A Quick Look through the 10-24mm Nikon Lens

So far, so good.

Yesterday, the two lenses I rented from BorrowLenses.com arrived. This morning, Mike, @AnnTorrence, and I headed out for an early morning photo shoot to get a feel for them.

Nikon 10-24mm lensIt might seem odd, but I rented two almost identical lenses: the Nikon 10-24mm f/3.5-4.5G AF-S DX ED (shown here) and the Sigma 10-20mm f/4-5.6 EX DC HSM for Nikon. Lately, I’ve been enjoying the challenge of wide angle photography and want the ability to get up close and personal with my subject matter while still fitting much of it in the frame. I like the oddness introduced by a wide angle lens — the way a wide angle photo makes you look closer to see what’s not quite right. I’ve had a lot of fun over the past two years with my 10.5mm f/2.8G ED AF DX Fisheye Nikkor Lens, but that introduces too much distortion. The photos I take with that lens look downright weird. I want a lens without that much distortion that still has the ability to frame big landscape backdrops to my foreground subjects.

This could be just a stage I’m going through, but I feel a need to explore it fully to see where it takes me as a photographer.

I want to buy the Nikon 10-24mm lens. I wanted to buy it before I rented it. It has the kind of range I’m looking for to complement the 16-85mm f/3.5-5.6G AF-S DX ED VR Nikkor lens I keep on my camera most of the time. But it’s a costly lens and it wasn’t readily available from my first choice supplier. With an upcoming photo shoot, I figured renting it was a good alternative. And since my husband would also be shooting with his Nikon, it made sense to rent the Sigma so we could compare that lower-cost alternative.

The photo shoot is in Tucson, at the San Xavier Mission. About 15 members of the Arizona West Shutterbugs “Meetup” Group will be gathering there on Saturday to shoot the mission and then head into Tucson for a museum with an Ansel Adams exhibit. I’m looking forward to trying the lenses at the mission, although I am a bit concerned that my up-front-and-personal approach might put me in front of the other shooter’s lenses. I hope not. If the group shoot turns out to be a bust but the location has potential, I’ll likely return on a weekday when there will be fewer people around.

This morning, we headed out before dawn to nearby Rancho de los Caballeros, a local guest ranch. At night, their horses — all 93 of them — are kept in a big fenced in area at the south end of the property. At about 7:30 AM, the wranglers herd them all into a smaller enclosure closer to the ranch’s main buildings. They return the horses to their nighttime enclosure at around 5 PM. This movement is referred to as the “running of the horses” (even though they don’t actually run the entire mile or so). I thought it would be interesting for Ann and she did seem to enjoy it, although I don’t think any of us got any good photos. (I’ll try again another morning, perhaps from a different vantage point.)

Vulture Peak Near Wickenburg, AZ

The east side of Vulture Peak, shot at 10mm with the Nikon 10-24mm lens.

Afterwards, I took us all by Jeep down a few of the more rugged Jeep roads on the east side of Vulture Peak. The light was still good, at least for a while. We all made lots of photos from the two or three places I stopped and we got out. Then the light got too harsh and we headed back to my house.

Mike and I each tried each of the 10-24mm lenses. Mike thinks the Nikon may be better, although we really don’t have a good test yet. He’s in love with the lens and it’s very likely that we’ll buy one. But not yet. We still have 6 days with these rentals and we plan to shoot a lot of photos.

A Gathering of Nikons

When photographers get together, it’s time for show and tell.

One of my Twitter friends, @anntorrence, author of U.S. Highway 89: The Scenic Route to Seven Western National Parks, rolled into town yesterday on a book signing tour. Highway 89 runs right through Wickenburg and that’s where we first met, in person, about two years ago. Ann stayed overnight; later today she’ll visit a few local shops and then continue her trip down to Phoenix and beyond.

A bevy of NikonsLast night, after dinner, we started pulling out our camera equipment and playing with each other’s cameras and lenses. Ann told us some things about our Nikons that we didn’t know. We played with her flash in “commander mode.” We discovered that she and I each had the same old 50mm autofocus lens and it worked on all our cameras: my lowly D80, my husband’s newer D90, and Ann’s far superior D700. We also played around a bit with the two lenses I’m renting for a week from BorrowLenses.com, both of which arrived yesterday afternoon.

I snapped this photo with my Nikon Coolpix point-and-shoot to document the mess of equipment on my kitchen table. Fun stuff!

Monument Valley Panorama

Twelve vertical shots, stitched.

I was at Monument Valley again today. I come here several times a year by helicopter with passengers on my Southwest Circle Helicopter Adventure. I was here last month and will be back again next month. I’m always here on a Wednesday.

I land on one of the helipads at the landing strip at Goulding’s Lodge. Before my blades have stopped spinning, a shuttle van from the lodge drives up to meet us. The driver loads up my passengers and our luggage while I tie down the blades and lock up. Then he drives us all up to the lodge — a distance of about 1/2 mile — we check in, and we go to our rooms.

The next day, my passengers take a 3-1/2 hour ground tour of Monument Valley. I unwind, blog, and relax. Then I bring the luggage down to the helicopter (by van), preflight, and get ready to go. When they return from their tour at 1 PM, we head out to our next stop: Flagstaff.

The point of all this is that I don’t usually get to go into Monument Valley. Instead, I spend the entire 20 hours of our stay at the lodge or helicopter.

Now, I’ve been in Monument Valley many times. I’ve driven in twice and taken the tour at least three times. I highly recommend it. It’s the only way to really experience Monument Valley — and to take some really great photos. I just don’t have time to do a tour during our excursion. And since I don’t have a vehicle here — other than the parked helicopter — I can’t drive myself in for a brief trip.

Today, however, I asked one of the folks at the lodge desk to drive me in. All I wanted was a few shots from the overlook — which happens to be the best place in the park to shoot The Mittens with the late afternoon sun on them. She dropped me off with my camera and tripod. I then proceeded to spend the next hour shooting 85 images, many of which were destined to be part of panoramas. When she picked me up 90 minutes later, I was happier than a pig in you-know-what. I knew I’d gotten some really great photos.

And here’s the first panorama:

Monument Valley Panorama

You’re looking at 12 vertical images, stitched together with Panorama Maker 5 — which, by the way, I’m now pretty much sold on and will be buying when I get home and can play on a beefier machine. It handled this stitch job very well, probably because I shut down all other applications while it worked.

I had my 16mm to 85mm lens set to 50mm for these shots and they were taken 15° apart. You’re looking at a 180° view here.

The image had some exposure issues that I patched up sloppily in Photoshop. I’ll do a better job when I get serious about making these panoramas.

But I wanted to share this here. Although it’s not perfect, I think it’s a good step in the right direction. And I’m so proud of it that I put my name on it.

I also got some great shots of The Mittens by themselves. I’ll likely put those in my Photo Gallery one day soon.

Why I’m Not Taking Photos at the Grand Canyon

And why I didn’t finish this post right after I started it.

I’m at the Grand Canyon. Again.

I come here 20 to 30 times a year, often on helicopter charters. This time, I’m taking a couple from Montana on a Southwest Circle Helicopter Adventure. That’s a 6-day/5-night excursion. The second day (and night) is spent at the South Rim of the Grand Canyon.

Bright Angel Lodge

A fisheye view of my room at the Bright Angel Lodge. Simple and relatively cheap.

As usual, I have one of the tiny rooms in the Bright Angel Lodge. The historic lodge and cabin buildings were designed by Mary Colter and built in the early 1900s. My room lacks the features most guests take for granted: television, air conditioning, and shower. I don’t need the first two and the third is down the hall.

I lucked out this trip and wound up with a corner room that has windows on two sides. There’s even a window in the bathroom. But best of all, it’s literally 100 feet from the rim of the canyon. In fact, if I look out one of my windows, I can see the wall of the North Rim 10 or 15 miles away.

Not bad for $80 a night.

My passengers are staying at the Thunderbird Lodge, with a partial view of the canyon. Their room is modern and has all amenities. It also cost $180 per night.

Grand Canyon

A shot taken in passing on my way to lunch today. The clouds were great; they really added depth to the scene.

This trip, for some reason, is different than the others. I didn’t feel at all motivated to walk along the rim and shoot pictures. I think I’m tired of photographing the Grand Canyon. Is that possible?

I have hundreds of photos of this place. But none of them can really capture its magnificence. Every time I try, I’m disappointed. I feel that it’s time to stop trying.

So I spent most of the afternoon in my hotel room, pulling movies off SD cards to clear them for more movies, catching up on Twitter and e-mail, and putting a few videos online. By 5 PM, I realized that I was avoiding my photographic duties. And that made me wonder why I considered taking photos a “duty.” Almost as if it were a chore. Was it?

I sat down to write this post. I entered the title in my offline editor. And then I stopped and scolded myself.

No, I was not going to miss a beautiful Grand Canyon sunset. I was going to get my ass outside and walk along the rim. I didn’t have to take photos, but I could if I wanted to. It was more important to be outside, in the fresh air, on a beautiful late summer afternoon with one of the world’s Natural Wonders in front of me.

So I went outside with my camera. Less than a minute later, I was on the Rim near the Lookout Studio, admiring the way the late afternoon sunlight played on the buttes and canyon walls right in front of my face.

There were lots of other people out there. Most were moving about, snapping photos along the way. Many spoke in languages other than English. They were all ages, although I can’t say I noticed any school-age kids.

El Tovar

El Tovar, in the late afternoon light.

I noticed an artist sitting on a rock with an easel in front of him. This week is the Grand Canyon Celebration of Art: Plein Air Event & Modern Masters Show. The artist, Sedona-based Williamson Tapia, was using oils to paint his interpretation of the cliff on which El Tovar Hotel sits and the magnificent clouds above it. His piece was mostly clouds.

We chatted for a while about art and the Canyon as I watched the light change. The red light and deep shadows behind the buttes were calling me. I excused myself, ducked through Lookout Studio to the cliffside overlooks below it, and snapped a few photos.

Grand Canyon

A look into the Grand Canyon in the light of the setting sun. The dark and hazy canyon is Bright Angel Canyon.

I shot RAW + JPEG Fine. I don’t usually shoot RAW. I’m hoping that I can learn more about it and use it to make better photos. I figure that I can’t learn more about RAW unless I have some photos to work with. So today was the day to start collecting them. The JPEG Fine will give me some thing easy to play with until I’m ready to work with the RAW format images.

When I was finished, I went back. Will claimed I’d given him good luck; that he’d found his style for the painting. We chatted some more as he worked. I watched him paint the green bushes and trees on the cliff below the hotel and then touch up the clouds with bright white tops and lavender gray bottoms. The light got softer and redder, but it didn’t affect his work; he was painting something completely different, something he saw. Onlookers came and went, admiring his work. None lingered. We continued to talk, agreeing (among other things) that one day a week, there should be no television broadcasts.

Finally, the light faded to the point that he couldn’t continue his work. He stepped aside and I got a good look at it. He told me he’d put it in the fridge back where he was staying so the oil would stay pliable. If those clouds were back the next day, he’d continue working on it to finish it.

We exchanged cards, shook hands, and went our different ways. I came right back to my room to finish the blog post I’d started with a title two hours before.

Now, as I listen to the crickets outside my window, I wish I’d spent the day outdoors, exploring some new part of the Rim.

Ash Scattering Woes

Things don’t always go as planned.

I did an ash scattering the other day. Normally, that wouldn’t be a big deal. I’ve done ash scatterings before. (Read about two of them here and here.) But this one didn’t go exactly as planned.

By ash scattering, I mean the aerial scattering of cremains. Cremains is short for cremated remains. That’s what the next of kin get in a baggie and a box when someone is cremated. An ash scattering normally refers to scattering those remains over a large tract of empty land.

My Technique

I should start out by saying that I have ash scattering from a helicopter down to a science. After several trials, I’ve got a technique that works like a charm — for most scatterings, anyway. I get some tissue paper — the kind of paper you might put inside a gift box around a shirt or other item of clothing. I spread it out. The family (or friend) pours the cremains onto the paper. They gather up the corners and sides and twist them at the top to make a kind of paper package of the departed’s remains. This is all done inside, where there’s no chance the wind will foul things up.

Then we climb into the helicopter with the person responsible for scattering the cremains sitting behind me. All doors are on. I start up and fly to the location where the remains will be scattered. I climb to at least 1,000 feet over the target area. Then I bring the helicopter into a high hover — or at least a very slow flight speed.

We close all vents except the one in the ash scatterer’s door. The whole time we’ve been flying, he’s been holding the cremains in its paper package on his lap with the top still twisted closed. He untwists the top and grasps the package by its top. He slips it out through the vent and tosses it gently away from the helicopter.

The package is closed at first, but as it begins its tumbling descent, the wind whips it open. The ashes explode from the paper in a poof and drift away with the wind. The paper also falls to the ground, but since it’s thin, uncoated tissue paper, it’s likely broken down by the elements within a few months or a year.

I like this technique for several reasons:

  • It scatters the ashes with a certain amount of dignity. (One of my clients even bought their own tissue paper. It was printed with a pattern of shoes because the woman who was being scattered had liked shoes.)
  • It prevents the ashes from blowing back into the helicopter when dumped out.
  • It prevents the ashes or their packaging from creating a danger to the helicopter’s tail rotor or other parts.
  • It does an amazing job at scattering the ashes over a wide, open area.

Unfortunately, I didn’t use this technique on Saturday.

Saturday’s Scattering

Saturday’s ash scattering mission was tough for two reasons:

  • The next of kin were the adult children of the two cremated people they wanted to scatter. They were not small people. The lightest one weighed in at 216 pounds. Add me and you have four fatties on board.
  • The ashes were to be scattered over the family orchards, which covered a mere 30 or 40 acres and were surrounded by other farmland and orchards.

Clearly, I’d have to fly lower and use a different technique to scatter the ashes over such a small area. And because we were so heavy, I’d have to drain all but about 15 gallons of fuel out of the helicopter so I had the power I needed to fly low and slow without getting into trouble with the power curve.

We kept it simple. The ash scatterer would sit behind me and dump the two bags of ashes out through his vent. He’d do everything possible to make sure the bag opened on the outside of the helicopter. I made sure he clearly understood what would happen if he let go of the bag and it got into the tail rotor.

I examined both bags of cremains before the flight. The technology has come a long way. The mom’s ashes, created five years ago, were of a sand-like consistency, with very few grains larger than a tiny pebble. The dad’s ashes, created only recently, were powder-like.

We were all in good spirits when we did the flight. I took them out over the target area and made a high reconnoissance as they pointed out the orchard blocks. Apples, pears, and cherries. (Wash your fruit, readers!) The wind was coming from the west at about 7 miles per hour and would really help me deal with the weight I was carrying. I could point into the wind and fly on a diagonal while the scattering was being done behind me. But also to the west was a set of high tension power lines. If I got into a settling with power incident — which I’d have to identify before it became a problem — I’d have to avoid the wires on any kind of escape route. The best thing to do would be to keep moving at a speed above ETL. I’d come in from the northeast for my pass.

With that plan made, the ash scatterer prepared the first bag. I came in over the northeast corner of the first orchard block about 200-300 feet up. On my word, he began dumping ashes out of the helicopter. I could see through the corner of my eye how they streamed behind us. I pointed the helicopter into the wind and flew almost sideways to keep the ashes away from the aircraft as well as I could. I was probably doing about 20 knots ground speed.

The second bag had a small hole in it, which was discovered when the ash scatterer’s sister handed him the bag. (And yes, I still have bits of Mrs. B all over the back seat of the helicopter.) Those remains followed the first. I only had one moment when there was a power issue and I resolved it quickly by picking up speed.

Then we were done.

We made a pass over the family home before returning to the airstrip where I’m based for the summer. I set down on the concrete pad, cooled the engine, and shut down.

Cremains on Helicopter

The white dust you see is the cremated remains of Mr. & Mrs. B.

But it wasn’t until we got out of the helicopter that I noticed a fine dusting of Mr. and Mrs. B on the right side of my helicopter.

The family wasn’t the least bit upset about their parents hitching a ride on the side of the helicopter. Or even about bits of mom in the back seat. They were more concerned about cleaning it up for me. But I told them I’d take care of it, after making sure vacuum use wouldn’t bother them.

Then I did a complete walk around of the helicopter, opening up panels to make sure there were no traces of cremains inside any of the compartments. I also looked in the fan scroll area behind the engine. It looked clean, too. The only thing that looked as if it could be a problem was the air inlet behind the right passenger door. As shown in the photo below, it apparently got a heavy dose of dust.

The Extent of the Dusting

I flew the helicopter at least two more hours that day. I gave some rides to a grower’s kids and three hired hands. I flew to Cave B to join the ash scatterers for a celebratory lunch. I flew up the Columbia River as far as Chelan, where I spent the day with a friend, and flew back at high speed along the Waterville Plateau, landing at dusk in 95° heat.

The helicopter flew fine. Cylinder head temperature was up a bit more than average on the last flight of the day, but I figured that was due to my high speed and the hot temperatures. I’d seen it that high before when flying during Arizona summers. It wasn’t anywhere near red line — it was just a bit higher than the tickmark on the gauge where it normally sits.

I’d hoped that Mr. & Mrs. B would get blown off the aircraft, but they didn’t.

Cremains in Air Filter
Cremains sucked into the air intake on the side of the helicopter. The filter will be replaced today.

The air filter had me worried. It would likely need to be replaced. I called my Seattle mechanic on Sunday morning. He proceeded to tell me about all the damage that could be caused by the cremains. Best case scenario: none of it got into the engine. Worst case; it did and was already grinding away at moving engine parts. I was told that symptoms of a problem would include increased oil use and overheating. He promised to overnight the filter for Tuesday delivery.

I went out to the helicopter with a sponge and bucket of clean water and sponged Mr. & Mrs. B off the side of the helicopter. Today, when I go out to change the filter, I’ll bring along a vacuum and inverter so I can vacuum Mrs. B out of the back seat.

And I’ll monitor the helicopter’s operations closely in flight, keeping an eye out for overheating and other indications of a problem.

You can bet that the next time I scatter cremains, I’ll do it with tissue paper and a high altitude drop.