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- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
Take memorable photos of the most popular attractions in the Big Apple!
Whether using a point-and-shoot or a high-end dSLR, this companion guide provides you with detailed information for taking amazing shots of one of one of the world's most photographed cities. Whether you aim to capture the regal Empire State Building, vibrant Times Square, historic Grand Central Station, massive Central Park, or one of New York City's many other landmarks, this portable resource goes where you go and walks you through valuable tips and techniques for taking the best shot possible.
You'll discover suggested locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, beautiful images of New York City's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure!
- Elevates your photography skills to a new level with photography secrets from professional photographer and SmugMug COO, Andy Williams
- Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from full-featured compact cameras to high end DSLRs
- Features New York City's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for
- Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider
Whether you're a local familiar with the territory or a visitor seeing the Big Apple for the first time, this handy guide will help you capture fantastic photos!
Das E-Book können Sie in Legimi-Apps oder einer beliebigen App lesen, die das folgende Format unterstützen:
Seitenzahl: 276
Veröffentlichungsjahr: 2010
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Photographing New York City Digital Field Guide®
Table of Contents
Chapter 1: The Bronx Zoo
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Zoo Center
Big Bears
Congo Gorilla Forest
JungleWorld
Tiger Mountain
Sea Bird Aviary
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 2: The Brooklyn Bridge
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The pedestrian walkway
The Brooklyn Bridge Park
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting Creative
Chapter 3: Castle Clinton
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The exterior
The interior
On the waterfront
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 4: The Cathedral Church of Saint John The Divine
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
112th and Amsterdam Avenue
Interior of the cathedral
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 5: Central Park
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The Pond
Dairy Visitor Center
Sheep Meadow
Strawberry Fields
Conservatory Water
The Lake
Belvedere Castle
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 6: Chinatown
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Mott Street and Canal Street
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 7: The Cloisters
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Outside from the south
Inside, Museum Galleries
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Getting Creative
Chapter 8: The Empire State Building
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
34th Street and Fifth Avenue
In the lobby
The observation decks
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 9: The Flatiron Building
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
23rd Street and Fifth Avenue
The sides
Madison Square Park
How Can I Get the Best Shot?
Equipment
Camera Settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 10: Grand Central Terminal
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
42nd Street and Vanderbilt Avenue
The Main Concourse
The balconies
The tracks
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Getting creative
Chapter 11: The Guggenheim Museum
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Fifth Avenue and 89th Street
The rotunda
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 12: The USS Intrepid
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
12th Avenue in front of the bow
The flight deck
The USS Growler
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 13: Manhattan From Roosevelt Island
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Along the Western Promenade
Southpoint Park
The Roosevelt Island Tramway
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 14: Manhattan and Williamsburg Bridges
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Brooklyn Bridge Park
Underneath FDR Drive
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 15: The Metropolitan Museum of Art
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Fifth Avenue
The Great Hall
The galleries
The grounds
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 16: The Museum of Natural History
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Front of the building
The Theodore Roosevelt Rotunda
The exhibit areas
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 17: New York Botanical Garden
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The Enid A. Haupt Conservatory
Benenson ornamental conifers
The waterfall on the Bronx River
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 18: The New York Public Library
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Fifth Avenue
The lobby
The Adam R. Rose Main Reading Room
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Chapter 19: Rockefeller Center
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The plaza in front of the rink
Underneath Atlas
Top of the Rock
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Getting creative
Chapter 20: The Rose Center for Earth and Space
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Outside the Hayden Planetarium
On the Heilbrun Cosmic Pathway
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 21: Saint Patrick’s Church Cathedral
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Outside on Fifth Avenue
The Nave
Side chapels
The North Transept
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Chapter 22: SoHo
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Prince Street
West Broadway
Grand Street
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 23: South Street Seaport
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Pier 16
Fulton Street
The Seaport at Pier 17
Brooklyn Heights Promenade
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 24: The Staten Island Ferry
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The ferry passing the Statue of Liberty
The ferry leaving Manhattan
Battery Park
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 25: The Statue of Liberty
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
The approach on the ferry
The pedestal’s base
Up the stairs
The observation area
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 26: Times Square
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
43rd Street looking north
Duffy Square
50th Street looking south
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
span class="generated-style">Low-light and night options
Getting creative
Chapter 27: The United Nations
Why It’s Worth A Photograph
Where Can I Get the Best Shot?
First Avenue
The grounds
The General Assembly
How Can I Get the Best Shot?
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Chapter 28: Wall Street
Why It’s Worth a Photograph
Where Can I Get the Best Shot?
Broadway and Wall Street
In front of the New York Stock Exchange
Federal Hall
Broadway and Bowling Green
How Can I Get the Best Shot?
Equipment
Camera settings
Ideal time to shoot
Low-light and night options
Getting creative
Photographing New York City
Digital Field Guide
by Jeremy Pollack and Andy Williams
Photographing New York City Digital Field Guide
Published by Wiley Publishing, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com
Copyright © 2010 by Wiley Publishing, Inc., Indianapolis, Indiana
Published simultaneously in Canada
ISBN: 978-0-470-58685-3
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, or online at www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or Web site is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization of Web site may provide or recommendations it may make. Further, readers should be aware that Internet Web sites listed in this work may have changed or disappeared between when this work was written and when it is read.
For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (877) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
Library of Congress Control Number: 2010925691
Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book.
About the Authors
Jeremy Pollack is a Connecticut-based photographer with a wide range of interests. As a result of growing up in the woods, his first love has always been nature photography which he started shooting with his father’s Canon FT QL. As his passion grew over the years, so did the breadth of his interests. Today he shoots commercial and fine art photography, selling prints at art shows and online. To connect to his blog, portfolios, fine art storefront, and other online presences, please visit www.jeremypollack.net.
Andy Williams (New York, NY) is a Photographer, COO, General Manager, and House Professional Photographer at SmugMug. Andy has been a photographer all his life, and shooting professionally for 20 years. When he is not doing portrait and event work, his artistic interests tend toward landscape and street photography. He teaches and holds several workshops a year. Andy lives in the New York City area and is a member of Photographic Arts, NY, the Professional Photographers of America, the National Association of Photoshop Professionals, the IR League, and Canon Professional Services. Andy can be found on Twitter, Facebook, and LinkedIn. His beautiful photos can be seen via his Web site at www.moonriverphotography.com.
Credits
Senior Acquisitions Editor
Stephanie McComb
Project Editor
Chris Wolfgang
Technical Editor
Mike Hagen
Copy Editor
Beth Taylor
Editorial Director
Robyn Siesky
Editorial Manager
Cricket Krengel
Business Manager
Amy Knies
Senior Marketing Manager
Sandy Smith
Vice President and Executive Group Publisher
Richard Swadley
Vice President and Executive Publisher
Barry Pruett
Project Coordinator
Katie Crocker
Graphics and Production Specialists
Ana Carrillo
Andrea HornbergerJennifer Mayberry
Quality Control Technician
Lauren Mandelbaum
Proofreading and Indexing
Valerie Haynes PerryPenny Stuart
Chance favors the prepared mind.
- Louis Pasteur
Acknowledgments
This book would not have been possible without so many wonderful people. Their belief and trust in me is humbling. A huge thank you to every one of you.
To Rick Sammon, who believed in me enough to recommend me for this project and has been incredibly supportive of my photographic journey.
To Michael Vertefeuille, who has supported me in both words and actions and made it possible to live and breathe this project.
To everyone at Wiley who made this book a reality.
And, of course, to my wonderful wife Crista Grasso, who has supported and pushed me every step of the way. I would not be here today without her.
—Jeremy Pollack
Introduction
This Digital Field Guide is designed to be a pocketable companion in your quest to create postcard-worthy photographs in New York City. Whether you are visiting for the first time or are a long-time resident, a beginner or seasoned shooter, this photo guide will offer tips and suggestions for 28 of the most photogenic spots in the city. Beyond simply telling you about a landmark, this book will guide you through learning and seeing examples of the best vantage points from which to take photographs at each location, what equipment to bring and why, suggested camera settings, and even how to plan for the seasons, weather, and photographing at night.
Who the Book Is For
This book is for anyone with a love of photography that will be shooting in New York City. While many of the discussions are around digital SLR cameras, point-and-shoot cameras can certainly be used for any of the shots in the book. A basic knowledge of your camera settings will be helpful, as will an understanding of the relationship of aperture, shutter speed, and ISO to create a proper exposure. However, these details are not central to the book. Instead, we focus on wonderful photographic opportunities in one of the greatest cities in the world, provide examples to inspire and follow, and explain how you can create beautiful images of your own.
One of the challenges in making great photographs of a location are the time and preparation it takes to scout, find the best angles, and learn the best times to visit. This book will help you in each of these areas. We have done the research and planning so you can enjoy your time making photographs.
A few other resources that might be helpful for your trip to New York City are:
Google Maps with Streetview. New York City is thoroughly covered by Google Streetview. This gives you a photographic look at every street in the city! Take a virtual look around your destinations and get a feel for the street layouts before setting foot in town.
MTA Trip Planner. Located at http://tripplanner.mta.info, this excellent resource will help you plot your way around the city using mass transit.
Destination Web sites. While we have endeavored to include the most up-to-date and pertinent information possible in this book, things do change. Web sites for major destinations such as the Empire State Building or the Statue of Liberty will provide up-to-the-minute details and contact information.
We want to see your photos! Join the Flickr group at http://www.flickr.com/groups/dfgnyc/
How To Use This Book
This book is organized alphabetically by location, starting with the Bronx Zoo all the way to Wall Street. You can go directly to any chapter rather than reading from start-to-finish. Some discussions will be cross-referenced to an earlier chapter, and there are useful tips and tricks spread throughout the entire text, so reading it from cover-to-cover will be beneficial, too.
A lot of travel photography is spent learning where to go, when to go, and why to go. The goal of this book is to free you from those tasks, allowing you to focus on your photography and finding beautiful light.
Lenses and Crop Factor
Images for this book were shot with a mixture of full-frame and crop-sensor cameras. A crop-sensor camera will offer a different angle of view with the same lens as a full frame camera. Generally these cause a 1.5x/1.6x magnification with some of the newer models giving a 2.0x magnification.
The photo captions in this book list the lenses which were used to create the photograph. These measurements have been normalized for a full-frame camera. See the table below for a comparison of some of the common lenses used and their full-frame versus crop-sensor focal lengths.
Full-frame sensor
16-35mm zoom
24-70mm zoom
24-105mm zoom
70-200mm zoom
50mm prime
85mm prime
300mm prime
1.5x/1.6x crop sensor
25-60mm zoom
38-112mm zoom
38-170mm zoom
112-320mm zoom
80mm prime
128mm prime
480mm prime
2.0x crop sensor
32-70mm zoom
48-140mm zoom
48-210mm zoom
140-400mm zoom
100mm prime
170mm prime
600mm prime
A leopard eyes the camera in the JungleWorld exhibit. Taken at ISO 1000, f/4.5, 1/80 second with a 300mm lens.
Chapter 1: The Bronx Zoo
Why It’s Worth a Photograph
The Bronx Zoo, just a short trip north of Manhattan, is a great place to take photos. Over 4,000 animals — including many endangered and threatened species — live on its 265 acres. The zoo has a focus on naturalistic habitats both indoors and out, so you can photograph animals including tigers, rare snow leopards, and bears in such a way that people viewing your photo won’t be able to tell that it was taken at a zoo. Whether you just plan a day trip or combine it with a visit to the neighboring New York Botanical Garden, the Bronx Zoo is an enjoyable and exciting photographic opportunity.
Where Can I Get the Best Shot?
The Bronx Zoo has many photo opportunities. The best locations to visit first are the Zoo Center, Big Bears, Congo Gorilla Forest, JungleWorld, Tiger Mountain, and the Sea Bird Aviary.
The best vantage points from which to photograph the Bronx Zoo: (A) Zoo Center, (B) Big Bears, (C) Congo Gorilla Forest, (D) JungleWorld, (E) Tiger Mountain, and (F) Sea Bird Aviary. Other photo ops: (17) New York Botanical Gardens.
Zoo Center
Originally known as the Elephant House when it opened in 1908, the Zoo Center is one of the original six Beaux-Arts style buildings designed for the zoo. This large, heavily ornamented building is the gateway to other original zoo buildings of Astor Court.
The Zoo Center hosts small exhibits and only a few animals, but the outside is a beautiful sight. It is flanked on the south by two large rhinoceros statues and often some roaming peacocks. A telephoto zoom lens lets you capture the entire building from a distance or isolate some of the intricate details (see Figure 1.1).
Big Bears
Polar and grizzly bears live next door to each other in the Big Bears exhibits. The grizzlies’ enclosure includes swimming holes and a high ridge where the bears can play and patrol. The naturally aquatic polar bears spend a lot of time in their pool. Both bear exhibits offer excellent photo opportunities whether the bears are lounging, playing, or waving to the crowds.
Although you can get closer to these animals than you ever might in nature, a telephoto zoom or super-telephoto lens is still going to be your best bet to get a close-up shot of these creatures (see Figure 1.2).
Consider renting gear if you want to try new equipment, such as a super-telephoto lens. Whether you want to try something before buying or only have an occasional use for an expensive piece of gear, local or online rentals are a great option. Make sure to give yourself enough time to practice with the rental gear if you have never used it before.
1.1 A large stone elephant head adorns the Zoo Center (see A on the map). Taken on a wet, winter afternoon at ISO 1000, f/5.6, 1/80 second with a 70-200mm lens.
1.2 A polar bear relaxes by his swimming hole on a late winter afternoon. Taken at ISO 400, f/6.3, 1/400 second with a 300mm lens and 1.4x teleconverter.
Congo Gorilla Forest
This 6.5 acre rainforest is home to more than 20 western lowland gorillas. The outdoor exhibit takes you through a range of views, from the forest floor to treetop lookouts. During colder months you can still photograph the gorillas in their indoor habitat, but the warmer months bring them back out to the forest environment.
Bring your telephoto to super-telephoto lenses to capture the gorillas up close (see Figure 1.3). A standard zoom lens lets you create images of them amongst their families.
JungleWorld
The indoor JungleWorld exhibit re-creates an Asian jungle with over 800 animals on display. This warm and humid environment is home to an army of assorted apes, tapirs, and a variety of jungle insects.
A telephoto zoom lens is a great choice here, because you can get close-up images when fully zoomed in or include a few animals in the frame at the short telephoto end (see Figure 1.4).
1.3 A gorilla in repose at the Congo Gorilla Forest (see C on the map). Taken at ISO 2000, f/4, 1/30 second with a 300mm lens.
1.4 An ebony lemur hangs out inside JungleWorld (see D on the map). Taken at ISO 1600, f/4.5, 1/320 second with a 300mm lens.
Tiger Mountain
Tiger Mountain showcases not only the endangered Siberian tiger but also the zoo’s enrichment program. The keepers use toys, training, and games three to four times a day to keep the tigers in shape and stimulated.
Although you can get relatively close, a telephoto zoom or super-telephoto lens is your best choice, so you can fill the frame with your subject (see Figure 1.5).
The feeding and enrichment programs are a great time to visit an exhibit. Arrive 15-20 minutes before the scheduled start time because the animals are often most active when they know feeding or play time is coming. Check the zoo’s Web site for daily schedules and incorporate them into your plans.
1.5 A tiger prowls at Tiger Mountain (see E on the map). Taken at ISO 400, f/7.1, 1/500 second with a 300mm lens.
Sea Bird Aviary
Next to the indoor Aquatic Bird House, the outdoor Sea Bird Aviary is home to Magellanic penguins and other birds native to the Patagonia region of South America. The penguins swim and walk across the lands and are very active at their daily feeding time. The whole area is enclosed in netting with many birds in flight.
This exhibit offers a spectacular opportunity to practice avian photography, a popular and challenging photographic discipline (see Figure 1.6).
1.6 Inca terns in the Sea Bird Aviary on a blustery winter afternoon (see F on the map). Taken at ISO 640, f/2.8, 1/1250 second with a 70-200mm lens.
How Can I Get the Best Shot?
Just as the eyes are the window to a person’s soul, the same is true for animals. An image with the eyes in perfect, sharp focus draws your viewer’s attention every time. To create a more natural composition, shoot at the animal’s eye level if at all possible. Also, because you generally can’t comply here with the adage of take two steps closer, you want to consider a longer lens than you might initially expect. Your subject should fill the frame, and at most exhibits, you need a telephoto zoom lens to accomplish this.
When creating your composition, be extra vigilant for intruders in the edges of the frame. You want to create a shot that looks like it could have been taken on a safari, not in a zoo. Finally, the intangibles may be the biggest challenge. All the animals at the zoo have a mind of their own. Although you may have a photo you want to take, a gorilla may have another idea altogether! Lots of patience is required if you want the perfect shot (see Figure 1.7).
Equipment
A number of lenses are available to create great images at the zoo. Tripods and monopods are also allowed at most exhibits.
Lenses
There are many choices available when selecting a lens or lenses to bring to the zoo. While many options are outlined below, including some more expensive options, good photos are available at the zoo with any camera and lens combination.
A standard zoom lens in the 24-105mm range. A standard zoom can be useful for shooting some of the indoor exhibits. These lenses often offer a close minimum focusing distance, which is great for animals just on the other side of a glass enclosure. Their small size and weight make them easy to keep in a bag when not in use.
A telephoto zoom in the 70-200mm range. A standard telephoto zoom lens in the 70-200mm range is a great place to start your quest to get close to the animals. These lenses are often available with image stabilization, which means they can be handheld even at longer focal lengths that might otherwise require a tripod.
1.7 After half an hour, this bird at the Northern Ponds finally wandered close enough for a full-frame headshot. Taken at ISO 640, f/4.5, 1/2000 second with a 300mm lens.
There are longer telephoto zoom lenses available from most manufacturers as well, up to 400mm at the longer end and 500mm if you go with a third-party brand. These end up getting a bit more difficult to handhold, requiring a tripod or monopod to create sharp pictures.
A telephoto or super-telephoto prime lens. Beyond 200mm, consider a prime lens instead of a zoom. These tend to have larger apertures than equivalent zoom lenses, offering a faster shutter speed and better background blur, or bokeh. You can find reasonably priced lenses for the non-specialized professional available up to 400mm, although they are still not inexpensive. Consider planning ahead and renting a longer lens if you would like to try one at the zoo.
A 1.4x or 2x teleconverter. In some cases, a 1.4x or 2x teleconverter can be a good alternative to a super-telephoto lens. Although you lose a bit of light and sharpness, many lenses, such as the 70-200mm zoom lens will still produce excellent images. As a general rule, use a teleconverter by the same manufacturer as the lens with which it is paired.
Filters
A polarizing filter can be very useful at the zoo. The most typical benefits of a polarizer are more saturated colors in the sky and foliage due to reduced reflections. At the zoo, you will also see the benefits of using a filter when you are shooting animals in the water. By cutting the reflections off the water’s surface, you can photograph animals partially or fully underwater.
Extras
There are a number of extras that can be beneficial for a trip to the zoo. The first is a tripod or a monopod to help hold your camera steady, especially when using a longer lens. The monopod provides greater mobility, but the tripod offers the most stability. Some exhibits do not allow such an accessory, so be sure to have a way to carry it comfortably; a shoulder strap or belt hook works well. Even when you are shooting during the daytime, a flash can be a key component to a great shot. By using a fill flash, you can help fill in the shadows under an animal’s eyes and create a catchlight. Both of these serve to draw your viewer’s attention to your subject’s gaze (see Figure 1.8). There are also flash accessories called flash extenders that magnify your flash for even far-off subjects.
For indoor images, you may want to bring a pocket gray card to help ensure proper white balance. Finally, a good way to carry this equipment is very important. A backpack, belt pack, or shoulder bag can all offer the extra space needed while being comfortable enough to carry all day. When choosing a bag, consider comfort but also ease of use and accessibility.
1.8 An accessory flash with an extender added some light to a red panda’s face and created catchlights in his eyes. Taken at ISO 400, f/6.3, 1/200 second with a 300mm lens and 1.4x teleconverter.
Camera settings
There are two main setups for capturing images of animals at the zoo. The first is for fast-moving subjects, such as birds or sea lions. The second setup is for more sedentary animals, such as tigers or bears. In either scenario, a low f/stop creates a shallow depth of field, reducing distractions in the background of your frame.
Fast-moving subjects
The movement of these animals means that you need to ensure a constantly adjusted focus and a sufficiently high shutter speed to freeze their movements. Don’t get discouraged when you have some shots that don’t come out. Many of your images may not be sharp or even in focus. But when you get that shot of a bird in flight or a sea lion leaping from the pool, the effort will be worth it (see Figure 1.9).
Exposure mode. Because your subject is moving quickly, you will need to ensure a sufficiently high shutter speed to freeze the motion. Shutter Priority mode allows you to set your shutter speed, and the camera’s internal meter sets an appropriate aperture and ISO. Start at 1/500 second, shoot a few images, and review them to check for sharpness. Keep increasing the shutter speed until you find that you are able to freeze the action.
Focusing mode. Use your camera’s continuous focusing mode when tracking moving subjects. This mode not only tracks your subject by constantly adjusting the focus but actually predicts where the focus should be in the brief moment it takes to depress the shutter button and release the shutter.
Image stabilization. Make sure that your lens offers Mode 2 image stabilization, which disables the feature in the direction you are panning. Otherwise, disable image stabilization completely. Your very high shutter speeds mostly obviate the need for this feature in this scenario.
1.9 A female California sea lion leaps from the water during an afternoon enrichment session on a rainy winter afternoon. Taken at ISO 800, f/4.5, 1/1600 second with a 70-200mm lens.
File format. Although RAW format files give you the most latitude in the digital darkroom, they are larger and cause your camera’s buffer and memory card to fill up faster. If you find that your camera is unable to keep up with your shooting, consider utilizing high-quality JPEG format instead.
Drive mode. Trying to predict when to take a single shot of a fast-moving subject is difficult. Use your camera’s continuous burst mode instead to shoot a number of photos before, during, and after the decisive moment.
White balance. Utilize your camera’s white balance presets as appropriate. These presets are very reliable outdoors. Indoors, in mixed lighting, use a pocket gray card to dial in the proper white balance.
ISO. Always try to use the lowest ISO possible that still allows a sufficient shutter speed and aperture combination. Doing this minimizes the potential for digital noise in your images. ISO 200 to 400 on most days should be sufficient, although 800 or even higher might be required if you are using an exceptionally high shutter speed.
Slow-moving subjects
For the slower moving subjects, you can focus more on the animals’ expressions and composition in the frame while utilizing a much simpler set of settings. You still need to be quick when you see the image you want. Being prepared when it arrives is important (see Figure 1.10).
1.10 Two ring-tailed lemurs hang out in the Madagascar exhibit. Taken at ISO 1000, f/2.8, 1/80 second with a 70-200mm lens.
Exposure mode. Although you will still use your camera’s internal meter, for a slower-moving subject use Aperture Priority mode. This mode allows you to directly control the aperture, setting the depth of field as you like for a particular composition. The internal meter sets an appropriate shutter speed and ISO.
Drive mode. You may still want to use your camera’s burst mode even for more stationary subjects. Many of the animals may still make quick motions with their eyes or head, and having the ability to capture three to five images increases your chances of capturing the perfect shot.
White balance. Use your camera’s presets for white balance outdoors. Indoors, if the presets are not accurate in a mixed-light environment, use your pocket gray card. Shooting in RAW mode allows you the most latitude with the color settings in the digital darkroom.
ISO. Keep your ISO as low as possible to minimize the digital noise. Outdoors, use 100-200 on a clear day and 400 if it is overcast. Indoors, many of the exhibits are fairly well lit, so you can start at 400 but don’t hesitate to move to 800 or even 1600. A sharp picture with digital noise is better than a blurry picture without.
Ideal time to shoot
The zoo offers year-round photographic opportunities. Different animals are viewable and active at various times of the year. Check the Bronx Zoo’s Web site for more details about what exhibits are open when you are visiting. Weekdays and the colder months are generally less crowded than weekends and the summertime. If you plan on bringing a lot of equipment, you will have much more room to work and walk during off-peak times.
