NPhoto

PRO KIT SUPER-TELEPHOTO PRIME

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Laurie says… Prime lenses are supremely sharp and very fast. Given the choice I’d always use a converter with a prime lens over a zoom lens. A super-telephoto optic, like my Nikon AF-S 500mm f/4e FL ED VR, is on every wildlife photograph­er’s wishlist, but that long focal length and wide aperture doesn’t come cheap. Super Shot #4 was captured by mounting Neil’s D7200 onto the lens, providing a huge equivalent focal length of 750mm. When using a large lens, it’s important to have a sturdy tripod and head. My head of choice is the Sachtler DV 8 – its large mounting plate provides a secure platform for the large lens foot. parked cars, and watched as they hopped between roofs and screamed atop masts.

HERRING HEADSHOTS

“This is the perfect opportunit­y to capture a portrait,” said Laurie. “There aren’t many birds in the British Isles that will allow you to capture a close-up portrait with a 300mm focal length. Actually…”

He twisted his D5 to unseal the mount and beckoned for Neil’s D7200. “Why don’t you have a go with my lens this time?”

Neil looked through the viewfinder of his camera, now attached to the 500mm f/4e FL ED VR. “This is brilliant,” he said.

Laurie instructed him to open the aperture and boost the ISO to achieve a fast enough shutter speed to freeze a little movement. “If you can capture them calling, that’s always a nice image,” he said.

Neil was really enjoying the lens and it seemed like every time he fired the shutter he landed a keeper. But the one that really stood out was a gull starring directly into the camera against the hull of a vibrant blue boat, blurred by the super-shallow depth of field produced by the lens.

Having captured Super Shot #4 the photograph­ers returned to Laurie’s car for a cuppa. In fewer than five hours they had encountere­d seven species, including a couple of common gulls, a jackdaw and a cormorant. “Maybe I’ll venture out of my hide a little more often,” chuckled Neil.

NEIL’S COMMENT

I really enjoyed it! Techniques such as Mirror-up mode were very enlighteni­ng, but the big lesson was realizing just how prevalent wildlife is. You just need to take the time to look.

LAURIE’S VERDICT

It was great to see Neil’s confidence rocket throughout the day. By the time we were shooting the seagull portraits he was operating entirely on his own.

 ?? ?? Next issue we visit the studio of James Paterson to shoot and edit a series of creative portraits.
Next issue we visit the studio of James Paterson to shoot and edit a series of creative portraits.
 ?? ?? The fishing boat’s yellow roof reflects a golden hue onto the seagulls’ white plumage.
The fishing boat’s yellow roof reflects a golden hue onto the seagulls’ white plumage.
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