact cameras.

When landscape photographing, it is important to pay attention to the foreand background and the position of the horizon. Highlight the significant elements and let the viewer feel what you felt when capturing the scenery. When it is possible to adjust minimal M settings it`s worth experimenting.

When choosing the image quality use the highest resolution this way we can shoot more details. The smaller the compression the better, so use the JPEG large. It is better to apply RAW file format if you have it on your camera. Of course, in this case you have to finalize the image on your camera using the software that you got thus eliminating the errors. It is essential to use low ISO sensitivity for detailed images; for the basic setting ISO 100 is appropriate. If interested in black and white photographing, you can create pictures with special moods. I would advise not to use the camera settings, but to make black and white conversion in your digital `dark-room`. This way you have more opportunities for creating different tones of grey. If you have `S`or `Tv` priorities on you camera, experiment with the shutter speed.

When shooting moving objects with long shutter speed you can make a dynamic image, for example, with trees blowing in the wind. In this case a tripod is necessary.

You should always use your creativity and let your fantasy run free. Find new ways, techniques, develop your outlook and set out new exciting aims for yourself.

Fuji FinePix S200EXR

Seasons\Periods of day You might ask when the best time is for landscape photographing.

You can choose by seasons or periods of day. Every season is beautiful, but autumn winter and spring are the most appropriate for it as you can take special pictures this time. Regarding the periods I recommend morning and afternoon because lights are much softer and unique. The lights this time highlight the shape of the land that are less noticeable when the angle of the sun is higher.

Accessories You can use filters, by all means favouring polarizing ones and ultra wide-angle lenses that you can attach to the filter of the lens,

creating a wider field of vision. We don’t have answers to the whens, wheres and hows, it`s worth relying upon your own taste but be careful not to go to extremes. Following this advice you can take wonderful vivid photos that you can be proud of.

One more thing

Bibliography Those more interested in landscape photography with a compact camera may purchase the book entitled Landscapes and Cities Taken with a Digital Camera published by Rainbow-Slide.

Text and photo: Béla Szabó and János Szekeres

Always charge your batteries fully. It can be really annoying when being at the most beautiful place bathed in amazing lights when the battery runs down.

It also applies to memory cards, so have enough of them.

www.olympus.hu

DVD review

© Film “HOME” – une coproduction ELZEVIR FILMS / EUROPACORP

HOME Discover the treasures of the World!

life on Earth? How many species are we aware of? A tenth or only one hundredth? What do we know about the interaction between them?

In just 50 years, less than the Experience Yann Arthus-Bertrand’s average lifespan, the Earth has motion picture verse about our undergone more dramatic changes planet and learn about its fragility, than under all previous generations enhanced by recordings shot from put together. Everything is a bird’s eye view. In the course of accelerated, take for example the an adventure through more than fact that the world’s population 50 countries, our HOME leaves has doubled in only 60 years, the viewer garping with the sheer making ever increasing demands beauty of the wonderful landscapes on land for the needs agriculture and creatures it captures. First and and animal husbandry. By the end foremost, however, HOME draws of the 21st century over mining attention to the importance of will effectively exhaust the Earth’s protecting our environment. Life, resources. However, amid all this, the miracle of our planet, has been the biggest problem we face is present on Earth for around 4 billion the immeasurable squandering years, whilst man himself only of resources: mankind has failed some 200000 years. The essence of to come to terms with the fact life is equilibrium, in which every that we can only take what nature creature not only plays an active provides, and we have forgotten role but is also dependent on other that resources are not limitless. Our creatures for survival. Our life is but weakness has brought about the a mere link, in the chain to which all destruction of the natural flow of creatures belong. Nevertheless, we life, on which every living creature humans have managed to upset the depends and which connects one balance of nature essential to life. to another. The wonder that is Earth is a wonder to behold and life our world stands before our very on it will forever remain a mystery, eyes, but we can’t see the wood but what do we really know about for the trees. Mankind has about

a decade to reverse this process.

The key to the solution may lie with the renewal of the harmony between man and nature. Indeed, we already have the solutions, at our disposal. We can make the changes, but so what are we waiting for?

That’s the question posed in the film which also urges the viewer to contemplate how we can do things differently to bring about real change.

I recommend to everyone this extraordinary story which leaves you to decide what action and route to take.

© Ágnes Kiss

Ágnes Kiss and Bence Máté

Csirik, the weasel

September the 8th was a cold, wet autumn day. Around 7 in the evening Bence went out to the dyke, and after half an hour had elapsed, reappeared in the room, his hands closed together. ’I brought you something’, he announced.

When he opened his hands, it came as something of a surprise to see a tiny animal curled up into a ball, the likes of which I had never come across before. It was a small weasel cub, whose eyes were still closed.

© Bence Máté

„Until one has loved an animal a part of one’s soul remains unawakened.”

(Anatole France)

Weasels can give birth to young up to twice in a year as long as they find suffic9ent food.

This particular little new animal belonged to a second litter. Upon closer inspection I observed numerous minute, black insects running all over it. That prompted me to set about examining it more thoroughly, while at the same time I speculated what the best course of action would be from the animal’s point of view: take it back to where Bence found it, or keep it with us to raise.

We are often wrong in thinking that those cubs we come across by chance in our comings and goings, are actually orphans. You need both natural science and general knowledge, with regard to animals living in the wild, in order to be able to make a suitable decision and differentiate between an orphaned cub and one „left to its own devices for a while” .

After briefly weighing up the situation I decided to keep it. The arguments for: 1. we had already touched him and took it from the place it was found, 2. Bence found it on open ground, which is unusual at this age, 3. the weather was chilly and wet, 4. its body was covered in parasites, 5. probably it was the weakest link, could it be that its mother took it away from its home on purpose?

Arguments against: suppose the mother had moved the offspring to another place (for example, due to wetness in their hiding place or an invasion of parasites).

I tried to focus on the steps I would have taken int he past in similar situations, based on my experience acquired over several years regarding the rescuing and rehabilitation of wild animals.

The principal and most important task is ensuring, the animal’s constant body temperature, all the more so as at this age they cannot do it for themselves (particularly if the body is still hairless) and will cool down quickly.

The most suitable solution is either an electrical warming pillow or infra red lamp, in their absence a hot water bottle will do for a while. The next step was starting to pick the parasites out of its hair and skin. The poor little weasel was covered from top to toe with maggots which had to be removed by tweezers one by one.

On the first evening even after waging war on the parasites for several hours (there were fleas and ticks as well) I still didn’t manage to rid him of all of them.

Furthermore, I was starting to itch something wicked. For the night I placed it in a cardboard box lined with towels. But this night, as with

© Ágnes Kiss

Ágnes Kiss won the following prize with this photo: Naturart nature photographer of the year 2009

Photozoo - winner

article’s sponsor:

Csirik is sleeping

the subsequent three, was characterized by a lack of sleep: the young weasel didn’t stop wimpering until I put my hand next to it. The body heat and the physical contact probably served to calm it. Unfortunately I couldn’t find a suitable-sized rubber tit anywhere, so I resorted to a nose pipe at feeding time, which perhaps actually functioned better than a syringe, as the small creature could control the milk intake itself. I performed the feeding systematically, every 3-4 hours (at night, too), composed of a milk substitute powder to start with and progressing after a week to milk substitute mixed

with mouse meat (and vitamins + bone strengthener), finally leaving milk substitute off the menu completely.

I called the little cub „Csirik”, after the weasel featuring in the novel entitled ’Vuk’, by István Fekete.

Csirik weighed about 20 g when he ended up with us, and measured 10 cm in length together with his tail. Its gender and age couldn’t be established at first, but before long we discovered we had a little girl on our hands. Csirik developed well and became even more active.

As we mainly worked from home at that time, I could spend a lot of time with her. She liked most

to sleep, covered in a blanket, on my stomach, while I was occupied with planning Bence’s website. We soon built up a close relationship, and if I was not in her proximity she kept calling me in a crying voice until I put her between the pleats of my clothes. She slept the most part of the day, and when her eyes opened she started to explore the world around her.

At first she crawled and climbed gingerly, adapting herself to the lie of the land. I often took her into the garden to enable her to get accustomed to the natural environment so I snuggled down on the grass and let her climb in and out of the sleeve of my

pullover, her favourite place of residence.

Weasels int he wild - eating mainly mice and voles - spend a huge amount of time in these animals’ tunnels , where they could easily hide due to their long and sleek body form. Csirik did the same, only in lieu of the absent excursions into nature, she did it in my clothing and in the blankets and rags specifically positioned around the house.

We often played a game of „catch me if you can”, and delighted at either hiding and letting me search for her, or trying to catch me herself.

The fully grown weasels are active all day long, which their fast metabolism necessitates.

In the wild they live a mere few years, and it’s interesting to note that the females become fertile very early at 8-9 months of age.

Mustela nivalis is the world’s smallest mammel predator. I had the opportunity to witness its extraordinary efficiency hunting when it had reached its full size and learned to catch mice.

Csirik spent 2 months with us.

I learnt a huge amount from her, and she gave me numerous happy memories and pleasure.

However, on November 8th Csirik was handed over to „foster

parents” because of our Costa Rica expedition. The parting was difficult but I knew that she was going to a good home.

An enthusiastic and understanding team shouldered the responsibility of looking after her until the next spring, when I planned to release her into freedom.

I would like to express my gratitude to Dr. Mária Tóth, Annamária Tajti, dr. Zsolt Kalotás, Cintia Garai, Zsolt Marcell Tóth, Attila Dávid Molnár and Bence Varga Kittner for all their enthusiastic cooperation.

Text and photo: Ágnes Kiss

VEOLIA ENVIRONNEMENT WILDLIFE PHOTOGRAPHER OF THE YEAR 2009 The winners of the Veolia Environnement Wildlife Photographer of the Year Competition 2009 were unveiled last month (21 October) at a glittering award ceremony held at London’s Natural History Museum.

This year’s overall winners, Veolia Environnement Wildlife Photographer of the Year and Veolia Environnement Young Wildlife Photographer of the Year, are Spanish photographer José Luis Rodríguez and Scottish teenager Fergus Gill. The best of this year’s entries, including all winners, runners-up and commended photographs across the competition’s 17 categories will be showcased in a visually stunning exhibition that opened at the Natural History Museum (23 October).

Last year’s exhibition attracted more than 161,000 visitors. More than a million others are expected to have seen the 2008 images at international and regional venues when the tour concludes.

The competition is owned by London’s Natural History Museum and BBC Wildlife Magazine and is regarded as the international leader in the artistic representation of the natural world.

The 2009 competition and exhibition at the Natural History Museum are sponsored by Veolia Environnement. They are a world leader in environmental services, working with businesses, communities and governments to minimise our daily impact on the environment we have a communal responsibility to protect.

Chair of the judging panel, Mark Carwardine said, ‘While there is no magic formula for winning and no hard and fast rules to explain why one photograph wins and another doesn’t, all winning shots have one thing in common – originality. The judges are looking for something that stops them in their tracks.

The competition plays an increasingly crucial role in raising the profile of wildlife photography and generating awareness of conservation. Nothing speaks louder than an evocative photograph that stirs the imagination, tugs at the heart strings and engages the mind.’ Photographers can enter next year’s competition online from January to March 2010. For further details about the competition and its various categories, or to enter online, visit www.nhm.ac.uk/wildphoto

The

When José Luis realized he ha his fear had been that the wol livestock (which they hunt wh though they have always lived c a subspecies of the grey wolf – i shutter-speed to reveal the moo get the exact framing that he ha that can be used to sho

Hass

Veolia Environnement Wildlife Photographer of the Year 2009

Overall Winner

storybook wolf © José Luis Rodríguez (Nationality - Spain, Country of Residence - Spain) / Veolia Environnement Wildlife Photographer of the Year 2009

ad got the shot of his dreams – one that he had even sketched on paper – he couldn’t quite believe it. From the start, lves would be too wary. Iberian wolves have always been persecuted by people who see them as a threat to game and hen natural food is scarce) but also because of ignorance and superstition about the supposed danger they pose. Even close to humans, there are no verified incidences of them attacking people. In Spain, the population of Iberian wolves – is thought to number 1000-2000 in the north, with a few tiny, isolated populations in the south. José Luis risked a slow onlit sky and conjure up the atmosphere of the place. He switched from using his Nikon D2X to a Hasselblad so he could ad in mind. What José Luis hopes is that his picture, ‘showing the wolf ’s great agility and strength’, will become an image ow just how beautiful the Iberian wolf is and how the Spanish can be proud to have such an emblematic animal.

selblad 503CW with a 6x6 Fujichrome backing + Planar 80mm lens; 1/30 sec at f11; ISO 50; purpose-made Ficap infrared camera trap.

Veolia Environnement young Wild

15-17 years o

Clash of the yellowhammers © Fergus Gill (Nationality - U Veolia Environnement Wildlife

The planning for this picture started in the summer, w specifically as winter food for the yellowhammers. One the next morning, Fergus set up his hide in the garden, ‘I woke early and got into the hide to wait. After a few h 32 yellowhammers feeding on the ground.’ After anothe began jumping up an

‘Every so often I would see a fight between tw spats were incredibly fast.’ This, however, was the event his shot, capturing both the clash

Nikon D300 + Nikon 200-400mm f4 le

dlife Photographer of the Year 2009

old - Winner

United Kingdom, Country of Residence - United Kingdom) / e Photographer of the Year 2009

when Fergus collected sheaves of oats from a local farmer e evening in February, hearing that snow was forecast for hung out feeders and carefully positioned a sheaf of oats. hours, the garden was full of birds. At one point I counted er couple of hours, more snow fell and the yellowhammers nd feeding on the sheaf.

wo males over ownership of the oats,’ says Fergus, ‘but the t he decided to concentrate on. Two days later, Fergus got h and the composition he’d planned.

ens at 220mm; 1/1000 sec at f5.6; ISO 500.

Veolia Environnement Wildlife

Gerald Durrell Award for Endang

The look of a jaguar © Tom Schandy (Nationalit Veolia Environnement Wildlife

In a small, protected area of swamp-forest in the weste jaguars still roam free from human harassment. They’re n most people get. Along the riverbanks, though, it’s poss Paraguay, he saw four jaguars in three days. This male had for prey such as capybara. Tom observed him for an hour. sunset, the jaguar rose, yawned and scent-mar

Canon EOS-ID Mark III + 500mm f4 le

e Photographer of the Year 2009

Endangered Wildlife - Winner

ty - Norway, Country of Residence - Norway)/ Photographer of the Year 2009

ern area of the Pantanal wetland, in Mato Grosso, Brazil, notoriously difficult to see, and pawprints are as lucky as sible to spot them. When Tom took a boat down the Rio d picked a slightly concealed spot where he could watch ‘He was totally calm, even though he was aware of us.’ At rked. Then he faded back into the dense forest.

ens; 1/250 sec at f4; ISO 400; beanbag

Veolia Environnement Wildlife Photographer of the Year 2009

Nature in Black and White - Winner

Starling wave © Danny Green (Nationality - United Kingdom, Country of Residence - United Kingdom)/ Veolia Environnement Wildlife Photographer of the Year 2009 Starling populations in the UK swell in December and January as birds from the Continent head for milder wintering areas. Huge flocks roost in many spots throughout the country, and as Danny has been working on a long-term project to photograph these impressive roosts, he has visited most of them. ‘This gathering,’ says Danny, ‘was by far the most impressive I have ever seen.’ The location was Gretna Green, Scotland. The stage was set: a perfect evening, hundreds upon thousands of starlings. And then the main character appeared, off stage-left – a peregrine falcon, which sent ripples of pulsating panic throughout the entire flock. ‘I used a slow shutter-speed,’ says Danny, ‘so I could accentuate this lovely sweeping movement as the birds exploded over farmland and trees to escape the hunting peregrine.’

Canon EOS-1Ds Mark II + Canon 70-200mm lens; 1/3 sec at f2.8; ISO 400.

Veolia Environnement Wildlife Photographer of the Year 2009

Animal Behaviour: Mammals - Winner

Boto water polo © Kevin Schafer (Nationality - United States of America, Country of Residence - United States of America)/ Veolia Environnement Wildlife Photographer of the Year 2009 A pair of wild Amazon river dolphins, or botos, play with a floating macucu seed in a tributary of the Rio Negro in Amazonian Brazil. In the tannin-rich water of silt and rotting vegetation they appear almost orange, though their actual colour ranges from grey to pink. ‘Often in the afternoon,’ says Kevin, ‘I noticed that they stopped feeding and took time to play with objects, sometimes picking them up and throwing them like a game of dolphin water polo.’ Some scientists believe that the players are male dolphins showing off to females. ‘I saw this behaviour many times,’ says Kevin, ‘but it took the construction of a floating platform above the river to be able to shoot the action from the right angle.’

Nikon D3 + Nikon 70-200mm lens; 1/320 sec at f5.6; IS0 1000.

GDT European Wildlife Photographer of the Year 2009

Overall Winner

In A Carrera watchin small ra in that He pos

C

GDT EWPY 2009 © Juan Tébar Carrera (Spain) Buitre leonado en la carroña – Griffin Vulture feeding in a Carcass

GDT EWPY 2009, Fritz Pölking Award © Kevin Schafer (USA) - Boto Spiral

GDT EWPY 2009, Kevin Schafer (U

Alcornocales National Park, where Juan Tébar took his award-winning photograph, he was ng griffon vultures which kept approaching a ange of hills. With his curiosity aroused set off t direction and to discovered a goat’s carcass. sitioned his equipment in the carcass and the vultures did the rest for him.

Canon EOS I D Mark II, Canon 2.8/15 mm Fisheye, ISO 100, Canon Makro-Ringblitz MR-14 EX, Canon LC-5 remote control

9, Fritz Pölking Award © USA) - Boto Portraits

The European Wildlife Photographer of the Year Lünen – The European Wildlife Photographer of the Year 2009 is Juan Tébar Carrera from Spain. Garish colours; action; death. All this from an unusual, shockingly direct perspective.

At the centre of it a vulture – a bird symbolic of many things we would rather wish to exclude from our daily lives. With this remarkable photograph Juan Tébar Carrera came out top in a first class field of European Wildlife photographers.

The award, carrying prize money of Euro 2000 and sponsored by the company CANON, was made to him at the 17th GDT International Nature Photography Festival, held between 23 - 25 October 2009 in Lünen, North Rhine-Westphalia. His photograph beat a field of more than 8500 entries from 29 countries. For the 9th time the GDT (Society of German Nature Photographers) awarded this prize which is open to professional and non-professional photographers from all over Europe.

The international special prize, the Fritz Pölking Award, likewise with prize money of Euro 2000, which the GDT hosts together with Tecklenborg publishing house, was won by American Kevin Schafer. His photographically demanding report on the life of the Amazon river dolphins with details never seen before impressed the jury deeply. The Fritz Pölking Junior Award with Euro 1000 prize money was won by seventeen year old Fergus Gill, with a portfolio on his native Scotland.

“This year’s winner – a griffon vulture feeding on a carcass – seems a shocking photograph at first.”, said Professor Dr. Beate Jessel, President of the Federal Agency for Nature Conservation and the contest’s patron. “When it comes to protecting biodiversity we cannot do without this openmindedness towards other perspectives and the willingness for debate as well as dialogue which is precisely what this photograph invites us to do! What we need to achieve this are not only pictures of unspoiled nature but in particular true to life photographs with by all means stirring and polarizing aspects.”

The award “European Wildlife Photographer of the Year” is presented annually by the GDT. Photographs could be entered in eight different categories as well as for the Fritz Pölking Award and Fritz Pölking Junior Award. This year again, the topclass jury, consisting of Theo Bosboom (Netherlands), Maurizio Biancarelli (Italy), Florian Möllers, Dr. Siegmar Bergfeld and Ariane Müller (all from Germany), put in a lot of effort to reach difficult decisions.

The contest “GDT European Wildlife Photographer of the Year” is owned by GDT / Gesellschaft Deutscher Tierfotografen.

Bir

GDT European Wildlife Phot

Winner

GDT EWPY 2009 © Ewald Neffe (Austria) Bergfinken am Schlafplatz – Bramblings at their resting place Nikon D300, Nikon 4.0/200-400 mm, ISO 400, tripod

Highly Co

GDT EWPY 2009 © Lucha en la nieve – Canon EOS 40D, Canon 4.0/500 mm IS

Mamm

GDT European Wildlife Phot

Winner

GDT EWPY 2009 © Marsel van Oosten (Holland) Olifant bij Victoria Falls – Elephant at Victoria Falls Nikon D2X, Nikon 2.8/28-70 mm AF-S, ISO 200, tripod

runne

GDT EWPY 2009 © Mo Kæmpende hare Nikon D2X, Nikon 4.0/20

rds

The contest “GDT European Wildlife Photographer of the Year” is owned by GDT / Gesellschaft Deutscher Tierfotografen.

tographer of the Year 2009

ommended

© Oscar Diez (Spain) – A Fight in the Snow IS USM L, ISO 200, tripod, camouflage tent

Highly Commended

GDT EWPY 2009 © Francisco Mingorance (Spain) Cigüeñas bajo las estrellas – Storks under Stars Nikon D3, Nikon 2.8/24-70 mm, ISO 100, tripod, flash and flash extender

mals

tographer of the Year 2009

er-up

orten Hilmer (Denmark) er – Fighting Hares 00-400 mm, ISO 400, tripod

Highly Commended

GDT EWPY 2009 © Danny Green (Great Britain) Brown Bear at dawn Canon I D Mark II, Canon 2.8/70-200 mm, ISO 400, tripod

Other an

GDT European Wildlife Phot

Winner

GDT EWPY 2009 © Jasper Doest (Holland) Gelijkenis - Similarity Nikon D3, Nikon 2.8/14-24 mm AF-S, ISO 200

Highly Co

GDT EWPY 2009 © Ed Vlieg op paddens Nikon D200, Tamron 2.

Plants and m

GDT European Wildlife Phot

Winner

GDT EWPY 2009 © Michel Roggo (Switzerland) Giessenlandschaft – In a groundwater-fed Stream Canon EOS 5 D Mark II, Canon EF 1.4/24 mm L, ISO 100, Hugyfot uw housing

Highly Co

GDT EWPY 2009 © Ist Nárcisztikus álom Nikon D200, Nikon 3.5-5.6/

animals

The contest “GDT European Wildlife Photographer of the Year” is owned by GDT / Gesellschaft Deutscher Tierfotografen.

tographer of the Year 2009

ommended

dwin Giesbers (Holland) stoel – Fly on Fungus .8/90 mm Makro, ISO 200

Highly Commended

GDT EWPY 2009 © Yiannis Issaris (Greece) Aiwrhsh se ygro diasthma – Floating in Space Nikon D200, Tokina 3.5/10-17 mm, ISO 200, 2 Inon Z240 uw flashs, Subal uw housing

mushrooms

tographer of the Year 2009

ommended

tván Kerekes (Hungary) m – Narcisstic Dream /16-85 mm VR, ISO 250, torch

Highly Commended

GDT EWPY 2009 © Ferenc Somodi (Hungary) Sárga a kéken – Yellow on Blue Nikon D200, Nikon 2.8/20 mm, ISO 125, Nikon flash SB-600, tripod

Landscape GDT European Wildlife Photographer of the Year 2009

Highly Commended

Winner

GDT EWPY 2009 © Rafael Rojas (Spain) Brumas Doradas – Golden Mists Nikon D300, Nikon 2.8/24-70 mm, ISO 200, graduated grey filter, tripod

GDT EWPY 2009 © Christian Skauge (Norway) Krazy Krab Nikon D200, Nikon 2.8/105 mm Macro, ISO 250, Nexus uw housing, 2 uw flashs Inon Z-240

The contest “GDT European Wildlife Photographer of the Yea

underwater World GDT European Wildlife Photographer of the Year 2009

Highly Commended

Highly Commended

GDT EWPY 2009 © Béla Násfay (Hungary) Otthon – At Home Nikon D200, Tokina 3.5-4.5/10-17 mm, ISO 200, Ikelite uw housing, 2 Ikelite SS 200 uw flashs

GDT EWPY 2009 © Solvin Zankl (GDT - Germany) Zwielichtige Gestalt (C) – Translucent creature Nikon D2x, Leica plan lens 1.0x, ISO 100, tripod

ar” is owned by GDT / Gesellschaft Deutscher Tierfotografen.

Nature’s

GDT European Wildlife Phot

Winner

GDT EWPY 2009 © Pål Hermansen (Norway) Fugledansen – Dance of the Birds Canon EOS I Ds Mark III, Canon 4.0/24-105 mm, ISO 800, Canon flash

Highly Commended

GDT EWPY 2009 © Ferenc Somodi (Hungary) Tükör – Reflected Mirror Nikon D700, Nikon 2.8/16 mm, ISO 1000, tripod

Highly Co

GDT EWPY 2009 © Lu Tessuto Naturale – Nikon D200, Nikon 4.0/200 m

s Studio

The contest “GDT European Wildlife Photographer of the Year” is owned by GDT / Gesellschaft Deutscher Tierfotografen.

tographer of the Year 2009

ommended

uciano Gaudenzio (Italy) – Green Natural Fibre mm AF-ED Macro, ISO 100, tripod

runner-up

GDT EWPY 2009 © Staffan Widstrand (Sweden) Cool Cracks Mamiya 67, 2.8/85 mm, Fujichrome Velvia 50, tripod

Highly Commended

GDT EWPY 2009 © Béla Násfay (Hungary) Kráterek - Craters Nikon D200, Nikon AF 2.8/60 mm Macro, ISO 200, Subalu uw housing, 2 Ikelite DS125 uw flashs

Naturart nature photographer of the year 2009

Nature photo of the year

Etetés © Orsolya Haarberg / Wild Wonders of Europe

One of Europe’s natural wonders is Jökulsárlón in Iceland. A glacier lake with a several kilometer wide glacier (Breiðamerkurjökull) flowing into it. The habitat is unique for th lake is connected with the sea. The seals baffle swarms of herrings into the glacier lake which attracts the artic terns nesting nearby.

Nikon D3, Nikon 4/500D ISO 400, 1/1250 s, f/8

l he e,

Nature Photographer of the Year 2009 - hungary The naturArt – Nature Photographer of the Year 2009 competition, which attracted 4000 entries constitutes the continuation of this preservation. You may well ask how it is possible to judge so many photos and how can the competition’s expectations be lived up to, whereby the photo depicts „natural treasures from at home and abroad, unique wildlife and rare moments, all in the interest of widening nature protection, shaping public attitudes and developing aesthetic value judgements”. In the capacity of President of the Jury I can attest to the fact that – Tibor Dombovári and Balázs Kármán, both winners of the Nature Photographer of the Year Award; Ferenc Markovics, photoartist and no stranger to jury service; Attila Lóránt, famous for his excellent books and exhibitions; Milán Radisics, internationally renowned; and Tamás Vitray, Jr., editor of the National Geographic Hungary – all of them did the business in the course of the three rounds of judging. In the first round the judges viewed the entries via the internet connection, narrowing them down to 1000. The second round, which was public, and could be tracked on www.fotoklikk. hu , the entries were filtered down to around 383. In the third round, the judges decided upon the approx. 100-120 entries for exhibiting, together with the category placings and award winners. The jury’s 10 to 12 hours of deliberation were in the interests of choosing materaial for both exhibiting and for book form, which would inspire the viewer and reader respectively.

In other words, to avoid just producing a mere report on the result of a competition. In that very reason we often examined pictures again, perhaps to reconsider their placings and evaluation. We eliminated the occurance of repetition and copying of material by taking into account previous years’ entries. In the interest of harmony in numbers, we didn’t only compare ’like with like’, from one category alone, but rather evaluated entries across the board, comparing photos from different categories. Consequently, we filtered out very similar works from the more popular categories while at the same time strengthening the turnout in weaker ones. The overall combined effect of this process serves to reinforce the conviction that the strength of Hungarian nature photography and the talent it enbodies stands up well internationally. We trust the visitors to the exhibition coupled with the readers of the book will be able to testify this belief.

Beside the 12 category winner the most creditable prizes: The nature photographer of the year is Orsolya Haarberg, who also won The nature photo of the year award.

The young nature photographer of the year is Rakó Alex.

János Eifert

Naturart nature photog

nature photograp Birds / Winner Glória

Mamma

Éb

Animal portraits / Winner Négyszemközt

orsolya Haa

Landscape / Hi

Északi fény a

Landscape / Highly commended Lovund

grapher of the year 2009

apher of the year

als / Winner

Video: Dömötör Mayer- FotoTV

bredés

Composition / III. prize Partra vetett jégcsodák

Haarberg

ighly commended

a nyírerdő felett

Mammals / Highly commended Ugató sarki róka

Naturart nature photog

young nature photo

I took this photo on the morning before Christmas. We were going to take photos of birds of prey from our newly built hide but to my surprise a 40-60 strong cluster of sparrows also swaggered around us besides the hawks.

Canon EOS 40D, Sigma 50–500 ISO400, 1/160 s, f/8

Tömegverebe

Napkócsag / Highly commended Canon 40D, Sigma 50–500 ISO 400, 1/8000 s, f/11

grapher of the year 2009

ographer of the year

Alex Rakó

edés / Winner

Jégmátrix / Highly commended Canon EOS 40D, Canon 50mm F/1.8 ISO100, 5 s, f/11

Bir

Naturart nature photog

II. prize

NaturArt 2009 © Zoltán Győri - Fegyverek Canon EOS 40D, Canon 400 mm f/5.6L ISO 400, 1/400 s, f/7,1

Highly commended

NaturArt 2009 © Zsolt Dékány - Boeing Canon EOS 30D, Canon 4/70–200 mm ISO 400, 1/30 s, f/11

III. Pr

NaturArt 2009 © Gáb Nikon D200, Sigm 1/1250 s, f/

Highly co

NaturArt 2009 © Cs Canon EOS 5D, Canon EF ISO 800, 1/80

rds

grapher of the year 2009

rize

bor Kiss - Hajnali start ma 300–800 mm /11, tripod

ommended

saba Lóki - Sas-harc EF 400 mm f/2,8L IS USM 00 s, f/5, tripod

III. Prize

NaturArt 2009 © Csaba Karai - Kócsag Canon EOS–1D Mark IIN, 500 mm f/4 IS ISO 400, 1/500 s, f/4,5

Highly commended

NaturArt 2009 © Zoltán Laki - Vágta Canon EOS 50D, Canon 500 mm f/4 IS, 1,4x teleconverter ISO 500, 1/1250 s, f/7,1

Mamm

Naturart nature photog

II. Prize

NaturArt 2009 © Zoltán Laki - A végzetes bukás Canon EOS–1D Mark III, Canon 500 mm f/4 IS, 1,4x teleconverter ISO 500, 1/1600 s, f/5,6

Highly commended

NaturArt 2009 © Dr. János Perényi - Gnúvágta Canon EOS–1D Mark III, Canon EF 300 mm F2.8 L IS USM ISO 125, 1/20 s, f/28

III. Pr

NaturArt 2009 © Csaba Canon EOS 5D ISO 400, 1/1

Highly co

NaturArt 2009 © Frigyes Canon EOS 40D, C ISO 200, 1/1

mals

grapher of the year 2009

rize

a Karai - Antilopcsapat D, 28–70F/2.8 1600 s, f/3,5

ommended

Olma - Gemenci átkelés Canon 300 f/2.8L IS 1250 s, f/3,2

Highly commended

NaturArt 2009 © Gábor Szerencsi - A lopakodó Canon EOS 40D, EF 500/4 L IS USM ISO 400, 1/1200 s, f/5

Highly commended

NaturArt 2009 © István Antli - Feszített tempó Canon EOS 40D, 100–400 mm ISO 125, 1/60 s, f/5

other an

Naturart nature photog

II. Prize

NaturArt 2009 © Ferenc Somodi - Terített asztal Nikon D200, 157 mm f/2.8 ISO 100, 1/2 s, f/14, flash

Highly commended

NaturArt 2009 © András Mészáros - A nyájam Canon EOS 5D Mark II, Canon 50/1.8, 1,4x teleconverter 1/200 s, f/9, flash, beanbag

III. Pr

NaturArt 2009 © Á Panasonic DMC ISO 320, 1/160

Highly co

NaturArt 2009 © Zs Canon EOS 1VHS, Can f/4, Fujichrom

animals

grapher of the year 2009

rize

Ágnes Kiss - Méreg C G1, 200 mm 0 s, f/5,6, flash

ommended

solt Darázs - Modell non EF L 70–200 mm me Velvia 50

Highly commended

NaturArt 2009 © András Mészáros - Szomjoltó Canon EOS 5D, Canon 50/1.8, 1,4x teleconverter 1/120 s, f/9,0, flash, beanbag

Highly commended

NaturArt 2009 © Gergely Parádi - Az utolsó tánc Nikon D200, 70–200 VR 2.8 ISO 400, 1/1000 s, flash

animal p

Naturart nature photog

II. Prize

NaturArt 2009 © Csaba Lóki - Gém és szúnyog Canon EOS 40D, Canon EF 400 mm f/2.8L IS USM + 1,4x teleconverter ISO 250, 1/320 s, f/5,6

Highly commended

NaturArt 2009 © Endre Szabó - A mutatványos Nikon E8700, 41,1 mm f/3,4 ISO 50, 1/2000 s, f/7,4

III. Pr

NaturArt 2009 © Ti Canon EOS 40D ISO 320

Highly co

NaturArt 2009 © Tam Canon Digital Rebel, Sigm ISO 400, 1/1

portraits

grapher of the year 2009

rize

Tibor Polgár - Éhség D, 105 mm, f/2,8 0, f/3,5

ommended

más Németh - Ájtatos ma 50 mm f/2.8 EX Macro 1400 s, f/2,8

Highly commended

NaturArt 2009 © Ágnes Kiss - Végveszélyben Nikon D300, 105 mm 1/180 s, f/3,5, flash

Highly commended

NaturArt 2009 © Lajos Lipcsei - Hahó Nikon D200, 300 f/2,8 ISO 400, 1/5000 s, f/3,5

Plants and m

Naturart nature photog

I. Prize

II. Prize

NaturArt 2009 © Zsuzsanna Tóth - Ketten NaturArt 2009 © István Krizák - Dávid és Góliát Canon EOS 450D, Sigma 105 mm F2.8 DG Macro Nikon F801s, Zeiss Flectogon 2,8/20 1/8 s, f/22, Fuji Velvia 50, tripod ISO 200, 1/250 s, f/4,5

Highly commended

NaturArt 2009 © Frigyes Olma - Egyesülve Canon EOS 40D, Sigma 150 2.8 ISO 400, 1/160 s, f/2,8, tripod

III. Pr

NaturArt 2009 © Dr. Nikon D200, Sigm ISO 400, 1

Highly co

NaturArt 2009 © Norbert K Canon EOS 450D, Canon EF ISO 100, 1/

mushrooms

grapher of the year 2009

rize

László Simán - Barnamoszat ma 70–200 2,8 APO HSM 1/4 s, f/10, tripod

ommended

Kaszás - A kóró (k)ékessége EF–S 55–250mm f/4-5.6 IS /30 s, f/13

III. Prize

NaturArt 2009 © Endre Szabó - A szöszfürdő Olympus SP350, 24 mm, f/2,8 ISO 50, 1/100 s, f/8

Highly commended

NaturArt 2009 © Csaba Daróczi - Lampion Nikon D300, Sigma 1,8/24 8s, f/22, tripod

compo

Naturart nature photog

I. Prize

NaturArt 2009 © Norbert Kaszás - Horgász az aranyló folyó partján Canon EOS 450D, Canon EF–S 55–250mm f/4–5.6 IS ISO 100, 21 s, f/5,6, tripod

Highly commended

NaturArt 2009 © Márk Somogyi - Gyöngy a sárban Nikon D200, 55 mm/2,8 1/180 s, f/11

II. Prize

NaturArt 2009 © Dorottya Gé Nikon D300, Nikon 80–2 1/8 s, f/11, trip

Highly co

NaturArt 2009 © Zoltán T Panasonic DMC ISO 80, 1/1

osition

grapher of the year 2009

éczy - Táncoló erdő 200 mm f/2,8 pod

ommended

Tarlacz - Fák a homokban C-FZ30, 10 mm 125 s, f/5,6

Highly commended

NaturArt 2009 © Miklós Bábonyi - Cseppnyi falevél Canon 40D, Canon 100 f2.8 Macro, Raynox DCR–250 ISO 200, 1/2 s, f/32

Highly commended

NaturArt 2009 © Mária Násfayné Kőházi - Zsákállattelep Nikon D200, AF Micro–Nikkor 105 mm f/2,8 ISO 100, 1/60 s, f/32, flash

Lands

Naturart nature photog

III. Prize

NaturArt 2009 © Krisztina Násfay - Tükröm, tükröm...

Nikon D300, Nikkor 18–70mm AF–S ED f/3.5–4.5G ISO 200, 1/10 s, f/14, tripod

Highly commended

NaturArt 2009 © Ferenc Somodi - Felhőfolyam Nikon D200, 300 mm ISO125, 1/20 s, f/5

III. P

NaturArt 2009 © Péter Nikon D300 ISO 100, 1/

Highly co

NaturArt 2009 © C Canon EOS–1DS Mark III ISO 400, 1/

scape

grapher of the year 2009

Prize

r Fáth - Álom és valóság 0, 2,8/20 mm /320 s, f/11

ommended

Csaba Karai - Sivatag III, 70–200 mm F2.8L IS /250 s, f/5,6

Highly commended

NaturArt 2009 © Ferenc Somodi - Karácsony Nikon D300, 16 mm ISO 1600, 30 s, f/4,5, tripod

Highly commended

NaturArt 2009 © Ferenc Somodi - Égi fények Nikon D200, 300 mm ISO 125, 1/1000 s, f/7,1

underwat

Naturart nature photog

I. Prize

NaturArt 2009 © Ferenc Somodi - Békamama Nikon D200, 105 mm ISO 100, 1/3 s, f/4,5, waterproof case, flash

III. Prize

NaturArt 2009 © Csaba Tökölyi - Zátony Nikon D200, Tokina 10–17/3,5–4,5 ISO 100, 1/125 s, f/32 , Subal ND20 waterproof case, flashes

Highly c

NaturArt 2009 © Mária Nikon D200, AF M ISO 100, 1/125 s, f/29,

ter world

grapher of the year 2009

commended

a Násfayné Kőházi - Gyöngyház Micro–Nikkor 60 mm f/2,8 , Subal waterproof case, flashes

II. Prize

NaturArt 2009 © Tamás Szabó - Süllővel farkasszemet nézni...?

Canon PowerShot S80 ISO 50, 1/125 s, f/4, waterproof case

Highly commended

NaturArt 2009 © Csaba Tökölyi - Muréna Nikon D200, Sigma 105/2,8 ISO 100, 1/125 s, f/22, Ikelite waterproof case, flashs

From sunset

Naturart nature photog

I. Prize

NaturArt 2009 © Róbert Tajti - Különös éjszaka volt Nikon D3, 35 mm ISO 320, 30 s, f/4,2

Highly commended

NaturArt 2009 © Csaba Barkóczi - Együttállás I. Canon EOS 30D , Canon EF 400 mm f/5.6L USM ISO 320, 1/320 s, f/5,6, tripod

III. P

NaturArt 2009 © Péter E Nikon D80, AF Nikk ISO 100, 23

Highly co

NaturArt 2009 © Kata Kőm Canon EOS 40D, EF 5 ISO 500, 1/1

t to sunrise

grapher of the year 2009

Prize

Estók - Éjszakai tükörkép kor 80–200 1:2.8 D s, f/7, flash

ommended

műves - Darvak a lila ködben 500 mm f/4,5L USM 1000 s, f/4,5

Highly commended

NaturArt 2009 © Gábor Bari - Gém az éjszakában Canon EOS 350D, Canon 70–200 F4 L ISO 800, 1/4 s, f/4, tripod, flash

Highly commended

NaturArt 2009 © Csaba Daróczi - Égiháború Nikon D200, Sigma 1,8/24 mm ISO 400, 0,3 s, f/22

Photo

Naturart nature photog

I. Prize

NaturArt 2009 © Ágnes Kiss - Csirik és a gombák Nikon D300, 300 mm ISO 640, 1/1000 s, f/6,3

Highly commended

NaturArt 2009 © Zsolt Palánkai - Érintés Canon EOS 10D, Sigma 50–500EX ISO100, 1/40, f/5,6

II. Pr

NaturArt 2009 © Zo Canon EOS–1D Mark III, ISO 400, 1/1

Highly co

NaturArt 2009 © Péter Olympus E330, Sigma 105 ISO 200, 1/1

ozoo

grapher of the year 2009

rize

oltán Laki - Kukucs Canon 300 mm f/2,8 IS 160 s, f/3,2

ommended

Sebestyén - Nézőpont 5 mm F2.8 EX DG MACRO 100 s, f/3,5

III. Prize

NaturArt 2009 © Endre János Szabó - Szigorú tekintet Canon EOS 30D, Sigma AF 17–70 f /2,8–4,5 DC macro ISO 1250, 1/160 s, f/4,5

Highly commended

NaturArt 2009 © Zsolt Dékány - Családi idill Canon EOS 10D, Sigma 4/100–300 mm, Sigma 2x teleconverter ISO 400, 1/8s, f/11

Young ca

Naturart nature photog

III. Prize

NaturArt 2009 © Anna Vadász - Sikeres halász Canon EOS 5D Mark II, EF 500 mm f/4 IS USM ISO 640, 1/1600 s, f/5, tripod

Highly commended

NaturArt 2009 © Ádám Kurucz - Küzdelmes élet Nikon D80, Micro–Nikkor 105 mm, f/2,8 ISO 100, 1/200 s, f/11, tripod

Highly co

NaturArt 2009 © Csaba Ádám Gönye Canon EOS 350D, Sigma 150/2,8 EX DG ISO 400, 1/

Highly co

NaturArt 2009 © Ádám Kur Nikon D80, Nikko ISO 200, 1/2500

category

grapher of the year 2009

ommended

e - Karvaly, zsákmánya pehelytollaival G HSM APO Macro, 1,5x teleconverter /250 s, f/3,5

ommended

rucz - Verekedő mormoták or 300 mm f/2,8 0 s, f/2,8, tripod

Highly commended

NaturArt 2009 © Ádám Kurucz - Gyurgyalag-pár Nikon D80, Sigma 170–500 mm f/4,5-6,3 ISO 200, 1/1400 s, f/6,3, tripod

Highly commended

NaturArt 2009 © Gergő Fejes - Sejtelem Canon EOS 400D, Canon EF 75–300mm f/4–5.6 USM III + Raynox DCR-150 ISO 200, 1/400 s, f/5,6

Special

Naturart nature photog

most beautiful hungarian landscape 2009

NaturArt 2009 © Attila Kazsu - Álomvilág Canon EOS 30D , Canon 400/5,6 L USM ISO 100, 1/80 s, f/10

Vadon magazine’s prize

NaturArt 2009 © Péter Zsolnai - Melegedés Nikon D70, Sigma F2,8 70–200 mm ISO 400, 1/200 s, f/6,3

Dr. Tildy Zo

NaturArt 2009 © Márto Canon EOS 50D, Canon 300 m ISO 400, 1/320

Természet Világa Magazine’S prize Young category II. prize

NaturArt 2009 © Anna Vadász - Baktériumdínó Canon EOS 5D Mark II, EF 180 mm f/3.5L Macro USM, 2x teleconverte ISO 200, 1/50 s, f/13, tripod

l prizes

grapher of the year 2009

oltán Prize

prize of the hungarian photo artist’s league

on Karsai - Orrvérzésig mm f/2,8 L IS USM, 1,4 Extender 0 s, f/4,0, tripod

er

Nimród hunter magazine’s prize from sunset to sunrise II. prize

NaturArt 2009 © Gábor Kiss - Dámbikák Nikon D200, Sigma 300–800mm ISO 400, 1/2500 s, f/9, tripod

NaturArt 2009 © Miklós Bábonyi - Jégszem Canon 40D, Canon 100 f2.8 Macro ISO 100, 1/2, f/11

TermészetBUVÁR magazine’s prize other animals I. prize

NaturArt 2009 © Endre Szabó - A vacsoracsata Nikon E8700, 61,5 mm f/3,4 ISO 50, 1/1000 s, f/7,9

editorial Editor in Chief : Tamás Imre Tamás Imre

Anikó Imre

János Szekeres

Béla Szabó

Árpád Krivánszky

László Suhayda

Dániel Selmeczi

Iván Éder

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

Dániel Selmeczi 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

Éva Urbanovics Gábor Kovács 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

Balázs Biró

Martin Perhiniak

no responsibility for solicited or unsolicited contributions and materials.

© Tamás Imre

Raptor photography workshop in the Hortobágy National Park This Workshop gives a unique opportunity to photograph raptors and particularly eagles in the World Heritage Hortobágy National Park in Hungary.

We shall be hoping to capture as many moments of the White-tailed Eagles as possible with our cameras!

Our Workshop will be led by Tamás Imre professional photographer, Canon Wildlife Ambassador.

to relax after a cold winter photography, all meals, all guides, available professional photographer assistance, all national park and fisheries entrance fees and the usage of the unique hide system.

Date: 25th of February to 1st of March, 2010.

Programme:

Upon request Canon and Nikon lenses are provided with limitation.

With the following key species: White-tailed Eagle, • First evening Tamas Imre will guide you through the Common Buzzard, Eurasian Sparrowhawk, Long-eared secrets of raptor photography.

Owl, Steppe Gull, Hooded Crow, Raven, Middle Spotted • Three full day bird photography in fix hides with Woodpecker, Hawfinch. Approximately 15-20 species maximum 3 persons/hide. of birds during the workshop.

• For hide details chcek out the Sakertour website: http://www.sakertour.com/hides.php Since the maximum number of participants to this • Friday, Saturday and Sunday evening photo analysis workshop is limited to 9 person, we accept reservation about the taken photos. in order of registration!

Registration by email : sakertour@gmail.com Price: 850 euro / person and SRS is 60 euro Or via phone : +36 30 9957765 or +36205575572 The price includes all transport (with minibus for The workshop organizer is Tamas Imre, Canon Wildlife airport transfer and 4x4 cars in the Hortobágy), all Ambassador accomodation in the Hotel Balmaz with spa facilities Co-operation with Janos Oláh, SakerTour

www.sakertour.com

Nature photo magazine

®

free online photo magazine

© Tamás Imre

next issue

february 15, 2010