Nikon D610: Informal Review with Comparisons to Nikon D800

Article by: Denni Raubenheimer

Photos by: Denni Raubenheimer and Yolande Raubenheimer

 

The Nikon D610 is the relatively new “entry-level” full-frame from Nikon. Its pricing makes it an attractive option to those wanting to enter the world of digital full-frame and also a likely choice for serious amateurs and professionals looking for a second, or third, full-frame body. Reviews of this acclaimed model are abundant. However, here I give my impressions of the camera and compare it to the awesome non-flagship Nikon D800. Many wanting to purchase an “affordable”  Nikon full-frame will have to choose between the D610 and D800. I hope this article will help such readers to come to sensible final choices.  

Butterfly taken heldheld with single AF-point and C-AF. Nikon D610, 1/400s, 280mm, f/8, ISO-500.

Technical background:

To give some context to readers that are not familiar with Nikon’s latest full-frame bodies. The D610 was released quite shortly after the D600. The sensor and image quality of these two models are the same and the specs are near identical. A noteworthy improvement in the D610 is an upgraded auto white balance system. Unofficial as it might be, the main reason that the D610 was produced so quickly after the D600 is arguably that it resolves the problematic tendency of the D600’s shutter-mechanism to expel micro droplets of oil onto the camera’s image sensor. Nevertheless, the D610 and D600 are Nikon’s most affordable full-frame D-SLRs retailing for around 1800 USD and 1500 USD, respectively (body-only). The Nikon D800 (and D800E) is one rung up the ladder (the camera that pioneered 36 Mega-pixels in the full-frame arena; a highly acclaimed and ground-breaking model) costing about 2600 USD (3000 USD for the D800E; body-only). The next rung of the ladder is that of the flagship D4 and D4s that retail for roughly 5000 USD and 6500 USD, respectively (body only). These flagship models are arguably only suited for successful professionals and the significantly wealthy, but offer unbeatable image quality and autofocus performance (though those with a preference to Canon would probably argue that Canon’s flagship 1D X outguns the Nikon flagship).

Very recently, the D750 and D810 were launched. The former lies in between the D610 and D800 and the latter is the successor of the D800. The D750 makes choosing the best “affordable” Nikon full-frame a more difficult choice. Comparisons to the D710 are not included in this article.

Specifications:

Here are the core specifications of the D610:

- 24 million effective pixels

- 6016 x 4016 maximum resolution (3:2 ration)

- Sensor size and type: full-frame CMOS

- Processor: Expeed 3

- ISO: 100 – 6400 (Boosted: 50 – 25600)

- File formats: NEF (RAW) 12 – 14 bit (lossless compressed/compressed/uncompressed) and Jpeg (fine/normal/basic)

- Regular Nikon Autofocus types with addition of face detect AF.

- Focus points: 39 (9 cross-type)

- Shutter speed range: 30s. – 1/4000s.

- Shooting modes: P, A, S and M.

- Flash X sync speed: 1/200s.

- Max frame rate: 6 frames per second

- Buffer in RAW: 14 frames at lossless 14-bit RAW format.

- Drive modes: single, continuous low, continuous high, mirror-up, quite shutter release, timer

- Metering modes: Multi (matrix), Centre-weighted, Average and Spot.

- Exposure compensation range: ± 5 stops

- AE bracketing:

- WB bracketing:

- Storage: 2x SD slots

- Remote control: wired and wireless

- Body Material: Magnesium alloy and on top and behind with polycarbonate front.

- Environmental sealing: Water and dust resistant

- Weight with battery: 850g.

- Dimensions: 141 x 113 x 82 mm

- Video resolutions: 1920x1080 (30/25/24 fps) and 1280x720 (60/50/30/25 fps)

- Video format: MPEG-4, H.264

- Microphone and speaker are mono.

- Timelapse capable: Yes

--- Specs obtained from www.dpreview.com

Red-knobbed Coots. Nikon D610, 1/1600s, 420mm, f/7.1, ISO-720.

Nikon D610 specs vs. Nikon D800

The most noteworthy areas where these fall short of the higher-end Nikon D800 are the maximum shutter speed (1/4000s. vs. 1/8000s.), the amount of focus points (39 points vs. 51 points), flash X-sync speed (1/200s. vs. 1/250s.), body material (Magnesium alloy on top and behind with polycarbonate front vs. complete magnesium alloy skeleton) and resolution (24MP vs. 36MP). In terms of resolution the “deficit” of the D610 is only really relevant to photographers that require the utmost detail in their images and have an arsenal of lenses with extremely good resolution and to those that often need to crop their photos significantly (though at high ISOs extreme cropping with the D800 is generally not feasible for retaining good image quality). Lastly, the D610 outguns the D800 in maximum frame rate, namely 6 fps vs. 4 fps, but has a smaller buffer (14 vs. 20 frames at max frame rate and 14-bit compressed RAW).

For videographers that can afford the D800 the choice between the two is a no-brainer, with the D800 being a professionally competent video D-SLR camera. For those who might only on occasion need high quality video, the D610 is good enough. 

Nikon D610, hand-held, 1/250s, 50mm, f/3.2, ISO-1250.

100% crop of above photo after resizing to 16MP. Note ISO of 1250.

First impressions:

The very first impressions that I had of the D600 were of briefly handling clients’ cameras. I liked the feel and somewhat liked the smaller size (I have large hands). The playback from a few images suggested very similar to near identical image quality to that of our D800. I could see that the autofocus area was slightly smaller than that of the D800, but also that for wildlife application it would generally be large enough. The most noteworthy difference that I spotted on the D600’s body was the lack of a designated AF-ON button. After these first brief interactions with the D600 I felt sure that had we gone for the D600, in stead of the D800, we would still have had a more than adequate primary body for our wildlife and general purposes.

After receiving the test unit that we had for two weeks it didn’t take me long to configure it to our preferences. Something that Nikon’s recent pro bodies allow is exposure compensation via Auto ISO in Manual mode. This is an extremely versatile shooting mode set-up, so that’s what I used for most of the shooting I did with the test unit. After shooting a few images I could notice that the D610 sample did have noticeably longer lag in between shots compared to the D800. This is probably the only significant criticism I have of the D610 vs. the D800. Apart from the time lag (that I quite quickly became unconscious of) shooting with the D610 was very enjoyable and I never felt unconfident in the camera’s abilities. 

Handheld image at ISO-3200 with no NR. Click on image to see cropped window at 100% after resizing to 16MP..

Performance:

The D610 performs like a true pro-grade body. White balance and focus are very dependable and hard to distinguish from the D800. While shooting birds in flight I did get the impression the D610’s focus tracking was slightly inferior to the D800. However, the D610 largely made up for this with its quicker frame rate and thus it seemed that the amount of critically sharp photos were similar to what I would have expected to produce using the D800.

The size of the AF point array on the D610 has been critisized quite a bit, because it is somewhat smaller that that on the D800 and D4. For me personally, the area covered by the D610 would be sufficient to shoot most of the action-shots that I tend to try and capture. Only with birds in flight smaller than pigeons would I wish for a larger array.

In general, when depth of field becomes very narrow in non-action situations it advisable to move one’s single Autofocus point as near as possible to where you want the focus to lie in your final composition (i.e. compose first and then move the AF point to where you need to focus), even though almost all D-SLR models’ central AF points are most accurate, because one can easily significantly move a narrow focus-field during re-framing. Here the D610’s somewhat smaller AF point array also falls short of the D800 (and D4). However, the left- and right most AF–points do actually still lie outside the image frame’s vertical thirds.  Unfortunately, the top and bottom Af-points that lie away from the central AF-cluster do not reach the upper and lower thirds of the camera’s image frame. If you wanted to place your focus exactly on the intersection of two thirds one would still have to reframe slightly upwards, or downwards, after using the nearest AF-point.

While using our test unit I did often use single AF-points away from the centre of the frame and never noticed unreliable zones.

ISO performance on the D610 was very much what I expected – near identical to D800 images after down-sampling to 24MP. This says a lot, because if you then downsample high ISO D610 files to 16MP you end up with ISO performance that negligibly falls short of that of the Nikon D4! 

Little Egret in flight. Nikon D610, 1/2500s, 420mm, f/6.3, ISO-280.

100% crop of above image.

Concluding comparisons and final thoughts:

In terms of image quality the D610 and D800 are near identical for full screen viewing and A4 prints. The photo-file advantage of the D800 is in its groundbreaking resolution and capacity for large prints and significant image cropping at low to moderate ISOs. However, for most people 24 MP is more than sufficient. The D610 will also have less of a load on your file storage space and computer’s RAM.

Choosing a D800 over a D610 is not going to give any ISO advantages.

The D800 does arguably have a significantly better AF system than the D610. This is slightly compensated for by the 50% faster max frame rate of the D610 (6 fps) compared to that of the D800 (4 fps). However, this “compensation” is sort of nullified by the smaller buffer of the D610, which will always fill quicker than with the D800 using comparable RAW formats.

Ergonomically, the D610 handles well. The lack of a designated AF-ON button (which the D800 has) means that one has to assign the AE-L/AF-L button to AF-ON if you wish to configure the camera to back-focus only. This then means that you temporarily lose an AE-L button and then have to “sacrifice” another pragrammable button, like the Fn button, to AE-L if you need the function.

Personally, I am glad that we have the D800. For us it is worth the extra money. However, at the time we were able to afford it. Furthermore, we had gone for the D610 I strongly doubt our portfolios would have suffered noticibly and maybe not at all.

If you can not responsibly afford the D800, but can afford the D610 – then you can confidently go for the D610 – its abilities are completely professional and its image quality is awesome. If you can afford the D800, but would prefer to have money to spare for camera optics – the D610 is more-than just competent.  

Down-sampled image with moderate NR. Nikon D610, 25s, 24mm, f/2.8, ISO-6400.

Nikon D610, 3s, 24mm, f/13, ISO-500.

Nikon D610, 1/500s, 44mm, f/2.8, ISO-3200.

 

100% crop of above image without NR after resizing to 16 MP at ISO-3200.

Slightly unstable tripod used for this image. Nikon D610, 1/400s, 420mm, f/9, ISO-400.

Nikon 70-200mm f/4 (AF-S Nikkor 70-200mm 1:4G ED)

Article & photos by Denni Raubenheimer

Until relatively recently Yolande and I had been shooting with Olympus gear. When we had the opportunity to change system to Nikon we were very excited. Don’t get me wrong, Olympus is a good camera manufacturer. Its mirrorless OMD series even challenges the previously overlooked limitations of the digital SLR design. However, in the D-SLR arena few manufacturers can keep up with Nikon and Canon. Moreover, for the time being the pro-grade D-SLRs from these two companies are the most proficient pro cameras on the market. Together with the monstrous D800 we acquired two Nikon lenses, the Nikon 300mm f/4 and the recently launched Nikon 70-200mm f/4. Apart from its excellent optics, the 70-200mm f/4 has a small minimum focus distance. These two features in combination with Nikon’s latest 24 and 36 MP sensors (which give much space for cropping) made me want to write an article on the use of the lens for macro purposes (hence my article pre-view http://www.wildlifestockimage.blogspot.com/2013/08/article-preview-new-nikkor-70-200mm-f4.html). I have aborted that intention and opted rather for this general review of the lens. 

African elephant. Nikon D800 + Nikon 70-200mm f/4; f/4, 1/800s., ISO-200, 200mm.

 

Nikon D800 + Nikon 70-200mm f/4; f/5, 1/100s., ISO-1250, 160mm.

When we bought the 70-200mm f/4 there were not yet any official reviews on the lens. There was only the product information given by Nikon, previews mainly based on specifications and sample galleries. The three main reasons we went ahead and bought the lens was the lens’ MTF data provided by Nikon, the zoom range and the price (costing roughly 1200 USD, while the Nikon 70-200mm f/2.8 VRII retails for roughly 2100 USD). Furthermore, the lens’ minimum focus distance is only one metre and the vibration reduction in the lens was quoted by Nikon as up to 5 stops (at the time one stop more than any other lens). 

Kalahari landscape. Nikon D800 + Nikon 70-200mm f/4; f/8, 1/320s., ISO-100, 70mm.

 

African honey-bee. Nikon D800 + Nikon 70-200mm f/4; f/4, 1/4000s., ISO-1250, 200mm.

Today we have owned the Nikon 70-200mm f/4 for more than a year. It is our sharpest lens, performs fast and accurate focusing and gives super image quality on our Nikon D800. Furthermore, the lens delivers spectacular bokeh - as far as I'm aware, just as aesthetic as that from the Nikon 70-200mm f/2.8 VRII at similar depths of field. The only criticism I can actually give the lens is superficial – it does not look nearly as pro-grade as the Nikon 70-200mm f/2.8 VRII! Alas, I think the quality of our photos is more important than how impressive our equipment looks :P. However, there is one area where my reading has shown a weakness in the lens compared to the Nikon 70-200mm f/2.8 VRII. The f/4 lens exhibits significantly distortion at close distances. This distortion will generally go completely unnoticed, but when a close-up frame gives clear indications of real parallelism, then this weakness becomes evident. 

Nikon D800 + Nikon 70-200mm f/4; f/5, 1/250s., ISO-2500, 200mm.

100% crop of above image (note high ISO of 2500).

Shooting with the lens is a real pleasure. Relative to its size it is quite light, making it easy to shoot hand-held for long periods. Its quick focusing and excellent optics are apparent while shooting. The lens seems robust in-hand and its zoom- and focus rings are smooth and have well balanced resistance (i.e. aren’t too tight, or lose). The lens does not exhibit noticeable focus breathing and zooming is internal to the housing (i.e. its length stays constant while zooming). 

Cattle Egret shot hand-held. Nikon D800 + Nikon 70-200mm f/4; f/4, 1/2000s., ISO-200, 200mm.

 

100% crop of above image.

All-in-all the lens is an exquisite piece of hardware that on a value-for-money basis outperforms its F2.8 predecessors. I am not saying that it makes the Nikon 70-200mm f/2.8 VRII redundant, an extra stop of light  is worth a hell of a lot when you really need it and the f/2.8 VRII version does have quicker AF, but if your budget is tight then the shortcomings of the f/4 become negligible. Furthermore, a 70-200 mm lens that is as sharp as the Nikon 70-200mm f/2.8 VRII at less than two thirds of the cost is worthy of note in itself. 

White rhinoceros. Nikon D800 + Nikon 70-200mm f/4; f/4, 1/800s., ISO-400, 200mm.

 

Hovering African honey-bee. Nikon D800 + Nikon 70-200mm f/4; f/6.3, 1/2000s., ISO-900, 200mm. 

Fujifilm X-PRO1 Informal Review

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Article by Denni Raubenheimer (www.masteryourcamera.co.za)

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Photos: Mostly by Denni Raubenheimer

X-PRO1. Source: www.fujifilm.com.

Round-about the end of last year Fujifilm sent us a sample of their pro-grade mirrorless interchangeable-lens X-PRO1 camera together with three Fujifilm lenses to test out. The lenses were the Fujinon 35mm f/1.4 XF R, the Fujinon 60mm f/2.4 XF Macro and the Fujinon 18-55mm f/2.8-4 XF R LM OIS. After researching the X-series a bit my wife and I were very excited about getting our hands on a sample of the X-PRO1 and I must say that it surpassed my expectations.

 

Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF. 1/25s, ISO-400, f/7.1.

Lets first talk about the X-series for those of you who have not read much about these cameras. The X-series cameras might be part of the first significant onslaught on the validity of digital SLR cameras in a world of ever-developing digital camera technologies. They are mirrorless digital cameras with interchangeable lenses and APS-C sized sensors. The respective models all show very competitive image quality to similarly priced D-SLRs and a handful of these models host sensors with Fujifilm’s innovative X-TRANS colour filter array. The X-TRANS CMOS sensor is found in the X-T1, X-PRO1, X-E1, X-E2 and X-M1. It allows these cameras the absence of low-pass filters (i.e. boosted resolution; these filters are found in most D-SLRs and reduce image resolution) and simultaneously helps them avoid moiré and false colour generation (on a near-pixel level). For more information on the revolutionary X-TRANS colour filter array of these sensors go to http://www.fujifilm.com/products/digital_cameras/x/fujifilm_x_pro1/features/.

Furthermore, these cameras not only boost great image quality (also at high ISOs), but competent AF systems and good ergonomics. The latter can arguably be credited to the film-camera-like designs of the X-models. Looking very much similar to old film cameras, the X-models (purposefully) have a strong retro aesthetic. Lastly, the X-PRO1 is the flagship of the X-series, but has unofficially been dethroned by the much newer X-T1. This implies superior image quality, specs and build quality to its smaller kin (apart from the T1). 

 

X-PRO1 top-view. Source: www.fujifilm.com.

Nuff-said about the X-PRO1’s technical background. Let’s talk about our first impressions of the camera. In this regard the very first thing that struck me was the stylish retro design and robust feel of the camera. The second thing that struck me, was that the camera felt really comfortable in my hand – something I had not expected from its lack of rounded edges. I have large hands and quite like the size of full frame D-SLRs like Nikon’s D800, but the X-Pro felt really comfortable – something I suspect would also be the experience had my hands been smaller. The external and very manual controls of shutter speed, aperture and exposure compensation were novel to me (having very little experience with film SLRs), but made me feel more in control of the settings, though I would need time to learn to adjust them without looking. Furthermore, after just a few photos my playback reflected the commendable image quality of both the X-Pro and the Fujinon 50mm f/1.4. It also did not take long before we had our own evidence of the camera’s very commendable high ISO performance.

 

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/290s, ISO-400, f/2.0.

After having used the camera for more than two weeks both Yolande and I were more than a little fond of it, to say the least. We had use of a camera with image quality comparable to that of a decent full-frame in a relatively small and quite robust package. The lenses are also comparably smaller that pro-level D-SLR lenses, which meant that we could easily take the X-PRO along with all three lenses on spur-of-the-moment outings. With just a single lens the X-PRO is even more convenient to keep at your side, so it often tagged along when we left the house. 

 

Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF. 1/640s, ISO-800, f/4.0.

It took me longer than it should have to figure out the difference between the two modes of the optical/electronic hybrid viewfinder. Its “optical” mode is rather commendable in giving the advantage of more responsive autofocus (a characteristic more usual in D-SLRs), showing an area wider than its photo-frame (though this has its cons) and giving superimposed electronic data – amongst others a live histogram (which is also present in the digital-viewfinder mode).  Being a D-SLR shooter a must admit I grew quite fond of having a digital preview of my exposure and with relatively quick and reliable autofocus in live view through the back LCD screen I often used this viewfinder. What I enjoyed about this latter divergence, was the ease with which one could shoot from unique angles, such as from floor-level. Using regular live view our sample did sometimes miss-focus, but I doubt more often than an entry-level D-SLR would while shooting through the viewfinder. 

 

Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF. 1/180s, ISO-800, f/4.5.

Regarding the lenses. It didn’t take long to develop a crush on Fujinon’s 35mm f/1.4. This lens has awesome resolution and quality and the construction not only feels robust, but also as if Fuji followed balanced simplistic approach to the design. We didn’t get any indication that the lens suffered any autofocus weakness and I was quite impressed with the minimum focus distance. Apart from the fixed focal length I would have gladly kept it glued to the X-PRO. Honestly, I don’t know what I miss most – the X-PRO1, or the Fujinon 35mm f/1.4.

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/480s, ISO-640, f/2.0.

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/1050s, ISO-200, f/2.8.

 The Fujinon 18-55mm f/2.8-4 XF was not in the same league as the 35mm prime. However, expecting it to be is would be silly. Lets look at its price and what it represents. The 18-55mm costs around 700 USD and is effectively an enthuisiast-level wide-angle. In this regards it performs reasonably well, but where it exceeds expectations is in build quality. The lens feels robust and delivers more than acceptable image quality. For its class the lens is acceptably fast and pleasant subject isolation is possible with good technique. 

 

Unedited photo from Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF. 1/500s, ISO-800, f/4.5.

100% crop of unedited photo above; Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF.

 We didn’t get to shoot much with the Fujinon 60mm f/2.4 XF Macro, but the build quality feels good and the focus ring allows precise focusing on macro distances. When I tried focus tracking with the lens on our toddler the focus accuracy was poor, but this whether this was due to my technique, the X-PRO, or the specific samples that were used – I don’t know. If it was due to the lens then that’s a non-issue in terms of the lens’s macro specialization. 

 

Unsharpened with no noise reduction. Fujifilm X-PRO1 + Fujinon 60mm f/2.4 XF Macro. 1/50s, ISO-3200, f/8.

All-in-all I was quite sad to send the Fujifilm gear back. I grew particularly fond of the X-PRO1 for its great image quality in a robust and compact body and also developed a strong affinity for the Fujinon 35mm f/1.4 XF R for its lovely image quality. If our specialization was journalistic, or travel photography I would be strongly tempted to switch to Fujifilm for the great image and build quality the X-series offers in relatively compact packages. 

 

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/270s, ISO-200, f/8.0. 

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/250s, ISO-3200, f/5.6.

100% crop of above. Fujifilm X-PRO1 at ISO-3200 in low light.

Unedited photo from Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/55s, ISO-6400, f/2.

100% crop of above. Fujifilm X-PRO1 at ISO-6400 in low light.

Fujifilm X-PRO1 + Fujinon 18-55mm f/2.8-4 XF. 1/160s, ISO-800, f/6.4.

Fujifilm X-PRO1 + Fujinon 35mm f/1.4. 1/2500s, ISO-200, f/2.8.

 

DINOKENG WILDLIFE PHOTOGRAPHY WORKSHOP 8-10 NOVEMBER 2013

Article by Denni Raubenheimer

White rhino mother and calf by Karina White.

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I was slightly nervous about what Dinokeng’s bushveld would provide with us before our first Dinokeng wildlife photography workshop on 8-10 November 2013. Even in our top game reserves one is never guaranteed photo-ops with sought-after wild photo-subjects.  However, in retrospect, and after two workshops in Dinokeng from Tamboti Game Lodge, I cannot complain for a lack of great photo-ops in the time we have spent in the reserve during workshops.

Before getting into my account of our November workshop, let me give some basic information on the recently established Dinokeng Game Reserve. The Dinokeng Game Reserve is a large residential game reserve with free roaming Big 5 located roughly 30 minutes north of Pretoria. It was officially opened on 22 September 2011 and boosts the first free-roaming lion and elephant in the Tshwane Metro for more than 100 years. There are roughly 30 lodges within the reserve that offer a variety of accommodation and activities. Typical habitat found in the reserve is Acacia bushveld and mixed bushveld, that both vary from densely bushed to open tree-savanna. Although no self-drive routes yet exist in Dinokeng, game-drive providers have access to a large network of roads for game viewing. Entrance fees are R25 per adult and R15 for children between 2-12 with the first hour in the reserve being free.

 

Common Ostrich by Gretchen Pypers.

Our rendezvous with our three workshop attendees was at 16h00. Two of the participants had arrived much earlier and seemed to have already started to unwind from work. After everyone formally meeting each other the workshop’s structure was discussed and it’s main aims given – improving the participants wildlife photography and facilitating a memorable weekend.

Our first drive had nice and sunny late afternoon light. There were some good opportunities with wildebeest and zebra in typical acacia-rich Dinokeng bushveld. We played around with subject isolation and took advantage of the animals’ habituation to game vehicles.  Near the end of our drive Derrick (Lodge owner and driver) got a tip-off of three White rhino next to a stream close to the lodge. We headed in their direction with thumbs crossed and luckily found them a stone’s throw away from our searching vehicle. By keeping quite and giving them time to relax they slowly ambled nearer to our vehicle and even though the light had become rather dim everyone had good opportunities to photograph these gentle giants.

 

White rhino photographed next to small stream close to Tamboti Lodge.

The next morning Yolande and our clients left on their photo-drive shortly after sunrise.  The highlights of their drive was a small group of Giraffe in early back lighting and two separate encounters with White rhino. The first was of a single one only moderately close to the vehicle and the second of a group of three which included the rhino-equivalent of a toddler.

 

Baby Giraffe in back lighting by Karina White.

Two presentations were given during the course of the day and some time was also spent on bird photography in Tamboti’s bird-rich garden. The weekend would give both me and Yolande respective lifers (something I had not expected since we have spent much time birding in the region). For me it was a Great Spotted Cuckoo in the garden and for Yolande it was to be an African Cuckoo-Hawk (which is not at all common close to Pretoria).

On our second late-afternoon game drive we planned to try and photograph rare leucistic (white) Black-backed jackal pups. For a second year a female leucistic Black-backed jackal that roams a territory overlapping with the lodge had had white pups in a den nearby Tamboti. The den was about one kilometre from the lodge and Derrick had gauged the time the pups typically surfaced before evening. This only happened nearer to dusk, so the first part of the drive was not in their direction. For the first part we encountered many antelope and we photographed some zebra close to the vehicle in beautiful golden light as we started to head towards the den.  Nearing the site we all quieted down and then Derrick stopped. He gestured into a wooded patch some 40 metres in front of the vehicle and one-by-one we all saw two small white jackals. I was elated just to see them and we all tried to contain our excitement as we observed the two interacting with their two regularly-coloured siblings and tried to manoeuvre into favourable angles for the best photos. The light was already very low, but all managed to capture the special memory of a very rare sighting and here and there a good photo was captured.

 

Rare leucistic Black-backed Jackal pups.

The final guided game drive once again left just after sunrise. This drive had comparably little large game sightings, but was an avian delight. More than one species of raptor was encountered, but the most noteworthy was an adult African Cuckoo-Hawk. The vehicle followed it from perch to perch for a while and the passengers were treated to witnessing the tenacious belligerence with which Fork-tailed drongos evict raptors from their territories. Some time was also spent trying to capture swallows in flight.

 

African Cuckoo-Hawk.

After the last drive and some welcome breakfast our clients had time to select some of their better photos from the workshop. We helped them refine these selections and did some basic editing to the final selections. The workshop was then ended with a show-and-tell and Yolande and I were very impressed by our clients’ photos. Gretchen Pypers had to leave straight after the show-and-tell and the rest of us had final farewell beers in the bar-lounge. All-in-all a very memorable weekend. 

Sunlight through clouds during game drive.

Farewell beers.

Article Preview; New Nikkor 70-200mm F4 for Macro Photography

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Post and photos by Denni Raubenheimer

       

Its been quite the busy week and I have been unable to write my intended article on Nikon’s great new 70-200mm lens, the AF-S Nikkor 70-200mm 1:4G ED, for use in macro and semi-macro photography. What I am able to do is post this pseudo-preview. The lens boosts top-end optical performance, record-breaking vibration reduction and small minimum focus distance. Here follow two samples taken with the lens on a Nikon D800, though only one of these fall into macro classification. 

African Honey-Bee, Taken with Nikon D800 and AF-S Nikkor 70-200mm 1:4G ED, F/6.3, 1/2000s, ISO-900. 

 

Lesser bushbaby (Lesser galagos), Taken with Nikon D800 and AF-S Nikkor 70-200mm 1:4G ED, F/4, 1/60s, ISO-6400.

Fearie Glen Nature Reserve, Pretoria – A Morning’s Photography and General Info

Black-shouldered Kite. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/2500s, F/7.1, ISO-400.

Article and Photographs by Denni Raubenheimer.

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        Last week I was fortunate to have an early weekday morning open to do some wildlife photography. I had planned to visit Roodeplaat Dam Nature Reserve for a mix of photography and bird-watching. However, with economic crunches and an income that fluctuates from month-to-month I decided to rather opt for Fearie Glen Nature Reserve, which is much closer to our home. My disappointment at not being able to visit Roodeplaat would luckily be replaced by thankfulness.

        I reckon that as I got my gear ready the night prior to going I started leaning towards focusing on photography, in stead of combining it with a bird atlas list at the reserve. After all, together with my wife I had already made multiple bird atlas lists at the reserve, but never before gone solely for bird photography. I knew a good spot in the reserve for morning photography of nest-building weavers. Here, two less common species (for Pretoria) actively breed and nest during spring and summer, with nest-building starting in late winter. 

Female Southern Masked-Weaver. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/800s, F/5.6, ISO-250.

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        So I found myself at the reserve at roughly 07h00 and slowly started towards the weaver colony before the sun had started to peek over the Bronberg range. Nevertheless, with the Nikon D800’s great low-light performance I kept my eyes and fingers ready for any nice photo-ops. About a hundred metres from the colony there is a cluster of reeds right next to the trail where Southern Red Bishops are always active during early summer. Here I got one decent photo of a common Southern Masked-Weaver female in very early sunlight. Even though bird-photography on-foot is arguably not ideal, the birds in the reserve are relatively trusting of people walking by – especially where trails pass closely by natural bird hotspots. 
        When I reached the weaver nests I didn’t spent time looking for the best spot, but went with memory and settled in a spot close to newly weaved nests that were desirably located. I noticed the birds were slightly agitated by my presence, so I got out a very high-tech piece of camouflage - a brownish-yellow table cloth. Deciding to give the birds time to accept my presence, I waited and checked my settings, making initial adjustments to exposure after some test shots. The first species that I noticed and which gave me some nice displays was the Cape Weaver – which has a lot of attitude. After the first territorial displays at a nest, the other weavers started to ignore me and thinking (on some instinctual level) of preserving good chances of procreating. It turned out that two Cape Weavers had nests within good photo-range and –angle and these two were constantly in battle through song and display. After some time one or two Village Weavers also mounted the stage. These seemed to have started their nests later than the larger Cape Weavers and were not only bullied by the latter, but sometimes robbed of weaving material. During all the above I was often at a loss to decide between settings for flight and others more suited for perched birds. Both these extremes, and some in-between, produced nice photos, though I obviously missed many shots. 

Male Cape Weaver. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/3200s, F/5.6, ISO-720.

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Village Weaver, male. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/3200s, F/6.3, ISO-900.

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        At about 08h30, shortly before the light started to get slightly harsh, I was electrified with excitement as a Black-shouldered Kite (probably the resident kite that I had seen many times prior) flew in behind the weaver’s willow trees and landed a short stone’s throw away from me. It seemed to not have noticed me and was initially slightly hidden behind a willow. Wearing the table-cloth as a hood/cape slowly and trying to keep my posture more like that of a four-legged creature I slowly moved towards the raptor (luckily no-one was about to see all of this!). As I neared it was looking away from me and just before getting out from behind the last small tree that lay between us I made my final adjustments to settings – expecting it to take flight once it had seen me. It was probably only one or two seconds after having my focus points on it that it jumped into flight – my heart speeding elatedly as I clicked away. Its flight path had been quite desirable and I quickly looked at my play-back, and smiled.

Black-shouldered Kite just after having taken flight. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/2500s, F/7.1, ISO-400.

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        I stayed close to the spot where I had photographed the kite, focusing on other weaver nests. There were a few nice opportunities at the new nests and then the Kite came back – choosing roughly the same perch! I missed it coming in and the perched and second take-off photos all came out with too many undesirable elements (mainly twigs and branches being inconsiderate :P). Nevertheless, I might have found a favourite perch and will be aiming for the spot when I can go again.

        All-in-all, for all the bird-watching that I have done at Fearie Glen, the reserve surprised me with its photographic potential. If you look for the seasonal hotspots, are willing to put some effort into optimizing your chances at good photos and are mindful not to take your camera gear into remote sections of the reserve where mugging might be a potential occurrence, then this popular municipal reserve can be a great patch for bird photography.

Male Village Weaver in flight. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/3200s, F/6.3, ISO-1250.

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General Info:

         For those of you who are not familiar with Fearie Glen Nature Reserve here is some basic info. As its name suggests this Pretoria municipal nature reserve lies in the suburb of Fearie Glen. It is spread along a section of the Moreleta River and includes portions of the Bronberg range of quartzitic hills. The reserve covers and area of 128 ha and has an extensive network of hiking trails. It can be regarded as reasonably safe. Criminal elements have from time-to-time been flushed out of the reserve by police, and at most times a good number of hikers are about. I would however not recommend that women hike through the remote portions of the reserve alone and neither would I recommend taking valuables into these sections if you are not part of a group. Nevertheless, over the past few years the reserve has probably been safer than most undeveloped places in Pretoria. Entrance to the reserve is dirt cheap (R5 per adult at the time of writing) and there is a large guarded parking area at the reserve entrance. At the entrance/office there are toilets and a drinks-and-snacks vending machine. Dogs on leashes are allowed inside the reserve (watch your step – Pretoria residents tend not to remove their dogs’ landmines from parks and trails), but apart from these the only facilities are the hiking trails, benches and a wooden platform along the river that is wrongly called a bird-hide. Gate times are from 6AM to 6PM. The amount of visitors that the reserve gets on a daily basis is a witness to its natural beauty that stands in the midst of our capital city’s eastern suburbs.

Wildlife:

        Fearie Glen Nature Reserve probably has most to offer bird watchers in terms of wildlife. It has a nice variety of typical resident species which is augmented through the seasons by nomadic and migratory species. Some of the common species in the reserve that I am quite found of are Red-throated Wryneck, Rock Martin, Chestnut-vented Tit-Babbler, Red-headed Finch, Cape Grassbird and African Black Duck. Look out for Giant Kingfisher and Black-shouldered Kite. In summer a host of weavers and allied species put on their summer displays, including White-winged and Red-collared widowbirds, Thick-billed Weaver and Southern Red Bishops. Smaller seedeaters abound – Yellow-fronted, Streaky-headed, and Black-throated canaries, Common Waxbill, Jameson’s Firefinch (uncommon) and Cut-throat Finch to name a few. When up on the hills keep your eyes open for Cinnamon-breasted Bunting (nomadic), Striped Pipit, Dark-capped Yellow-Warbler (summer), Amur Falcon (summer) and Fairy Flycatcher (winter). Other species that might be encountered in the reserve are Common Scimitarbill (uncommon), Spotted Eagle-Owl (not uncommon), Verreaux’s Eagle (uncommon), Brown-backed Honeybird and Lesser Honeyguide (common).  

       The reserve's once-abundant larger mammals, or rather small game, have at times suffered poaching, nevertheless interesting species persist under the radar. Rock hyrax are common on the highest hills, Vleirats occur in along the river, Bushpig have been encountered and Small spotted genet, Porcupine and Hedgehog are present, to name a few. I believe that Caracal are present in the reserve, as they are often seen on the nearby and quite developed CSIR kopje. Plans are currently in place to re-introduce some small game into the reserve. This will hopefully make the reserve’s ecosystem more balanced.  

Cape Weaver male displaying near its new nests. Nikon D800, Nikkor 300mm F/4D, TC-14EII. 1/2000s, F/5.6, ISO-500. 

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