P&S Nature Photography Adventure in Honduras 2016

Barbara, Carol, Greg, Steve, Sally, and Ev waiting for breakfast on the porch of the restaurant on our last day in Honduras

Well it actually happened! The first Point and Shoot Nature Photography adventure in the tropics…at the Lodge at Pico Bonito, Honduras, was, imho, a solid success.  My wife, Carol, came along, as well as my oldest daughter Sally (as my assistant), and we had three participating adventurers: Ev, Barbara, and Greg.

It was a Point and Shoot trip, and between us we had a Nikon P610, a Nikon P900, a Canon SX60HS, and a Canon SX50HS. I brought both the Nikon P900 and my new(er) Sony RX10iii, but I shot most of the time with the Sony.

The goal was to provide as many photo ops as possible over 5 full days. The Lodge at Pico Bonito is somewhat unique in providing first class accommodations and gourmet food, excellent guides, and a totally new adventure each day.

We only got to spend one full morning in and around the actual grounds of the Lodge, which is beautifully landscaped with native plants and surrounded on one side by an overgrown coco plantation, and on the other by untouched rainforest. We also had a few afternoon hours (when some of us processed pics and others explored) and we did a night hike in the coco plantation and the edge of the rainforest for nocturnal birds, reptiles, and frogs,

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Greg’s image of the Crowned Wood Nympth at the Lodge at Pico Bonito, right off the porch. Canon SX50HS.

We could easily have never left the grounds and trails of the Lodge and still have had plenty to photograph. You can sit and watch and photograph several species of hummingbirds coming to the feeders all along the edge of the roof over the open porch, or veranda, of the Lodge and restaurant, and perching in the trees and bushes within a few feet. We saw mostly White-necked Jacobins, but there were also Crowned Wood Nymph, Brown Violet-ear, Violet Saberwing, and a few Long-billed Hermits and White-breasted Emeralds. There was a family of Black-cheeked Woodpeckers raising

Black-cheeked Wood Pecker chick, The Lodge at Pico Bonito. Ev’s image with the Nikon P900.

young in a dead palm only a dozed feet from the deck between the Lodge and Conference Center, and under bushes near the base of the palm an Agouti was raising young. On the trails around the lodge we had good views of Blue-crowned Motmot and Black-headed Trogon, and glimpses and quick photo ops of Red-legged Honeycreeper and Masked Tytira. Some of us had good photo ops with Collared Aracari. (Between our seeing it and writing this, the AOU has split Blue-crowned Motmot into several species. I am not sure which of the new splits the ones we saw fall under.)

Blue-crowned Motmot. The Lodge at Pico Binito. Sally. Nikon P610.
Blue-crowned Motmot, the Lodge at Pico Bonito. Barbara with the Canon SX60HS.

Elmer (Elmer Escoto our expert guide) lead us off the trail to find a mother Great Pooto with a well grown chick sitting out in plain view. Perhaps the highlight of our day on the grounds was when Elmer tempted a Little Tinamou out into the open where we could all see it, and at least a few of us got shots. The Lodge maintains a butterfly garden and butterfly house, and between them we saw a dozen species of tropical butterflies: including the amazing Red Cracker (a blue butterfly despite its name…with a wing pattern that reminds me of a dutch dinner plate). There were at least 5 different Heliconians (Long-wings), and, in the butterfly house, several of the giant Blue Morphos that are pretty much the butterfly emblem of the tropics.

Little Tinamou, The Lodge at Pico Bonito, Steve with the Sony RX10iii
Red Cracker, The Lodge at Pico Bonito, Steve with the Sony RX10iii
Amazon Kingfisher, Rio Cangrejal, Honduras. Ev with the Nikon P900 at full reach.

I asked Elmer to find us a waterfall we could photograph and he suggested a run out to the Cangrejal river where they take adventuresome guests for white-water rafting. Though it was not on our schedule, we made time for it, and the lodge provided a van, on the afternoon of our day around the grounds. The waterfall turned out to be somewhat distant and shrouded in mist from intermittent rain, but the scenery going up the river and then across a

The suspension bridge over the Rio C . Greg with the Canon SX50HS
The suspension bridge over the Rio Cangrejal . Greg with the Canon SX50HS

suspension foot bridge high over rushing water and house-sized boulders, was spectacular. Along the way we had great views of Amazon Kingfisher…though at the limits for photography, and on the other side of the river we encountered the Helicopter Damselfly…the largest damselfly in the world, with a wingspan larger than even the largest dragonfly. We tracked it into the deep shade of the rainforest where we were able to get some decent flash shots. We got to see some unscheduled landscape, and a part of Pico Bonito National Park that most who go to the Lodge for birding and photography do not see.

Helicopter Damselfly, Rio Cangrejal, Steve with the Sony RX10iii and flash
The Banana train to Cuero y Salado Wildlife Refuge, Ev with the Nikon P900.

The next morning was our first real day in the field.  We visited the mangrove channels of the Cuero y Salado estuary, riding a century old banana train into the refuge at the mouth of the rivers, and then taking a small motor boat up the channels into the mangroves as far as we could go.

on the Banana train on the way to Cuero y Salado. Steve, Sony RX10iii. Elmer, Sally, Greg and Ev.

My hopes for the boat adventure are always Pygmy Kingfisher (since I really like Kingfishers), Bare-throated Tiger-heron, Boat-billed Heron, and monkeys…both Howler and White-faced Capuchin. There is always a remote hope for Agami Heron and Sungrebe. On our day on the rivers, we had good looks at all but the last two, plus Long-nosed Bats, many Northern Jacana, Black-bellied Whistling Ducks, Black-headed Trogon, and more Green Herons than I could count. And I mean really good looks at everything but the Boat-billed Heron, which flew off before everyone could get pics, and the monkeys, which played hard to get in the dense foliage.

This is a gallery of images from the group of the same very cooperative Pygmy Kingfisher. We had some trouble finding it in the first place and had actually given up and were headed back out of the channel where it is known to nest, when Elmer’s sharp eye caught it. We were able to drift close in with the boat, but these are still shots are taken from a moving boat of a very small bird. Great results for everyone.

Deep in the mangroves on a channel off the Cuero.

We had a similar opportunity with the Bare-throated Tiger-heron. Sally spotted it as we motored down the open river toward another channel (earning her supper that day), and we were able to drift in within a dozen feet of it before it flew up to perch practically right over our heads.

Bare-throated Tiger-Heron, Steve, Sony RX10iii
Bare-throated Tiger-Heron, Steve, Sony RX10iii
Greg. Canon SX50HS
Greg. Canon SX50HS

As I mentioned, the monkeys were elusive, and especially hard to photograph from a moving boat. I managed a quick shot of the Howler we spotted, and even more distant shots of the White-faced Capuchins. The Capuchins came just close enough to keep an eye on what we were doing…but not really close enough for photography.

Looking up the river back towards Pico Bonito. Sally rocking her Comics Workbook tee shirt and framing the view.
Clash of cultures. Motorbike and hand crafted dough-out canoes.

Once back at the boat dock near the Visitor Center for Cuero y Salado, we enjoyed some chilled fruit and cookies, courtesy of the Lodge, and then hiked about 300 yards out to the beach at the mouth of the rivers. It was typical June Honduran day on the Caribbean coast…sunny with towering clouds over the mountains and a storm coming in off the sea.

Looking east from the mouth of the Cuero y Salado rivers.
The group on the beach at Cuero y Salado. Ev, Sally, Carol, Barbara, Elmer, and Greg.

When we got back to the lodge, after lunch on the veranda, some went exploring around the grounds, while others rested until we met again at 3 pm to go to the first Tower in search of the signature bird of the Lodge at Pico Bonito…the Lovely Cotinga (and whatever else we could find). The Cotingas put in an appearance, though beyond the range of practical photography, but we had good views of a White Hawk out across the valley, some Keel-billed Toucans feeding on fruit, and our third primate of the day: Spider Monkeys (way over on the far side of the valley).

At the limits of what is practical, even with 1335mm reach. White Hawk. Barbara. Canon SX60HS
Spider Monkey. Too far! Steve Sony RX10iii
Kinkajou, flash shot, Steve Sony RX10iii

On our night hike, we went in search of Vermiculated Screech Owl in the Coco plantation. Though we were within a few feet of and heard it calling right above us, we never could find it in the dense overstory foliage. As compensation Elmer found us a Kinkajou within flash range, and the Great Pooto (which was hand-raised at the Lodge a few years ago before release) put in an appearance on its favorite corner of the first tower. The Red-eyed Tree Frogs were calling around the Frog Ponds beyond the tower, and Elmer found us two to photograph. Along the way we picked up both Rainforest and Marine Toads (Marine Toads have to be seen to be believed…they are huge!) and various Anoles and bugs. It was such a rewarding hike that a few of us headed out for an encore the next night.

Red-eyed Tree Frog. Steve, Sony RX10iii

We were up early the next morning for breakfast again, and on the bus for Rio Santiago Nature Resort, a justly famous destination for Honduran Hummingbirds. As a close neighbor to the Lodge at Pico Bonito, Rio Santiago is a favorite day trip. The lodge and brand new cabins are, it

Rio Santiago valley. Steve. Sony RX10iii

seems, half way up the slopes of the mountains surrounding Pico Bonito, at the end of a rough and sometimes steep, but passable, dirt track. (The elevation is actually only about 600 feet above sea-level.)

Along the road on the way up we got out and walked, exploring the fields on either side. We found Boat-billed Kingbirds, Blue-black Grassquits, Rose-breasted Bicards, Passerini’s and Blue-grey Tanager, Scrub Euphonia, Starry Cracker Butterfly, and a nesting Green-breasted Mango Hummingbird.

Rio Santiago Nature Resort maintains about 200 hand-crafted tube hummingbird feeders year round, which, along with the richly landscaped grounds, regularly attract over a dozen species of hummingbirds. And the hummers are close. You can sit on either of two covered verandas and have hummingbirds literally buzzing around your head. You can stand on the lawn and watch constant activity as the various species compete for space at the feeders less than 8 feet away. It is an experience not to be missed.

On the day we visited the Brown Violet-ear Hummingbirds were dominating the feeders in such numbers that it kept many of the regular visitors away, but it was still a great experience.

Hummingbirds are not the only attraction at Rio Santiago. It is also one of the most reliable places to see the Keel-billed Motmot. Gartered Trogons are regular there. They have snakes and lizards, dragonflies along the streams, interesting butterflies, a resident pair of Specticaled Owls, and, this year, an abandoned Margey kitten that they are attempting to raise for release. And if you enjoy scenery they have one of the most attractive small waterfalls in the foothills of Pico Bonito National Park, right there on the grounds.

Elmer worked hard to find us a Keel-billed Motmot, and it was there, calling above the waterfall, but it stayed high in the canopy. We got the shots we could under very difficult conditions.

Waterfall at Rio Santiago. In-camera HDR. Sony RX10iii

The Specticaled Owls were also playing hard to get during our visit, but several of us managed decent shots.

Looking back from the boat toward Sambo Creek and the coastal mountains of Honduras.

Day four found us headed for a totally different experience. We took the van early to Sambo Creek east of La Ceiba on the coast, where we donned life preservers and boarded a twin engined, 14 foot powerboat to visit Cayo Cochino, islands 17 miles off-shore. Cayo Cochino encompasses 2 volcanic and coral islands and 13 small sand cays clustered in the clear waters of the Caribbean. White sand beaches, palm trees, water ranging in color from transparent aqua to translucent

One of the sand cays of Cayo Cochino over the shoulder of our boatman.

turquoise: The Caribbean at its best. Parts of Cayo Cochino are protected habitat, and our first stop was the Visitor Center on Cayo Cochino Minor, operated by the Smithsonian Institute. Around the Visitor Center we found Yucatan Vireos, Allison’s Anole, and lots of Spiny-tailed Iguanas (the native Iguana of Honduras). The Yucatan Vireos on the islands of Cayo Cochino are the only ones you will find in Honduras.

Coming into Cayo Cochino minor. Fuji XP85 waterproof camera
Yucatan Viero. Elmer with Ev’s Nikon P900
Again, with the Sony RX10iii
Spiny-tailed Iguana. Sally. Nikon P610
Spiny-tailed Iguana. Sally. Nikon P610
 Coming into Cayo Cochino minor. Fuji XP85 waterproof camera
Cayo Cochino major, Steve

From Cayo Cochino Minor (or Turtle Island as the locals call it), we crossed the straight to Cayo Cochino Major, where we landed on a private beach to explore inland for the Rosey (or Island Hog-nosed) Boa. These snakes are sometimes abundant, draped in trees, back a few hundred yards from the beach. Though it was a hot day and the snakes were mostly higher in the canopy, Elmer located one for us, curled up on a branch just above eye-level. We eventually found our way back to the beach for morning snacks, water, and wading (this beach is near the spot were we would have gone snorkeling if any of us had wanted to.) The beach sloped gently out into Turtle Bay, and it was a real treat to wade out into the crystal clear waters of the Caribbean.

 Coming into Cayo Cochino minor. Fuji XP85 waterproof camera
Carol and Sally in Turtle Bay
 Coming into Cayo Cochino minor. Fuji XP85 waterproof camera
Cayo Chachahaute #2

We were back in the boat again then, for a short run to Cayo Chachahaute #2 (or Twin Island #2 if you translate from the native dialect). The two Chachahaute Islands are only separated by a shallow straight and sand bar…often exposed in the winter months. Both islands are home to a population of Caribbean fishermen, and Cayo Chacahhaute #2 specializes in serving a daily lunch and dinner of fresh caught, wood grilled Yellow-

 Coming into Cayo Cochino minor. Fuji XP85 waterproof camera
Lunch, Fuji XP85

tailed Snapper, rice and beans, and fried plantains. That is the whole menu, and all meals are served on paper plates right on the beach under a thatched shelter at rough picnic style tables, but it just might be the best fish you will ever eat. While you eat you can watch the Frigatebirds and Pelicans soaring in the updraft at the head of the island. Except for the open beach on one side, the whole island, which is maybe the size of half a football field, is covered with the shanty homes of the fishermen. Their meals are so famous that boats come daily at noon and in late afternoon and early evening from the mainland and from the bay islands 25 miles away. (And of course fire-wood, rice, beans, plantains, and ice…lots of ice…have to be brought out to the island in dugout canoes daily.) After lunch, we spent about 45 minutes, mostly trying flight shots of the soaring Frigatebirds and Pelicans. There are only a few places I can think of that are this good for practicing flight shots.

Shooting the Back and White Owl

On the way back through La Ceiba on our way to the Lodge, we stopped at a small park where Black and White Owls are known to nest and roost. Again, Elmer managed the impossible and located one of the young B&W Owls on branch high in the canopy of one of the huge Mangostein trees. While we were photographing the young owl, Elmer’s friend, who used to work at the park, located one of the adults, and we moved the group over. Both owls were in the deep shade of the foliage, high in the trees, and, though they were in plain sight, they were not easy photographic targets. We were looking almost straight up at the them in the shadows. The situation was really at the limits of what any camera can do…the light was not good, and focus was difficult…and we were at the limits of what our bodies could do as well, as we tried for awkward vertical shots at slower than optimum shutter speeds. The situation called for a tripod, but for the kind of 8 foot tall tripod no one would ever carry into the field anyway. Still, everyone in the group came away with at least one satisfying shot of the Black and White Owls.

Our last full day in Honduras found us on the bus early again for the drive to Lancetilla Botanical Gardens, the turn of the century Botanical Research Station founded by the United Fruit Company to experiment with tropical hardwoods and fruit trees for growing in their Honduran holdings. Lancetilla has the longest bird list of any single location in Honduras. It is also a great place for butterflies and dragonflies, and the occasional mammal.

A day at Lancetilla begins with a walk along the entrance road and one side road in search of mostly understory birds. We had not progressed far long the road when Greg spotted a Mexican Hairy Dwarf Porcupine on the branch of a tree just at the edge of the rainforest. (Also, apparently, known as a Prehensile-tailed Porcupine or Tree Porcupine.) Like most Porcupines its body is covered in spines, but in the Hairy Dwarf, its fur is long enough to completely cover the spines on much of its body, leaving spines exposed mostly on the face, lower legs, and spine. We had as much time with it as we wanted…since it was not at all disturbed by our presence on the road. Our pictures are remarkably similar as it did not move much beyond an occasional scratch for fleas.

Early on we also encountered Groove-billed Ani, Blue-black Grassquit, Thick-billed Seed-finch, Olivacious Piculet (the smallest woodpecker of the tropics), Passerini’s Tanager, many dragonflies and few butterflies.

Olivatious Piculette. Ev. Nikon P900

The second stop on the way in is a giant hardwood tree that hosts upwards of 100 active Montazuma’s Oropendola nests. The Oropendolas are the largest of the oriole family, and construct huge hanging woven basket nests.

Steve. Sony RX10iii

Just beyond the Oropendola tree there is a trail down to the river, which is always worth checking for Jacamars and Ruddy Crake. Neither turned up, but I photographed some interesting butterflies, the first of many that day, while we were waiting. Several of these are from later in the day, around the Visitor Center, which was our next stop.

Though Elmer set up and played his recording for the Ruddy Crake we heard calling in the tall reeds along the trail, it did not make an appearance. Ruddy Crake is not uncommon, especially at Lancetilla, but it is very difficult to see.

At the Visitor Center we spent some time with the natural history displays on the second floor, and then retired to the deep shade of the bamboo grove. Many different varieties of bamboo from around the tropics grow along a little stream that runs through a hollow. There is an amphitheater with a small stage there for presentations, but the main attraction is still the massive clusters of the largest grass in the world. I generally get the group together in the grove for a photo.

Greg, Ev, Sally, Barbara, Carol, and Elmer

While in the bamboo grove we came across a toad, and the whole group gathered to try toad shots.

shooting the toad

Before getting on the bus to head to Tela, a beach resort town near the gardens, for lunch, we made one last try of the Ruddy Crake. There are a series of small lily ponds along one side of the Visitor Center, and a Crake responded to Elmer’s recording almost at once. The rest of the group went around to the far side of the ponds where the Crakes were calling (there were at least two) but I got distracted by some shade and butterflies along the other side and headed that way. Consequently I was in exactly the right spot to see both Crakes cross a small open patch in the dense growth covering the pond. Most of the group got glimpses of the Crakes, but I got photos!

Of course I could not resist the dragonflies around the ponds either. I do not know enough about Central American Odonata to id these.

After the Crakes and Odonata we were back in the van for the short drive to Tela, where had a delicious lunch at a sea-side hotel. Tela was the resort town back in the days of the United Fruit Company, and still maintains its charm for Honduras today.

That left only the morning of our departure at the Lodge. Just as we finished eating breakfast a Keel-billed Toucan flew in over the Conference Center. Greg had the persistence to wait it out until it posed on an open branch.

Greg. Canon SX50HS
Greg. Canon SX50HS

It was an amazing satisfying trip. We had time (mostly in the van on the way to shooting sites) for some discussion and photographic instruction. We had abundant opportunities for tropical photography. We had great times around the tables at the restaurant on the veranda at the Lodge (not to mention great food). And we had great weather. Though it rained every day, it never rained on us in the field. For the most part we had sunny skies and good photographic light when it mattered. The tropics are always a challenge for any photographer, but our group proved that today’s advanced superzoom Point and Shoot cameras are up to the task.

I am already planning another trip to the Lodge at Pico Bonito for next June (the 16th to the 22nd) …and I have a trip to Tranquilo Bay, Panama (another great destination) in the works for 2017. I am thinking of South Africa for 2018. Watch the tours and workshops page on this site for details.

Sony HX90V. Perfect (almost) second/first/travel P&S superzoom

Sony HX90V. Notice finger grip, and control ring around lens next to the body.
Sony HX90V. Notice finger grip, and control ring around lens next to the body.

I really like the Nikon P900, which I am using for the majority of my bird and wildlife photography these days, and which does a good job on nature photography of all kinds (it is hard to argue with the excellent 83x zoom and amazing image stabilization), but since I switched to it from the Sony HX400V, there are several things the Sony did well that I find myself missing. The main ones are: fully adjustable in-camera HDR and more robust Dynamic Range Optimization options, reliable macro, and Anti-motion Blur mode for inside shots. The Nikon does all these things, after a fashion, but it does not do them as well as the Sony HX or RX series.

Then too, I have now passed both the Sony HX400V and the Canon SX50HS, my previous “back up cameras”, on to others. That left me with just one camera for trips, and it is never safe to travel for more than a few days with only one camera. What if something bad happens? Imagine it: stuck in Panama for a week without a working camera. Never!

Which is why the Sony HX90V, when it was first announced, appealed to me. It has the pop-up electronic view finder from the RX 100 iii and iv; the control ring around the lens from the whole RX series (see above); the finger grip from the RX 100 iv (also in the pic above); a flip up 180 degree, selfie ready, LCD like the Alpha 5000 and 6000; and the world’s smallest 30x zoom …24 to 720mm equivalent field of view (and a ZEISS Sonnar at that). Given past experience with Sony’s souped up digital Clear Image Zoom, that means possible pics out to 1440mm in a pinch.

And it is small enough to carry along with the Nikon P900 without even thinking about it.

Sony HX90V at 720mm and Nikon P900 at 2000mm.
Sony HX90V at 720mm and Nikon P900 at 2000mm.
Viewing options. Pop-up, pull out EVF, flip up LCD.
Viewing options. Pop-up, pull out EVF, flip up LCD.

It also has the truly inspired Function button and menu I had loved on the HX400V…which gives you easy access to anything you are likely to want to set…and three fully programmable memory locations for settings you use often. And, of course, the traditional Sony Creative Styles options, which allow you to fine tune how the jpeg images are processed and encoded in the camera before they are written to the card. (Sony’s answer to RAW.) All in all, the level of control possible with the Sony simply puts the Nikon in the shade…it is a good thing the Nikon lens and IS are so good!

Of course, no amount of control matters if the images are unsatisfying. Like all Sony cameras, especially the P&Ss, the images from the HX90V will not stand a lot of pixel peeping…they are not as clean at the pixel level as Nikon or Canon images. However, at normal viewing and printing sizes, they are simply excellent…sharp, vibrant, and lively.

Since it is a primary interest of mine, we will begin with a few in-camera HDRs: you can set in-camera HDR for anything from 1 EV differences in exposure, for a very subtle effect, to 6 EV differences, to capture deepest shade and boldest highlights. There is also an Auto setting which does an excellent job in all but the most extreme conditions. 

Then you have macro effects down to 5 cm (2 inches). I find that about 35-40mm equivalent works really well, along with DRO level 5 or Auto. You actually get an excellent macro effect.

The long end of the zoom is useful, with or without some Clear Image zoom, for close-ups of bugs, and the occasional grab shot of a cooperative bird. This (along with super-bright sunny days) is where the pop-up EVF comes into play! It is much easier to hold the camera still when it is up to your eye.

The flip up selfie mode on the LCD panel does a good job.

 

Me at Nubble Light, in Maine
Me at Nubble Light, in Maine

Panorama shots are as easy as they are with any Sony. You have your choice of “standard”, “wide”, or “360 degree.”

Wild roses along the Bridle Path
Wild Roses along the Bridle Path

 

Big Beach, Kennebunk ME. Wide format pano.
Big Beach, Kennebunk ME. Wide format pano.

Some of the Picture Effects are also interesting. I have enjoyed playing with HDR Painting, which can be adusted to one of three levels, and produces a nice “slightly over the top”, tone-mapped HDR look.

In-camera, HDR Painting Picture Effect. This is on the "low" setting.
In-camera, HDR Painting Picture Effect. This is on the “low” setting.[/caption

[caption id="attachment_856" align="alignright" width="660"]Illustration Picture Effect, Blueberries. Illustration Picture Effect, Blueberries.

Sunsets are always a good test of a Point and Shoot. I tried both the Multiple Frame Noise Reduction Mode and in-camera HDR. I like the results from HDR better. Pleasing rendition of colors, and very little noise in the image.

Sunset over Back Creek, with fisherman :)
Sunset over Back Creek, with fisherman 🙂

I went to Strawberry Banke, a local historical district in Portsmouth NH, today, and had a chance to try out several modes for indoor use. I tried straight in-camera HDR, Anti-Motion-Blur Mode, and Multi Frame Noise Reduction (with is actually an auto ISO setting). All three worked well, and provided higher ISO equivalent images in low light that showed much less noise than you would expect. Anti-Motion Blur tended to have the most noise, as it consistently selected higher ISOs suitable for moving subjects. In-camera HDR was relatively clean, and, as expected had the most extended range…usable highlights and open shadows. Multi Frame Noise Reduction ISO mode produced the cleanest looking images, amazing clean for hand-held indoor shots in very dim natural lighting, but would not be suitable for indoor action. This is a hand-held Multi Frame NR shot in a historical kitchen with only window and fire light. I think it is pretty amazing.

Strawberry Banke hearth cooking demo. Portsmouth NH. Multi Frame NR
Strawberry Banke hearth cooking demo. Portsmouth NH. Multi Frame NR

So…all in all the Sony HX90V is a great second camera. It does everything I had hoped, and almost everything the Nikon P900 does not do well. It is even a great first camera. The degree of control offered, the viewing options, the excellent long zoom, the advanced multi-frame features, etc. put it right there in the top choices for a P&S superzoom for nature and creative photography…as long as you don’t need more than 720mm of reach (1440mm with Clear Image zoom).

And finally, of course, the Sony HX90V was conceived as a travel zoom…and as that I can not imagine a better choice! It does it all and it does it all well…fits in a large pocket…and is the ideal camera to carry absolutely everywhere you travel. Good job Sony!

Wood Lily landscape.
Wood Lily landscape.

Point and Shoot Depth of Field

Tricolored Heron and Black-necked Stilts. Edinburg Scenic Wetlands World Birding Center, Edinburg TX

My DSLR, long lens, tripod totting, friend Paul and I spent several days photographing side by side in the Rio Grande Valley of south Texas. He shoots, much of the time, with his massive 400mm, f2.8 Canon Image Stabilized lens mounted on his 5D full frame DSLR and a heavy-duty carbon fiber tripod. It is a brilliant lens and a very capable camera, and he gets stunning results. However he found a few things to envy in my long zoom Point and Shoot rig (I was shooting with the Sony HX400V, 50x, 20mp camera.)

Of course I was shooting my first images while he was still setting up his tripod, and, of course, I had 4 times the reach he had…with 1200mm equivalent field of view. And of course, as the days wore on it became obvious which of us was carrying 8 pounds of lens…close to 12 pounds total equipment, and which could tuck his whole rig into a small bag at his waist. 🙂

But the thing Paul kept coming back to when we looked at our images later in the day was how much depth of field the small sensor camera gives you when compared to his full sized sensor…and most of the time he was comparing his depth at 400mm and mine at 1200mm. By depth of field, if you are not familiar with the term, I mean how much of the image, from foreground to background, is apparently in focus and sharp. For birds, wildlife, and macro work the depth of field can be critical, especially at the longer focal lengths needed to fill the frame. It is especially critical when shooting a group of birds (or other critters) as in the leading photo here. Paul was not able to get the Tricolored Heron in the foreground in focus at the same time as the Black-necked Stilts in the background, even if he stopped his 400mm lens down to f5.6 or so (reducing the aperture increases depth of field). As you see, even at 1200mm equivalent field of view, the Sony managed to get all the birds in relatively good focus.

For comparison here is one of Paul’s shots with his 400mm plus 1.4x extender for 560mm. He stopped down to f10 to improve depth, and was shooting at less than half the equivalent focal length of the Sony P&S, but still did not manage to get the same group of birds in focus.

Canon 5D with 400mm plus 1.4x telextender. f10
Canon 5D with 400mm plus 1.4x telextender. f10

Here is another example: the Little Blue and the Snowy were separated by about 3-4 feet, yet the Sony managed to get both in focus at 1200mm equivalent and f6.3. Only a Point and Shoot superzoom is able to do that trick 🙂

Little Blue Heron and Snowy Egret

It has to do with sensor size, and the real focal length of Point and Shoot camera lenses. Since the sensor in my Sony is 5.6 times smaller than the sensor in Paul’s Canon 5D, it only takes a 215mm lens to make objects (or subjects) the same size in the image as thew would be with a 1200mm lens on his camera (215×5.6=1200). More practically for comparison, when I set my zoom to 400mm to match Paul’s 400mm Canon lens, my real focal length is only 71mm. He gets the depth of field of a 400mm lens, and, while framing the same group of birds so they look the same size in the image, I get the depth of field of a 71mm lens. That is a dramatic difference. Even at my 1200mm setting (remember 215mm real focal length), I still have twice the depth of field he does with his 400mm lens. That means that even if he crops his image to match mine, I will still have significantly more depth.

Depth of field differences also come into play when shooting close your subject. This shot of a Red Saddlebags Dragonfly from 7 feet at 2400mm equivalent field of view (1200mm optical plus 2x Clear Image zoom on the Sony), would simply not be possible in any single image from a conventional DSLR and lens, unless you shot from a few inches away with a 71mm lens (and even then you would have to crop the image by a factor of 2). And believe me, getting that close to a Red Saddlebag in the field is not easy 🙂

Red Saddlebags 2400mm equivalent from about 7 feet.

Or consider this true macro, taken from about an inch, using the Sony HX400V at about 61mm equivalent field of view. The real focal length of the lens at that zoom is 10.9mm…which on a full frame sensor would be a fish-eye wide angle. I get as much depth of field as I need in any macro setting.

Spider at about 1 inch.

The spider is relatively isolated, but in a macro like the one that follows, depth of field is critical to the effect.

Bee on the Blazing Star

Even when shooting at wild angle, for landscapes, the extra depth of field of the P&S superzoom can be used to good advantage. I enjoy a photograph with a great depth.

Low angle, wide angle, with great depth. 24mm equivalent (real focal length 4.3mm)

It is sometimes argued that the greater depth of field in small sensor Point and Shoots is a disadvantage when you do want to use selective focus…as in some wildlife, some macro, and almost all portrait photography…where you want your subject isolated against an out of focus background for the classic photographic effect.

Portrait at 400mm with a full frame DSLR. Nice separation and excellent bokeh.
Same distance, about 200mm equivalent with P&S

If I had cropped in closer by zooming out to match Paul’s 400mm, the background would have been less sharp, but not as well isolated as the full frame shot. Still, as the macros above demonstrate, subject separation can be achieved even with a P&S.

All in all, I find the extra depth of field of the P&S superzoom to be an advantage for nature photography way more often than it is a disadvantage. It makes both telephotos of wildlife and macros of bugs and flowers easier, and produces great landscape effects. In fact, I am so used to working with generous depth of field that I am pretty sure I would be quite frustrated moving to a full frame system at this point. I love shots like this one of a Common Paraque in the half-light too much. Only a P&S superzoom could produce this result…with so much of the bird in focus at this distance and scale.

Common Paraque. Estero Llano Grande SP World Birding Center, Weslaco TX

So, just one more reason to enjoy Point and Shoot Nature Photography. 🙂

Point and Shoot Nature Photography at the National Butterfly Center.

Bordered Patch, National Butterfly Center

I recently spent several hours at the National Butterfly Center south of Mission Texas (and at Bentson State Park World Birding Center next door.) The NBC is one of my favorite places to photograph…the density and variety of butterflies and dragonflies found in the gardens right on the Rio Grande river can not be matched anywhere, at least in a natural setting (as in…not in a butterfly house). You an see the results in my WideEyedInWonder gallery. National Butterfly Center.  If you pursue the exif data (available with the “i” information icon) you will see that most of these shots were taken with -.3 to -.7 EV exposure compensation. The ultra bright, high saturation, high contrast colors on butterfly wings tend to burn out…turn light or white…with normal exposures. Underexposing slightly keeps the colors as vivid as they are in life.

Julia Heliconian (Longwing)

P&S Nature Photographer does Cape May Autumn Weekend

Golden-crowned Kinglet. Cape May NJ. Sony HX400V

I had a wonderful few days in Cape May NJ, covering the Cape May Autumn Bird Festival for ZEISS Sports Optics, and teaching my P&S for Wildlife workshop. Lots of photo ops. Lots of great birds, relatively close. The light was not always the best, and it often stretched the limits of the Sony HX400V camera, but I am more than pleased with the results. I also, of course, did some macro work, and a bunch of in-camera HDR. I also practiced using Sports Mode for flight shots.

You can explore the results to your heart’s content by visiting my gallery at Wide Eyed In Wonder.  Cape May 2014. 

Enjoy!

 

Making Macro with P&S

If you develop the habit of looking closely at nature you will find all kinds of interesting and wonderful photo opportunities…moss, lichen, flowers, mushrooms and other fungi, bugs and even the intricate textures of rock and tree bark.

With a standard full sized  DSLR camera with interchangeable lenses you would need a dedicated macro lens, add-on macro lens/filters, or extension tubes between the camera body and a fixed focal length normal lens to take advantage of the macro world…and, most likely a tripod rigged to get down and close. Many also use a special flash called a ring-flash for close up work. Macro is somewhat of a specialty among serious photographers, requiring special equipment and techniques as well as the eye to see small.

Today’s P&S superzooms almost all have excellent macro ability. Many will focus to 1 to 2 centimeters from the front lens element at wide angle. Some, like the Canon SXxxHS series, will focus on something touching the front element. Many have dedicated Macro Modes, which not only bias the focus system for close focus, but often add some digital trickery to defocus the background to simulate (for better or worse, see below) the effect of a longer focal length macro lens on a full sized DSLR.

Wide angle macro. Sony HX400V.
Wide angle macro. Sony HX400V.

P&S macro does have its disadvantages…so called. Both of the often sited disadvantages have a positive side that you can use to your advantage.

Characteristically P&S superzooms focus closest at their widest angle. This makes the kind of macros that show a close up view of you subject in its environment…with background or surroundings…easy and natural. And because the wide angle on a P&S is, in reality, a very short focal length lens (the actual focal length of a 24mm equivalent lens on a P&S is 4.3mm), and because the shorter the focal length of the lens the greater the depth of field, much of at background or surrounding will be in relatively good focus. This produces an interesting effect of its own, as the image above demonstrates, but it does not produce what most photographers and photo enthusiasts think of, or recognize as, the macro effect.  Because most macro work is done with full sized DSLRs and specialty lenses that have real focal lengths of between 60-100mm, or with add-on lens/filters or extension tubes that restrict the depth of field, we are used to seeing macros with the subject isolated against an out of focus background. In fact, the challenge for folks who shoot with real macro equipment is to get the whole subject in focus at the same time. That is much easier, though some care is still needed, with a P&S macro. Those cameras with a dedicated Macro mode often use special in-camera processing to mimic the full sized DSLR macro effect.

The other disadvantage of P&S macro is that with close focus at the wide angle end of the zoom and focus under 5mm you have to be really close to your subject…often too close for practical work. You get pollen on your lens. You spook the bug. Worse, you get in your own way…the shadow of the camera covers the subject in any kind of sun or strong daylight.

Let me say right here that one of the real advantages of P&S macro is that you almost never need a tripod. The image stabilization on today’s P&S superzooms is amazingly good. If you take a number of shots…or use the continuous shooting mode on your camera…you will get at least one sharp photo in almost any light. It is easy to do, since, with the exception of bugs, most macro subjects will not be moving much if at all.

Both of the disadvantages above can be overcome, at least in part, by using a slightly longer focal length on the zoom. This is not possible with all P&Ss, but it is with the three I am most familiar with.

Conventional macro with a 100mm equivalent macro lens on a APS-C mirror-less compact DSLR. ZEISS Touit 50mm Macro on Sony NEX 3N. Notice the fully out of focus background. Contrast that with the image above, taken a the wide end of a P&S zoom with an equivalent focal length of 24mm and a real focal length of 4.3mm.

The Nikon superzooms have (or had, last time I checked) a Macro Mode that sets the zoom at about 34mm equivalent. This is a good compromise…allowing a more comfortable  working distance, and a bit more separation between subject and background. Nikon emphasizes that separation with special background processing. At the same time, 34mm equivalent still has enough depth of field to make it possible to keep the whole of most macro subjects in focus at the same time.

Canon SXxxHS series cameras will focus, as above, on the front surface of the lens at wide angle…but if you move the zoom off wide angle you loose close focus all together. To overcome that, I always use the digital zoom…on the Canons there is a special processing mode that provides a 1.5 and 2x digital tel-extender that has remarkably good performance, especially with macro subjects where the sensor is flooded with detail. That puts me out at 36 and 48mm for good working distance, and still gives me the depth of field of the 24mm equivalent. Best of both worlds.

On the Sony, closest focus is also at full wide angle, where you can get to 1cm. However, you can zoom out to 50mm, or even 85mm, and still focus under 5cm. Again, that gives you a good working distance, good scale, and, with care, enough depth of field.

Both the Canon and the Sony allow for Program Shift while shooting macros. It is kind of difficult to access on current Canons as it involves simultaneously pushing two buttons, but on the Sony it is dead easy as Program Shift is the default action of the real control wheel under your thumb as you grip the camera. Program Shift on any camera allows you to increase or decrease the depth of field by adjusting the size of the aperture (f-stop) without upsetting the basic exposure (it automatically compensates by adjusting the shutter speed to keep exposure balanced). You don’t really need to understand shutter speeds and f-stops and exposure to use Program Shift for macros. All you need to know for well focused P&S macros is that you want a larger f-stop number (which corresponds to a smaller aperture). Most P&Ss will automatically select a larger aperture over a smaller one, so your basic exposure is going to be something like f3. You want to dial it up to f5.6 or f6.3. That will give you enough depth of field, on a P&S, for most subjects. The shutter speed will go down, making it harder to hold the camera still long enough to get your picture, but between the excellent image stabilization and taking a few shots of every subject, you should still get at least a few sharp images in almost any light.

Sony HX400V at about 80mm equivalent, using program shift for a smaller aperture, comes close to matching the macro effect of the dedicated 50mm macro on the Sony Mirror-less compact DSLR.
Sony HX400V at about 80mm equivalent, using program shift for a smaller aperture, comes close to matching the macro effect of the dedicated 50mm macro on the Sony Mirror-less Compact DSLR.

Lighting on macros, and especially avoiding the shadow of the camera, can be very tricky. All I can say is that if I take the time to try all the angles I can generally find one that works. Sometimes you still get camera shadow in the image, but as along as it does not distract from or obscure the subject it might be okay.

Circling the plant with the bee allowed me to get the camera's shadow out of the frame. Sony HX400V at about 90mm.
Circling the plant with the bee allowed me to get the camera’s shadow out of the frame. Sony HX400V at about 90mm.

Some of the best macros are taken in the indirect light of the forest floor. Again, the superior image stabilization of the P&S superzoom comes into play to allow these kinds of shots hand held.

At the same time there is nothing like the detail of a shot in full sun. I used all the tricks here, with the Sony HX400V.

Finally, don’t ignore the other end of the zoom, or anything in between when shooting macros. Many P&Ss will focus closely enough at the long end for a true macro effect, especially if you use digital zoom or one of the specialized processing modes that give an expanded zoom range. The Canon SXxxHS series focus (based on current models at the time of this writing) to under 5 feet at full telephoto. At 1800mm or 2400mm equivalent field of view (using the digital tel-extender) that can produce stunning macro results.

2400mm on the Canon SX50HS. Bordered Patch at the National Butterfly Center
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Flame Skimmer. Tucson Sonoran Desert Museum. Sony HX400V at 2400mm equivalent using Perfect Image Zoom.

So, are you ready to make macro with your P&S superzoom?