In the late 1800s, the Yankee Girl mine was one of the most profitable mines in the history of silver mining in the United States. At its height, Yankee Girl produced 10 tons of ore on a daily basis.
Last month, I took a great trip out to Colorado to shoot fall colors in the Rockies with some friends. One of my favorite locations to visit (we went back several times because the area had so much to offer) was the Yankee Girl Silver Mine, south of the town of Ouray. Nestled in the San Juan Mountains, Yankee Girl was operational until the early 1900s. In the late 1800s, the mine was one of the most profitable mines in the history of silver mining in the United States. At its height, Yankee Girl produced 10 tons of ore on a daily basis, some of which was carted out by 75 mules every day.
Silver ore was carted out by 75 mules every day. Here the old mine is front lit with dramatic dark skies beyond.
A dirt road winds up into the mining area from the highway, which is comprised of several sites, all of which are in various stages of decay. While these abandoned buildings are interesting enough to explore and photograph, being surrounded by intense fall color foliage added an extra layer of interest to the photos.
There remain many small details of interest scattered about this area.
When covering an area photographically, it is important to look at a subject from many angles and to incorporate elements that help the viewer understand what the scene was like. Here I used old weathered boards to lead the viewer’s eye up into the frame, showcasing the main building. I’m sure if I spent an afternoon roaming the hill on which the mine buildings were perches, I could find many more such elements (old rusted pipes, mined rocks, etc) to incorporate into interesting compositions.
One of the smaller mine structures of the Yankee Girl Silver Mine sits perched over a valley of colorful fall aspen, Ouray, Colorado
Here is one of the smaller buildings in the mining complex. While not as attractive as the main building, it was perched on the edge of a hill with a magnificent color display on the opposite slope. I stitched multiple frames together to create a large resolution panorama.
Stay tuned for more posts based on photos from this trip.
This week Canon finally released their long awaited successor to the very popular (5 year old) 7D. The 7D is one of my main workhorse camera bodies, used primarily for bird and wildlife photography.
Here is a rundown of why I have already pre-ordered the Mk II. These are the features that are most important to me based on the type of photography I will do with this camera.
Most Important Features
APS-C sized (cropped) sensor.
The smaller size of the sensor on this camera is what sets Canon apart from many competitors, who seem to be pushing the high-end pro-sumer market to full frame cameras. Canon still sees a space in the lineup for APS-C sensors, and so do I. I will primarily use this camera for action (wildlife and bird photography), so having the extra "reach" will be a big benefit to me.
This factor prevented me from considering the 1DX for wildlife work when it came out. Although that is a fantastic camera, I couldn’t justify losing the 1.6X “zoom” factor that a cropped sensor gives me. The 7D Mk II has a much higher pixel density than the 1DX (20 MP on 7D MkII vs 18 MP on the 1DX), which will allow me to capture more detail. In fact, if you compare the pixel density of the same area of sensor between both cameras, the 1DX only has just over 11 MP compared to 7D Mk II's 20 MP.
f/8 auto focus capability.
This has been under-reported on, but is a huge feature for my use. Allowing auto-focus to work down to f/8 means I can pair my 800mm f/5.6 lens with a 1.4X tele-extender, which gives be an effective maximum aperture of f/8. This combo also gives me the 35mm equivalent of a whopping 1792mm, a distance I’ve never been able to use auto-focus with before.
Having this kind of distance flexibility to work with can get me closer to the action without spooking or antagonizing my target species.
A burrowing owl stands on a small berm overlooking its burrow
Species like the endangered burrowing owl will become stressed if you get too close. If it is only watching you, then you are too close – it should be constantly swiveling its head looking skyward for predators.
Improved AF tracking (including low light) [65 all cross-type auto-focus]
There is nothing worse for a bird photographer than to patiently wait for your subject to take flight, only to watch the bird fly away as your camera is hunting for focus. Having the best of class auto-focus will ensure my equipment will not be the one at fault. In the future, I'll only have myself to blame!
Having so many auto-focus points for the camera to choose from means that the auto-focus algorithms can track a subject throughout much of the frame. Cross points allow auto-focus on horizontal and vertical lines throughout the frame. This means faster, more accurate focus seeking and tracking.
A barn owl flies low over a field, hunting for rodents just after sunset, Bodega Head, California.
The 7D Mk II’s improved low light auto-focus tracking should make keeping focus locked on birds such as owls who take to the sky at dusk more manageable.
"Intelligent Tracking and Recognition (iTR)"
iTR is a new feature introduced with the Canon 1DX and has now filtered to the pro-sumor line. This employs a new RGB metering sensor which can detect and track moving subjects based on color, size and shape. Theoretically, this should help keep focus on erratic motion, such as flying birds. I’m looking forward to putting this to real world tests.
Improved high ISO performance
The majority of wildlife come out during the ends of the days, either in early morning or late evening. Having a camera that can focus and capture images in this kind of light with relatively low noise will be a huge advantage. While this camera probably does not match the low noise of cameras with a lower pixel density, it will be a big improvement over my 5 year old 7D.
Auto ISO parameters
Canon finally got this feature right, with many manual controls around how the metering will select the proper ISO for a given shooting condition. I can now set a maximum ISO to use (which I'll set to the highest ISO I deem to have acceptable noise), as well as the minimum ISO. With this feature, I can also set the minimum shutter speed the camera will use before increasing the ISO in low light scenarios. Currently I manually set my ISO up or down as the situation calls for it, but I will certainly be using a limited auto-ISO range so that I don’t miss any critical moments.
Nice to have features
10 fps shutter speed
I already have 8fps with the 7D, but hey, 10 is more than 8, right. All the better to help capture critical action like this:
A male white-tail kite flies past a female, which reacts to his close proximity
Nikon cameras have had this for years, so its nice to see Canon catch up.
Buffer depth (31 RAW vs 25 RAW in 7D)
This is a huge buffer! Having the ability to take 31 consecutive photos at 10 fps is pretty incredible. I’m not a big fan of spray and pray photography, but when you need to blast off a few, knowing that your camera won’t suddenly go quiet on you brings great peace of mind.
If you are lucky enough to live in the San Francisco Bay Area, you can see one of my images in the July-August issue of Bay Nature, a regional magazine. This photo is of Berry Creek Falls in the heart of Big Basin State Park, one of California’s beautiful displays of coastal redwoods. As is typical in a dark forest, this was shot on a tripod at slow shutter speed. I’ve blown this up to 20 x 30 inches and it looks fantastic, even with your nose pressed against the photo.
The day brought perfect conditions for waterfall photography – bright overcast skies and the high water flow of spring. It serves as a great reminder of our state when it is not in the midst of a drought crisis (in other words, I didn’t shoot it this year)!
Recently I was asked by a prospective digital camera buyer about my opinion on full frame verses cropped sensors. The answer is actually not very simple, so I thought I’d expand on my thoughts in this post.
For those who aren’t familiar with these terms, full frame refers to a digital camera that has the same sensor size as 35mm film. This became the prevailing film standard, and most of today’s digital SLR lenses use this size to calculate their relative lens magnification factor. A cropped sensor camera is a digital SLR that has a sensor smaller than 35mm film. These cameras use the same lens focal length scale, but apply an additional “magnification factor” to the 35mm numbers. For example, Canon’s cropped sensors apply a 1.6X magnification factor to lenses as compared to 35mm-sized sensors. If a full frame camera used a 50mm lens, the perceived magnification factor using the same lens of a cropped sensor camera is 50mm X 1.6 = 80mm. In other words, in the resulting photos, it appears as if the camera was zoomed into 80mm when using a 50mm lens on a cropped sensor camera.
So which is better? As with any tool, it depends on the job. I use both full frame and cropped sensor cameras regularly in my photography. When I’m shooting landscape, architecture, or macro, I typically use a full frame camera. My current workhorse is the Canon 5D MkII (now practically a dinosaur of a camera!), which allows me to use a full range of lens focal lengths, including my widest. In these shooting conditions, camera features such as auto focus and frame rate are not as important to me as pixel count and low digital noise. With this camera, I shoot from a tripod most of the time and work slowly and methodically through the scene, getting as much right in camera as possible.
Barrel cactus is just starting to bloom in the Alabama Hills, Lone Pine, CA
The photo above is an example of using a full frame camera with a wide angle lens. Here my 17mm lens truly gave me the wide angle using my full frame sensor, instead of the appearance of a 27 mm lens (17 X 1.6) if I used a cropped sensor. I worked from a tripod, manually focused, and shot at ISO 100.
When I’m shooting bird and wildlife photos, I always use a cropped sensor. This gives my long lenses that extra reach, and cropped sensor cameras tend to have slightly lower pixel count, which allows for faster frame rate. My cropped sensor workhorse is the Canon 7D, which has my most important traits for these shooting conditions – fast auto focus and high frame rate. While low noise is always desired, here the highest pixel count is not as important, as wildlife and bird photos typically don’t end up in huge prints. Pairing this camera with a 400 mm lens allows me to handhold while photographing giving me lots of mobility. When I use it with my 800 mm lens, I get the equivalent of 1280mm due to the lens multiplication factor. This gets me in close to my subjects without needing tele-extenders, which reduce auto focus performance.
Crouching down and ready to strike, a juvenile green heron watches the surface of the water for movement
The photo above is an example of using a cropped sensor camera with a long lens. Using the equivalent of 1280 mm (800 X 1.6) allowed me to be far enough from my subject to not disturb it from its normal behavior. I was also able to shoot many frames per second to capture the perfect body and head position while the green heron was fishing.
Just as a carpenter wouldn’t just use one type of hammer, a photographer won’t resort to just one type of camera. If you are just dipping your toes into the world of digital SLRs, think first about what type of photography you’d like to explore first. That will likely help you list your desired features and point you to the right tool for the job.
