Camera manufacturers are working hard these days through the myriad of social networking websites to raise their brand awareness and promote their products to both professional photographers and consumers. In an interesting twist on social media FujiFilm Cameras Australia is offering photographers an opportunity to hijack their Facebook page for a week. Each month Fujifilm will choose a different theme and your challenge (should you choose to accept it), is to photograph something that relates to the nominated theme and upload your photographs to the Fujifilm Facebook page. If your photograph is selected, you get to Hijack Fujifilm Camera Australia’s Facebook page for a week.
This months theme is ‘Australian Sunsets’ and with my new ‘Great Ocean Road workshop’ about to be announced I could not resist the opportunity to upload a recent photograph of the spectacular London Bridge sea stack near Port Campbell on the Great Ocean Road in Victoria. Should I be successful in hijacking their Facebook page with my photograph I intend to hand the page over to a suitable charity to help promote their cause for a week. If anyone has any suggestions for a suitable charity please let me know.By way of full disclosure: An Australian digital media agency representing Fujifilm Australia approached me directly and requested my assistance in the promotion of their Facebook hijacker activity. At their suggestion I was provided with a point and shoot Fujifilm camera to submit photographs to their Facebook page. I agreed to help with the intention of handing the page over to a charity and I am donating the camera to my local pre-school to use for their class projects.
One of my favorite lenses is the Canon 17mm F4L Tilt and Shift, an optically superb lens and one of the sharpest in the Canon wide angle range (along with the 24mm Tilt and Shift). With stellar optical performance and perfect tilt and shift movements, it is the ideal tool for wide-angle landscape photography.
Except that there has been a problem: a big problem.
Because of its bulbous front element, it is more or less impossible to use filters with this lens. I use neutral density graduated filters extensively and frequently find I cannot use the 17mm F4L TSE effectively because of the inability to use a filter to tame the dynamic range of the scene. This has sometimes left me frustrated with this lens for landscape work.
LEE designed and developed a solution for a similar issue with the Nikon 14-24mm wide angle zoom lens (which also has a bulbous front element) and that solution has been widely available for some time now. Unfortunately, no such solution has been forthcoming for the Canon 17mm F4L TSE lens, leaving many of us who rely on filters left out in the cold.
I know many photographers who have abandoned their filter kits in favor of multiple exposure HDR (High Dynamic Range) composites and for those photographers there is no longer a requirement for an effective bracket for using Graduated filters. However, I dislike HDR photography and prefer to capture my images in a single exposure without the need for digital blending during postproduction in Photoshop.
Consequently, I have often had to reject the 17mm TSE lens because of the scene’s dynamic range and the inability to use filters, which has more or less relegated that lens to internal architectural photography or occasions such as Antarctica (where I shot with the 17mm Lens extensively). In Antarctica, dynamic range was simply not an issue and I was able to capture the scene without use of a graduated filter (thank goodness for overcast conditions!). I shot extensively with this lens both from the deck of the Ocean Nova and from Zodiacs and I really came to appreciate the benefits of the lens when shooting handheld from ships. What was particularly useful was the ability to shift the lens down to get closer to water level when shooting from the deck of a tall ship.
With my trips to Paris, Italy and Iceland looming, I have been agonizing over whether to pack the 17mm F4L TSE lens in my kit, as its weight is not inconsiderable. The thought of carrying this lens around Europe and not being able to use it effectively for a significant amount of my landscape photography work gave me serious cause to consider its usefulness. That was until I stumbled upon a possible solution to my problem.
It turns out an enterprising photographer from Germany has cleverly solved the ‘filter problem’ using regularly available off the shelf parts from both Canon and LEE. I subsequently discovered (thanks to a user on the Luminous Landscape forum) that Fred Miranda had also constructed one of these adapters and had posted in his forum about his own experiences. After some further reading and research, I acquired the necessary parts and began constructing my own custom adapter that would enable me to use filters with the 17mm F4L TSE lens. This custom adapter bracket allows for the standard LEE foundation kit to be used with this lens. And, unlike the LEE solution for the Nikon 14-24mm lens, you do not need to purchase a new set of larger filters.
I cannot take the credit for this ingenious solution, but I can report that construction is relatively straight forward and that the finished product looks for all intents and purposes like it was manufactured by Canon or LEE. I followed the clear instructions laid out on the German website and found them straight forward and easy to follow and as such have not re-documented the construction process.
There are limits to both the tilt and shift mechanism, due to vignetting with the custom adapter and LEE kit in place, but this does not pose a significant issue for me as I am usually only tilting the lens by a very small margin and rarely use the extreme shift functionality. In any case, the custom holder can be further modified to improve both tilt and shift by removal of the inside of the LEE adapter ring with a Dremel as documented in the Fred Miranda link.
Canon 17mm F4L TSE with Custom Bracket and LEE Foundation Kit
Time has really slipped away from me over the last few weeks and I realised this evening that I am already a week late updating my photo of the month for June. This photograph of the Andes Mountain range near Ushuaia in South America was taken from the deck of the Ocean Nova ship as we cruised up the Beagle Channel on our way to the Drake Passage and Antarctica. It is somewhat ironic for me that my favourite photograph of this mountain range should be taken from the deck of a rolling ship with a 300mm lens rather than the chartered helicopter I spent a dedicated hour shooting from with wide angle lenses. It just illustrates how you don’t have to use a wide angle lens from a helicopter to get an evocative shot of a mountain range. The Andes is a spectacular snow capped mountain range with precipitous and towering peaks with countless rugged and jagged ridges that is evocative of a more primordial earth. Being able to see it up close and personal from a helicopter with the door off was really a very special experience. Being able to photograph it from the deck of a ship as it cruised slowly past was equally satisfying. A higher resolution version of this photograph can be seen on my portfolio website at www.jholko.com under South America. This photograph was awarded with a Silver award at the 2012 APPA Australian Professional Photography Awards.
Once a year the annual APPA Australian Professional Photography Awards are held in Australia. This year they were conveniently held in my home state of Victoria. The event is sponsored by Canon Australia and is run by the AIPP Australian Institute of Professional Photography. Widely regarded by many as the toughest photographic competition in the world today APPA remains one of the few world wide competitions where the finished ‘print’ is judged (in the vast majority of categories) by a panel of professional photographers who are each considered experts in their chosen specialities. The five judges score each print out of 100 points under strictly controlled lighting conditions. The judges scores are then averaged to give a final overall score out of 100. Prints of a professional standard that score between 75 and 79 points are not considered of award standard but are considered to be a good example of solid professional practice. Prints between 80 and 84 are considered examples of photographs above professional practice and worthy of recognition and are subsequently classed as a Silver Award. Prints between 85 and 89 are of exceptional standard and are awarded with a Silver with Distinction. Prints judged 90 – 94 and 95 – 100 are Gold and Gold with Distinction awards respectively that are reserved for prints that are considered to be of the highest calibre. Judges are often heard to wax lyrical about a Gold award print needing to be one that is never forgotten. It takes a print of exceptional quality to be awarded with a Silver or Gold award.
Last year (2011) was my first year entering the APPA awards as a full member of the AIPP. Full members of the AIPP are allowed to enter a maximum of four prints across any of the categories and I was thrilled to receive a Gold award with my very first print in the landscape category. My subsequent three prints in ‘landscape’ each scored Silver awards. This year I was equally thrilled to receive two Silver with Distinction awards and two Silver Awards for two photographs from Antarctica and two from Iceland respectively. Each of these prints was printed on my personal favourite paper – Moab Somerset Museum Rag, Higher resolution versions can be seen on my portfolio website at www.jholko.com and limited edition prints are available through Source Photographica in Brighton.The Fortress – Silver with Distinction APPA 2012Lone Penguin – Silver with Distinction APPA 2012Black Dawn – Silver APPA 2012Iceland Pastels – Silver APPA 2012
By way of full disclosure: An Australian digital media agency representing Fujifilm Australia approached me directly and requested my assistance in the promotion of their Facebook hijacker activity. At their suggestion I was provided with a point and shoot Fujifilm camera to submit photographs to their Facebook page. I agreed to help with the intention of handing the page over to a charity and I am donating the camera to my local pre-school to use for their class projects.
www.WILDNATUREPHOTOTRAVEL.com 