OOPS!/THE 2011 BOSQUE IPT
ANNOUNCEMENT
In my haste to get yesterday's Bulletin
out, I neglected to finish my thoughts in this feature: NEW PLANS FOR ME/THE 2011 BOSQUE
IPT ANNOUNCEMENT. Here is the
information that I meant to
include:
BOSQUE del APACHE 2011 IPT: "The Complete
Bosque Experience." NOV
19-25, 2011. Slide program on the
evening of Friday, NOV 18. 7-FULL DAYS: $3299. (Non-refundable
deposit: $500; see details below.) Limit: 10/Openings:
8. Co-leaders: Robert O'Toole & Jim
Heupel. Geese, cranes, ducks, sunrises, sunsets, and
blast-offs. Live, eat, and breathe photography with one of (if not the)
world's premier photographic educators at one of his very favorite locations on
the planet. Plus great co-leaders and top-notch Photoshop instruction.
Please see terms and deposit info in item last below.
With my ever-shrinking teaching
schedule and all but this spring's SW Florida IPT sold out, this trip may
well represent a rare opportunity so do not wait too long before sending your
deposit. Clemens van der Werf who was on this year's Bosque trip is
already registered for next year.
Sandhill Crane flight
blur, Bosque del Apache NWR, San Antonio, NM
Image copyright 2010: Arthur
Morris/BIRDS AS ART
Canon 800mm f/5.6L IS lens with
the EOS-1D MIV. ISO 400 (in the pre-dawn). Evaluative
metering +1 stop: 1/30 sec. at
f/6.3.
As detailed in "A
Guide to Pleasing Blurs," you can get the subject's eye sharp (and the wings
blurred) when working at the intermediate blur speeds (1/30 to 1/250 sec) by
perfectly matching the speed of the bird in flight with your panning
rate. The soft Southwestern color scheme that prevails at Bosque is one of
the reasons that I love the place so much. That and the steak fajitas at K-Bob's
THE BARNEGAT JETTY SITE
GUIDE
Though I lived in the New York/New Jersey metropolitan
area for nearly two decades as a birder and bird photographer (and for 46 years
in all), I never made it to the famed Barnegat Jetty until last December (2009).
Why famous? It is the best place in the Northeast to
view and photograph a variety of sea ducks and wintering shorebirds most
noticeably Harlequin Duck and Purple Sandpiper. When I got there, a 26″ snow
storm sent me running back to my Mom's home in Holbrook, Long Island, leaving
the motel in Ship Bottom at 3am to drive through the storm. Yikes! I returned a
week later and with Denise Ippolito as my guide created many
wonderful images. The jetty is very
long. And can be very dangerous. Denise, who spends many days each winter season
on the jetty, knew right where the birds would be, took me right to them, and
gave me more than a few tips on how to avoid killing myself
Denise Ippolito has written a fabulous Site Guide for
the Barnegat Jetty. (I helped out just a bit.) The Barnegat Jetty Site Guide will help to ensure that your
very first visit to this great bird photography location is both productive
and safe. Denise explains the effects of the winds and the tides and the
light on the photographic opportunities. She lets you know what birds you will
find there and where and when you will find them. She shares her favorite
conditions and her tricks for getting close. And she will keep you safe while
you are there, the same way she kept me safe. A good portion of the
guide deals with safety issues. Kudos to Denise for a job well done.
The Barnegat Site Guide (6190 words, 68 images) is
available from BIRDS AS ART by e-mail as a PDF for only $22. You can call Jim with a credit card in hand at
863-692-0906, send us a Paypal to birdsasart@att.net, or purchase it through
the store here.
Just for the record book, Barnegat is located on Long
Beach Island less than 30 minutes from Manahawkin, NJ.
Harlequin Duck drake, vertical front-end portrait,
Barnegat Jetty, NJ
Image copyright 2009: Arthur Morris/BIRDS AS
ART
Canon EF 800mm f/5.6L IS II with the 1.4XII TC and
the EOS-1D MIV. ISO 500. Evaluative metering +1/3 stop:
1/250 sec. at f/8.
Harlequins
are about as handsome as ducks get. Here I crouched down to hide my form
behind a large jetty boulder to get close, and then stood up slowly with my lens
just making it over the big rock. It worked! In the Site Guide
Denise shares a great tip for getting close to the swimming sea ducks.
MORE ON EXPOSURE AT BOSQUE &
WORKING IN MANUAL MODE
This is an e-mail exchange with IPT veteran Peter H. (I
could never hope to spell his last name correctly without cutting and pasting
it....) Peter is actually quite a skilled photographer who works hard to improve
his skills. (Wait, I found it on-line: Hawrylyshyn.)
PH: I got your Mark IV User's Guide and found the
information quite useful.
AM: TIG.
PH: What's not in the guide are many comments on
exposure settings. I know you frequently cite the the exposure info on your Mk4
images in the BLOG and at BPN, and then cross-reference Digital Basics and ABP I
and II (all of which I have). You've also said you can no longer make general
statements/recommendations on exposure settings because of differences between
various cameras and/or sensors.
AM: That is correct.
PH: But for those of us using MK iv's,
is it fair to ask, do the basic suggestions/settings for lighting and
color of subject as described in Digital Basics and ABP I and II apply
directly to the Mark IV.
AM: Is it fair? Sure, all's fair in
love and war and exposure.
PH: If not, is there some general
correction factor? I think others might also find it helpful to have your
expertise on this subject in the Mark IV User's Guide and still
not give away all the info that's in your other publications/guides.
AM: Several things here. First off, the fact is that the MIV
UG does not deal much with exposure; I had assumed that folks
read the Bulletins and the Blog and pay attention to our
legendary educational captions
Second, I
have shared everything that I know about exposure for free in
the Bulletins and the Blog, all for free so as far as exposure
goes, there is no need to protect that info for profit.
And finally, Peter, have you not heard me say/read on the blog/read
in Bulletins/mention everywhere that I have posted a MIII or MIV
image at least 500 times that "The Mark III and the MARK IV need more
light added to the suggested exposure than any other camera"?
I have been giving that info away for free for about five years
now. Furthermore, how do you get the right exposure with any
camera? Get some data in the fifth histogram box. What could be
easier????
PH: If you posted this already somewhere, my
apologies for not having seen it
AM: Actually somewhere is
everywhere. Sorry if I went on a mild rant.
From the third e-mail. (Peter had sent a second e-mail with some
exposure questions but quickly followed it up with a third. That
exchange follows.
AM: Peter, re:
PH: I thought about it some more,
and think I have answered my own questions. From histograms you've
shown with some of your photos, usually your highlight data is usually
placed into inner/left-most third or at most half way into fifth
column.
AM: Actually I strive to place it very close to the edge
but what you described above is perfect for most folks. And, since the
histogram is based on the JPEG (that is more contrasty) I do not mind a very few
flashing pixels especially in images with significant shadow areas that I do not
want under-exposed.
PH: So that probably only leaves +1/3 to +1/2
stop more of exposure before you'd blowout the
highlights/whites.
AM: Since I am almost always pushing the
exposure to the right I rarely have that much room.
PH:
It just seems amazing that you can concentrate on changing background colors,
assess tonality of the snow geese on incoming /banking BIF shots and still
make necessary 1/3 stop exposure compensations in a split
second.
AM: You are missing the boat
above. The background colors and tonality have zero to do with it
when you are working in Manual mode as described
here.
Assuming that the light will remain relatively constant for about
30 minutes as it always does on a clear day at Bosque 60 minutes or more after
sunrise, when you are working in Manual mode you are striving
to set
the correct exposure only for the subject. Once the exposure
is set it is set. There is no need to make corrections for the background
tonality as the background has no effect at all
on your manual settings. For that matter, when you are in
Manual mode, neither does the tonality of the subject. Remember, you
first need to determine your base exposure for the most common subject, in
this case, the adult white Snow Geese. Once I have determined
the perfect exposure for an adult white morph Snow Goose (by checking the
histogram to make sure that I have exposed to the right with possibly a very few
flashing hightlights), I do the following for the different
subjects:
Adult Blue Goose: 1/3 stop lighter (than for the adult
white geese). Why? Though the adult blue morphs have white heads the
white is not as bright nor as extensive as the whites on the sides of the adult
white geese and I want to give some additional light to the dark blue feathers.
Sandhill Crane: 1/3 stop lighter (than for the adult white
geese). Why? Though these birds have white necks that white is
not as bright or anywhere near as extensive as the whites on the sides of the
adult white geese and I want to give some additional light for the gray
feathers. Very light middle tones do not need as much light as whites to
be properly exposed.
Immature white morph Snow Geese: 2/3
stop lighter (than for the adult white geese). Why? These birds are
basically light middle tones, a shade darker on average overall than the cranes
so they can stand a bit more light than the cranes. (Note: a few of the
older--by a week or two--young white Snow Geese have areas of white
on them;
if you note too many flashing pixels go just 1/3 stop lighter than for the
adult white geese.)
Immature blue morph Snow Goose: +1 or +1 1/3
stops (than for the adult white geese). Why? These birds, though they look
quite dark when surrounded by all those white geese, are essentially middle
toned or a bit darker, thus they require about a stop more light than the adult
white geese.
Raven: +2 full stops (than for the adult white
geese). Why? Ravens are black. Blacks require about 2 full
stops more light to be properly exposed than the adult white geese.
Fact, like it or not: various tonalities require varying amounts of light
to be properly exposed. Folks who believe that once they know the correct
exposure for a middle tone that that is the correct exposure for all tonalities
are quite mis-guided.
The number of experienced photographers who
do not understand the basic concepts that I have outlined above is truly
mind boggling. I doubt if one in a hundred folks have exposure theory down
pat. That is why I urge everyone to get a copy of the original
The Art of Bird
Photography and study the section on Exposure Theory--pages 58-64 (and
especially the chart on page 62) until they have the concepts down
cold.... Next I recommend that folks master the concepts covered in
"Exposure Simplified" in
The Art of Bird
Photography II (916 pages on CD only). If you own both books
it's time to get to work. If not, you can save $10 by ordering the
two-book bundle
here.
As I have said over and over again the problem is that most folks
want to go out, spend lots of money on gear, and become great
photographers. "Study hard? Practice? Sorry, not for me; I
have expensive gear."
You gotta love it. artie
(Note: Just for the record book, Peter H is not in that last
category. I learned after the fact that he thought that I was working in
Av mode initially.... That shows that even serious
students can get confused on some exposure matters. He is a very busy
physician who does not have a lot of time to practice what he loves:
photography.)
In his last e-mail he asked: "Would it be worth adding a couple of
sentences in your explanation about when it is better to meter of the
subject versus background/sky?"
I responded: "Yes. I will do that.
It is a subject that has been well-covered ABP II and
mentioned and written many, many times elsewhere, and I quote (somewhat off
hand): "In situations where the light is constant and the background
changes from one instant to the next, it is imperative that you be in Manual
mode.
Sandhill Cranes, "Angel
Blur," Bosque del Apache NWR, San Antonio, NM
Image copyright 2010:
Arthur Morris/BIRDS AS ART
Canon
800mm f/5.6L IS lens with the EOS-1D
MIV. ISO 400 (in the pre-dawn). Evaluative metering.
Click here
for more on this and a similar image 
There is a ton to learn in the blog post (A or B or Neither
or Both? Shutter Speeds?) here. Be
sure to read the Comments and to check out the follow-up post in a day or two.
(Best to subscribe to the blog.)
MY HDR WORKFLOW & MORE ON NIK HDR EFEX
PRO
Here is another e-mail
exchange, this one with BPN member Alan Rube.
AM: Hi Alan, re:
AR: Artie, I really liked
the your NIK HDR Efex pro image. I have seen many shots similar (including
ones I've taken) but this image is tops. HDR with Nik Efex Pro adds a lot, but
the user skill level was tremendous for creating a image that realistically
captured the wide dynamic range of the subject.
Do you have favorite pre-sets or do you just try different ones, convert to
tiff, and evaluate? Do you do raw conversions first in ACR and then "blend" the
tiffs or do you use efex pro on the raw files? Any other thoughts?
AM: Actually, making the images for an HDR is one of the simpler
things that I do....
1-Recognize that you need HDR. In the
bulletin image the big problem was the white sky on the right above the
horizon. If you expose dark enough so as to capture detail there, the rest
of the image will be grossly under-exposed.
2-With your rig on a tripod, compose a pleasing image, check your
bubble level, and make sure that everything is locked down tight included all of
the tripod knobs and, in addition, the tripod collar if you are using any sort
of telephoto lens.
3-It is important to work in Av mode and set the aperture that you
want. That way the camera will change the shutter speeds for your AB
sequence and you will not have any depth-of-field mis-match issues.
4-Next I set my base exposure compensation. With all the dark
areas in this image and that very white bit of sky, I went with –1 and as I
recall this still had the sky well over-exposed, but not to worry.
With my HDR capture technique, I knew that I would be creating an image two
stops darker as part of the sequence. See item next.
4- Then I hold down the two buttons to bring up the Auto Exposure
Bracketing (AEB) analog scale and set the AEB compensation to 1 full stop.
(Note: I have already set five-frame AEB which is a custom function item on my
Mark IV bodies .
5-Then I will either hold the shutter button or set up the self
timer. In this case I held down the shutter buttons as even the darkest
exposure was several seconds; mirror slap is not a problem with exposures that
are measured in seconds.
6-After I make my first series of images I check to make sure that the
highlights are well away from the right edge of the histogram in the darkest
image and the dark areas e well away from the left edge of the histogram in the
lightest image. That is almost always the case. If not, I might try
a different base exposure compensation. Or I might try increasing the AEB
amount. Or in extreme cases, I might go into the custom functions and set
seven-frame AEB.
7-Once I have the images in BreezeBrowser, I will select three or four or
five of the images for my HDR discarding those that are either way, way too
light or way, way too dark. I just eyeball it to make that decision rather
than checking the histograms.
8-Then I convert those images straight up using BreezeBrowser (even
though I use ACR for nearly all of my RAW conversions). By straight up I
mean with no exposure compensation or other adjustments.
9-Next I open CS-5, hit File/Automate/Merge to
HDR Efex Pro. (This workflow step eliminates any bit-depth issues.)
Then I browse to the folder that contains the images, select the ones that
I want for my HDR, hit Open, and then hit OK.
10-Even with my very fast laptop, it takes a few minutes to crank out
the HDR file. Once it opens, I play around with the various
pre-sets--there are 33 in all. The small thumbnails give you a
good idea of what the image will look like. Once you click on a
pre-set a preview generates in several seconds. Once you like one
best, you can tweak a variety of sliders. I always activate the
histogram view so that I am positive that I have not tweaked in any
over-exposure. When you are done, hit OK and the image will open in
Photoshop where additional tweaking may be done.
I am an HDR dummy but
NIK's HDR Efex Pro has improved the quality of my output files by leaps and
bounds.
Sunrise HDR from the Spur Road, Bosque del
Apache NWR, San Antonio, NM
Image copyright 2010: Arthur Morris/BIRDS AS
ART
Canon 24-105mm IS L lens (at 24mm) with the EOS-1D
MIV. ISO 400. Five frame bracketed around Evaluative metering -1
stop at f/14. Camera and lens on the Giotto's MH 1302-655
(Tiny) Ballhead. Learn why and how I use this head
here.
This is a
funkier/grungier version of the image that Alan was referring to in Bulletin
350. It was created with the Strong Counterlight pre-set in NIK HDR Efex
Pro.
You can save 15% on all NIK products by clicking here and entering BAA in the Promo
Code box at check-out. Then hit
Apply to see your savings. I have been using and learning and loving COLOR
EFEX and SILVER EFEX also.
MORE ON THE
UPDATED BOSQUE SITE
GUIDE
The just updated and annotated Complete Bosque Site Guide (191 pages, 20673 words, 160
photographs) and the Bosque 2010 Site Guide Update Only will be sent (in
separate e-mails) to all who have previously purchased the guide (updates are
free for life) no later than close-of-business on Tuesday December 13.
Feel free to e-mail us if you have a new e-mail address.
New folks can purchase the Complete
Bosque Site Guide for $50 by calling Jim at 863-692-0906 with credit card in
hand, by sending us a Paypal for $50 to birdsasart@att.net, or by clicking here.
Your purchase will of course include the 2010 Update Only
and free updates each
year that I visit Bosque.
The Complete Bosque Site Guide is just what it
says. Complete. While many of the areas covered in the Complete
Guide did not hold birds in 2010, there is a likelihood that many of these
spots will be productive in future years. And as above, the Complete Guide
includes free updates.
The Bosque 2010 Site Guide Update Only was
written as a stand-alone work. If you will be visiting Bosque this year
you can purchase the 2010 Update Only (5779 words and 74 great new images, all
with our legendary educational captions) for only $25. And you will know where to be on what wind in
what light and when. And why. You can purchase the Bosque 2010 Site
Guide Update Only for $25 by calling Jim at 863-692-0906 with credit card in
hand, by sending us a Paypal for $50 to birdsasart@att.net, or by clicking here. You will be getting the nearly complete Bosque course for half
price. It's the next best thing to being on an IPT. Be sure to save
a copy of the e-mail that you receive from us after purchasing and keep a record
of how you paid. It is likely that after reading the 2010 Update Only you
will want to up-grade to the Complete Guide for $25. In the meantime the
more economical Bosque 2010 Site Guide Update Only will have you up to speed for
a 2010/2011 winter visit.
Snow Geese, vertical skein in pink sky, Bosque
del Apache NWR, San Antonio, NM
Image copyright 2010: Arthur Morris/BIRDS AS
ART
Canon 800mm f/5.6L IS lens with the EOS-1D MIV. ISO
200. Evaluative metering +2 stops: 1/8 sec. at
f/11.
This image of geese returning to the impoundments was
created from my favorite sunset spot on the tour loop. Being in the right
spot lets you photograph silhouetted birds to the west and birds in the
pink/purple/blue to the east. Note: 45-Point AI Servo AF.
CANON GEAR FOR SALE
David McNicholas is asking $695 for the following
used equipment:
Canon EOS-40D body in very good shape, two canon BP11
batteries and the charger, shipped in the original box with all of the original
software discs, cables and manuals (still in original wrappings) and the
Canon EF 28-105mm 3.5-4.5 zoom lens in a protective pouch with both lens
caps. Shipping and insurance from Naples, FL at the buyers
expense.
(Note: the 40-D was Denise Ippolito's favorite camera for years; she still
misses it even though she now has a MIII.
She kindly sold it on the spot to Juan Salcedo, the world's best
Galapagos guide, at the end of last year's cruise as Juan is developing an
interest in photography.)
Contact David on his cell at
973-452-4940, on his land line at 239-352-0616, or via e-mail at dmcnicholas@comcast.net
A GUIDE TO PLEASING
BLURS (PDF)
"A Guide to Pleasing Blurs" by Arthur Morris and Denise Ippolito is a
20,585 word, 271 page PDF illustrated with 144 different, exciting, and artistic
images. The guide covers the basics of creating pleasingly blurred images,
the factors that influence the degree of blurring, the use of filters in
creating pleasing blurs, and a great variety of both in-the-field and Photoshop
techniques that can be used to create pleasingly blurred
images.
Artie and Denise teach you many different ways to move your lens during the
exposure to create a variety of pleasingly blurred images of flowers and trees
and water and landscapes. They will teach you to recognize situations
where subject movement can be used to your advantage to create pan blurs, wind
blurs, and moving water blurs. They will teach you to create zoom-blurs
both in the field and during post-processing. Artie shares the techniques
that he has used and developed for making blurred images of flocks of geese in
flight at his beloved Bosque del Apache and Denise shares her flower blur magic
as well as a variety of creative Photoshop techniques that she has
developed.
With the advent of digital capture, creating blurred images has become a
great and inexpensive way to go out with your camera and have fun. And
while many folks think that making successful blurred images is the result of
being a sloppy photographer nothing could be further from the truth. In "A
Guide to Pleasing Blurs" Artie and Denise will help you to unleash your creative
self. The book is laid out in landscape format to make for easy
viewing and easy reading on any decent computer monitor.
You can order your copy of "The Guide to Pleasing Blurs" PDF now for only
$33 by PayPal to
birdsasart@verizon.net, by phone:
863-692-0906, or by clicking
here. A
download link will be delivered to you via e-mail within 12 hours or less
(except on weekends). Please note: this book is available only as a
digital file in PDF form. You will need either Adobe Acrobat Reader or Fox-it to
read the file. Both are free downloads.
Snow Goose, blurred primary feathers, Bosque
del Apache NWR, San Antonio, NM
Image copyright 2010: Arthur Morris/BIRDS AS
ART
Canon 800mm f/5.6L IS lens with the EOS-1D MIV. With
3-stop drop-in ND filter in place. ISO 100: 1/125 sec. at f/5.6.
You will learn the range of shutter speeds that can
produce sharp eyes and pleasingly blurred wingtips in both the Blur Guide and
the Bosque Site Guide.
SHOPPER'S GUIDE
Here is the gear that I used to create the images for this
Bulletin:
And from the BAA On-line Store:
If you are considering the purchase of a major piece of photographic gear
be it a new camera, a long lens, a tripod or a head, or some accessories be sure
to check out our complete
Shopper's Guide. You
will learn to find the lowest prices, comparison shop, and help us to keep
offering tons of great free info and images.
Snow Geese, "Family of Four," Bosque del Apache
NWR, San Antonio, NM
Image copyright 2010: Arthur Morris/BIRDS AS
ART
Canon 800mm f/5.6L IS lens with the EOS-1D MIV. ISO
400. Evaluative metering +1 stops: 1/1000 sec. at
f/7.1.
This image was created from the same spot as the preceding
image, "vertical skein in pink sky," just a bit earlier in the afternoon.
Here is an excerpt from the 2010 Bosque Site Guide Update Only:
"If
you arrive at this location early you can make some nice images of birds flying
right at you especially on south or southwest winds. Sun angle will be right up the
tour loop road so the best chances will occur with birds right over the
road. You should have chances with
both geese and cranes." The four geese in the image above were flying
right over the road into a southwest wind 
IPT UPDATES
SAN DIEGO IPT: JAN 19-23,
2011. Slide program on the
evening of JAN 18. 5 Full Days: $2399 (Limit
8/sold Out). Co-leaders Tim Grey and Todd
Gustafson. Brown Pelicans in spectacular breeding plumage with their
bright red bill pouches, Wood and Ring-necked Ducks, Lesser Scaup, Western,
California, and Heerman's Gulls, Marbled Godwit, and lots, lots more.
Please see terms and deposit info below.
SW FLA IPT: FEB 9-14,
2011. Slide program on the
evening of FEB 8. 6 Full Days: 2899. (Limit 10/openings 2).
Escape winter's icy grip to enjoy a wide array of Florida's tame birds: herons,
egrets, Wood Stork, shorebirds, gulls, terns, skimmers, raptors, and more.
Please see terms and deposit info below.
BOSQUE del APACHE 2011 IPT: "The Complete
Bosque Experience." NOV
19-25, 2011. Slide program on the
evening of Friday, NOV 18. 7-FULL DAYS: $3299. (Non-refundable
deposit: $500; see details below.) Limit: 10/Openings:
8. Co-leaders: Robert O'Toole & Jim
Heupel. Geese, cranes, ducks, sunrises, sunsets, and
blast-offs. Live, eat, and breathe photography with one of (if not the)
world's premier photographic educators at one of his very favorite locations on
the planet. Plus great co-leaders and top-notch Photoshop instruction.
Please see terms and deposit info immediately
below.
Terms and deposit
info:
A non-refundable deposit of $500 is required to hold a spot on the above
IPTs. Deposits may be paid by check, PayPal, or credit card. Payment in
full (by check or money order only) is due five months before the start of
each trip and is non-refundable unless the IPT sells out. You will be
required to sign a statement of understanding to this effect. Travel
insurance is of course highly recommended.
Travel
Insurance Services offers a variety of plans and options.
Included with the Elite Option or available as an upgrade to the Basic &
Plus Options is Cancel for Any Reason Coverage that expands the list of reasons
for your canceling to an infinite list from a sudden work or family obligation
to a simple change of mind. My family and I use and depend on the great
policies offered by TIS whenever we travel. You can learn more
here. Do note that many plans require that you purchase your travel
insurance within 14 days of our cashing your deposit check or running your
credit card. Travel insurance protects you against unexpected
developments, injuries, or illnesses. We regret that we must implement
this policy but we have been plagued by last minute cancellations that make
it impossible for others to participate and deprive us of essential
income. Please consider your schedule and your work and family obligations
carefully before plunking down your deposit.
Important note: please print, fill out, and sign the registration and
release forms and include them with your deposit check (made out to "Arthur
Morris." ) If you use a credit card to register, please fill out, sign,
and mail the forms asap. Your registration will not be complete until we
receive your paper work. You can find the forms
here.
GREECE/DALMATIAN PELICAN
EXPLORATORY IPT. FEB 27-MAR 5, 2011. 6 1/2+ Full Days of Photography: $2499. (Limit:
6/openings 1). Co-leaders: Arthur Morris, Robert
O'Toole, and Yannis Arvanitis as our bi-lingual guide. Payment in full is
due immediately. Please call to hold a spot pending the arrival of your
check made out to "Arthur Morris." Europeans please e-mail for wire
transfer details. No discounts. For images and complete
information click
here.
If you would like additional info on Lake Kerkini please e-mail me at
samandmayasgrandpa@att.net and
request same.
HOMER BALD EAGLE IPTs WITH ROBERT O'TOOLE,
MARCH 2011: (All three sold out.)
GALAPAGOS 2011
PHOTO-CRUISE OF A LIFETIME IPT/The Complete Galapagos Photographic Experience:
July 3-20, 2011 (July 5-19, 2011 on the boat): 13 1/2 days of photography plus a
last morning panga ride: $12, 499. (Limit 11/sold out.)
If you
would like your name placed on the seriously interested list for the SUMMER 2012
trip, please e-mail me at birdsasart@att.net.
Best and great
picture-making,
artie
Note: Arthur Morris has been a
paid Canon contract photographer, part of the Explorers of Light program, since
1996 and continues in that role today. Hunt's Photo of Boston, MA is a BAA
sponsor as is Delkin Devices.
)