When you go on African safari don’t forget your camera. But which camera or camcorder is best for an African safari? A video of your African safari experience is certainly a great way to keep the memories lasting, but also take a good camera on your African safari. The small size and amazing functionality of cameras today are perfect for African safaris. Below are a few things to consider when choosing which camera to take on safari. On this page, James offers his personal advice and ideas for anyone wanting to come home with the best possible images (digital, film and video) of their African safari...
BASIC EQUIPMENT
Camera: I strongly encourage anyone interested in taking quality wildlife images on your African safari to invest in a digital or film SLR (single lens reflex) camera. I do not recommend point-and-shoots. However, that said, many of the new "all-in-one" (ie, no removable lens) digital cameras will get you some excellent shots as the animals are often within close range of the vehicle.
My next suggestion may be impractical for most but here it is anyway: bring 2 cameras. Even if you bring a smaller, less functional backup, if something happens to your ONLY camera on your African safari, I guarantee, you will lose out on some of your enjoyment. At least if you have some backup with you, you can still record images. The best is to have two good cameras - put a lens on each and use them both! This is my suggestion and is really just insurance for most people.
Lenses: Here is an approximation of the percentage of images I have made with various focal lengths over the past few years:
80-200mm: 35%
200-300mm: 20%
300-400mm: 15%
over 400mm: 30%
Keep in mind that I travel with quite a bit of heavy camera equipment. But this is not necessary to get most images. I take some large lenses (like a 600mm f/4) mainly to do close up work and for birds. You can get excellent images of the majority of the wildlife if you travel with one or two of the wide-range zoom lenses available. If you can get one, I suggest having a zoom that will get you up to 400mm with auto-focus capability. This will allow you to take advantage of virtually every photo opportunity from your vehicle. You won't be disappointed. A 300mm lens will also suffice, but 400 would be better. (Be sure to read the sections below on: 1) image stabilization lenses; 2) image magnification using digital SLRs)! Filters: Make sure you have screw-on filters attached to all of your lenses. You can use a daylight filter which blocks UV light without changing the color of your images. I use warming filters (Nikon A2) on my lenses almost all the time. A warming filter adds just a hint of warming color to your images without being noticeable. Some people don't care for any color enhancement; if so, just get the daylight filters. Mostly, I recommend the filter as protection for your lenses. A scratch on the filter is relatively inexpensive compared to a scratch on your lens! Use filters! You may also want to consider a polarizing filter. These filters cut the reflections on water or glare from the harshest light rays. These filters are most effective when shooting at 90 degrees from the angle of the sun. The filter will darken a light blue sky nicely; however, be careful as these filters can also overly darken an image if too much polarization is applied.
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Camera Support: I have taken tens of thousands of images on African safaris and my techniques for getting the best shots have changed slightly over the years. However, my main goal (and struggle) has always been the same, to find the most effective way of taking sharp, well exposed images. The main problem any guest will face in the photographic sense is finding the best way to steady your camera. The problem becomes more pronounced when using longer focal-length lenses.
I have used all conceivable techniques (I believe), including home-made mounts that affixed to the side of the Land Rovers consisting of a big C-clamp, a length of teak wood, a window mount, and an Arca-Swiss ball head. I used this for several years. Lately I have gotten more simplistic. Today, I stick with a good beanbag (I take my own but the vehicles usually have extras) and a tripod. I set the tripod up on the floor in front of me and, with the attached ball head (which pans and adjusts to any angle), this gives me a wider range of sight than the fixed door mount. It works well. I also used to sit in the front seat next to the driver which limits your angle of view in that you are lower down.
For anyone not using a very large lens (ie, if you can hand-hold your camera without struggling from the weight) a beanbag will usually suffice. I encourage you to bring a beanbag (empty - you can fill it with sand when you arrive in the camp) or two. If you are using a small point and shoot, most of this does not apply - again, I urge you to bring an SLR camera if you can afford one or borrow one. Image Stabilization Lenses: If you're considering purchasing a new lens, I would strongly advise you to consider one which offers image stabilization. Both Canon and Nikon offer image stabilization lenses covering a wide range of focal lengths. Typically, the use of some solid form of support (tripod, beanbag, etc) is essential to hold the camera completely still while you take your shot (especially with larger/heavier lenses); otherwise you risk the blurred images that are all too common when hand-holding a camera. The rule of thumb when hand-holding a camera is to use a shutter speed that is at least as fast as one over the focal length of the lens. For example, if you are trying to handhold a camera with a 200mm lens, you will need to have the shutter speed set for 1/200 or faster in order to maintain sharp focus. Using an image-stabilized lens (Nikon calls their version Vibration Reduction) permits safe hand-holding (ie, no tripod or other support needed) at up to two full f/stops (Nikon claims three) slower shutter speeds than would otherwise be possible, and since they make hand-holding so practical, it's easy to shoot quickly and follow rapidly moving subjects. What this really means is that images which would otherwise turn out blurred or slightly out of focus can be captured in perfect focus using these lenses. My top recommendations for an IS/VR lens on an African safari would be the Nikon AF VR Zoom-Nikkor ED 80-400mm f/4.5-5.6D and the Canon EF 100-400mm f/4.5-5.6L IS USM. Neither is inexpensive, but both offer a wide range of focal length and are great if you want to bring just one lens. Batteries: Mucho important! Do not miss those to-die-for images because your batteries have gone dead. I use rechargeable battery packs with my cameras and flash. First things first, the electrical voltage in Southern Africa is 220V (versus 110V in the US). Do NOT bring a re-charger from home without having purchased and tested a voltage converter or you will irreparably damage your re-charger. The end result is NO batteries. The camps do have them though.
My suggestion: use rechargeable, purchase a voltage converter (they are available at Radio Shack and all over the internet by mail order), and bring several sets so you can swap them when they run out. I suggest two sets for your camera (three is better still). The camps will recharge for you, but the generators typically only run during the time you are away from camp on game drive - they are solar powered. You always want to have a charged set PLUS a backup set for each game drive. Remember - check the recharging device you have and be sure it accepts 220V - if not, you'll need the converter.FILM
Another very important item...how much should you bring and what kind. If you are using digital, skip this section. If you are considering whether to go with a digital or film camera, see my discussion below. I shoot mainly with Professional Fuji slide film - about half 100ASA (Provia F) and the other half 50ASA (Velvia). This may surprise many people, but once you move to 200 and 400 speed film, the colors are not quite as vivid and the film is more "grainy". Net-net, the images are not as nice (in my opinion). What this means though, is that you are sacrificing shutter speed (which allows you to take sharp images more easily). If you're not sure, I'd suggest some 100, some 200 and a few rolls of 400 maybe for the low-light times at dusk or for night drives.
One other crucial note on film. If you do bring it with you (I purchase my film in Johannesburg due to the difficulties involved with carrying over 100 rolls of film), DO NOT pack it into your checked luggage. The new breed of x-ray luggage scanners will ruin your film. Carry all of your film with you in your carry-on luggage. Ask the security if they'll hand check rather than put it through but they'll most likely tell you the machine is safe for your film. Don't argue - it's OK but you don't want it going through 20 times on your trip. Finally, if you're interested in purchasing film in Johannesburg, I have an excellent source - contact me!
I pack my film in see-through Ziploc bags. These bags are fantastic for African safari travel and I encourage you to bring a bunch of extras... they take up no space if laid flat and you will find them useful for many items during your travels. Definitely remove the film from the canisters and put the opened film in the baggies. This way, if you ask for a hand check, the security attendant can see the film without having to open each box. It's also an easy way to store the film.
One last note on storing your film: keep it out of the heat as best you can. Heat will degrade your film. Always store film in a cool, dark place in your tent (on the floor) at each camp or, better still, ask them to put it in their freezer for you (just don't forget it). Again, here the ziploc bags are perfect. If you do store the film in a refrigerator or freezer, BE SURE you have it stored in an air-tight container (ie, the ziploc bag with no holes in it). Also, when removing film from refrigeration, do not take it out of the ziploc bag until the temperature inside the bag has had time to equalize to that of the outside temperature. You'll notice that condensation forms on the OUTSIDE of the ziploc bag when it is first removed - this is moisture that would otherwise form on the film cannisters (and the film itself) and you do not want this. Leave the unopened bag out for a good half-hour or so to be sure that the film inside has warmed up to the ambient air temperature, then it's safe to remove it... moisture on your film is NOT GOOD!
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BINOCULARS
Bring them! These are, in my mind, mandatory. Believe me - you will use them. Every person should really have their own pair, but at a minimum, have a pair between you and your traveling companion if you have one. A small pair will suffice. I use a pair of Leica 10x25's and they are great. They are also relatively small. What do these numbers mean?
Binocular size is expressed by two numbers, for example 8x42. The first number is the magnification (or power); the second is the aperture, which refers to the diameter of the objective lens in millimeters. Therefore, 8x42 binoculars provide 8x magnification and have a 42mm objective lens. Remember that when it comes to binoculars, bigger isn't always better. The higher the magnification, the heavier the binoculars are and the more hand movement and the shakier the image will be - just like with large camera lenses, smaller binoculars are easier to hand hold effectively. How much magnification and aperture do you need? When you increase binocular magnification you decrease brightness and field of view. I find that the 10x pair I have are more than sufficient for most safari situations in Africa. The same rules apply here as with camera lenses in that carrying a large pair and holding them steady is not so easy - I find that a compact pair with good optics makes more sense than spending for and lugging a larger pair with added magnification - rather spend on a camera lens! As for field of view, the greater the aperture, the brighter the image will be, but the greater the size, weight and cost. Again, the smaller compact size of the 25mm pair provide plenty of view for my taste and these Leica's are extraordinary when it comes to low light situations - I've even used them effectively in those last minutes between dusk and darkness. What is the difference between porro-prism and roof prism binoculars? Porro-prisms have objective lenses that are spaced farther apart than the eyepieces. Porro-prisms are bulky but usually perform better and cost less then roof-prisms. Also, porros yield a better three-dimensional image. Roof-prisms dominate the consumer market. The objective lenses line up directly with the eyepieces, resulting in a streamlined, compact and lightweight binocular. But roof-prisms usually cost more and lose more light to reflection, which is a disadvantage for astronomers but not for daytime terrestrial viewing. What about coatings? Coatings reduce the amount of light reflecting off of the lens and allow more light to reach your eyes. Without coatings, up to 50% of the light entering the binoculars is lost to reflections from the many glass surfaces within. A note on how they work: A binocular combines an image seen by both eyes into a single image. Binoculars are basically two telescopes mounted side by side. At the front of each telescope is a lens. Each lens gathers light from the image you're observing. The objective or lens magnifies the image upside-down. If you're using the most popular type of binoculars, prism binoculars, a prism in each tube turns the image right-side-up again. With field binoculars, a second lens in the tube functions essentially the same way as a prism, and inverts the image so it appears right-side-up. The light then travels down the tube and into each eyepiece and you see the image.
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FLASH
If you have a camera which takes an off camera flash, you might want it for fill flash in some cases to add catch-light to an animal's eyes or for evening and night drives. I really think that the flash thing is a bit overplayed for African safari photography at least; taking a truly aesthetically pleasing flash image of a wild animal is not easy. How many flash photos do you see in the wildlife books you have looked at? Very few. Still, use the flash if your camera has one, but use it primarily for fill flash, especially for people in shadow and close objects set against a bright background. To use a flash for anything other than an animal which is very close to the vehicle is futile - it won't work well. You'll want a fresnel lens flash-extender for your flash if you want to throw the light any distance at all. Top DIGITAL VS. FILM
Digital vs. Film: I will not go into lengthy detail on this debate as I am really on the fence right now myself. Suffice it to say that I am still heavily invested in my film cameras (a pair of Nikon F5's) and want to jump to digital for many reasons, but am waiting for one more advance in the technology and another set of price drops which will come with it. I suspect these will both come sometime during 2004.
However, if you are planning to purchase a new SLR camera for your trip, go digital. Period. Get the best one you can afford; optimally one which accepts different lenses (as opposed to those with a non-removable built in zoom lens). I would certainly not recommend purchasing a film-based SLR instead of a digital SLR.
The following is a short summary of MY thoughts on switching to digital or staying put with film for now (I believe that almost everyone will eventually switch; however, some people still play their vinyl records instead of CD's). Reasons NOT to switch to digital format (YET)…
1. Image quality
The quality of a digital camera image for producing large (i.e., magazine page size) prints is still not yet quite as good as what is possible using high quality, fine grain film (like Fuji Velvia). If it were, then magazines such as National Geographic for example, which prides itself on its images and is in fact about 80% images by area, would have switched to digital. They haven’t. According to Chris Johns, National Geographic’s senior editor of Illustrations, the magazine uses film almost entirely but he anticipates that within 4 to 6 years the magazine will have switched entirely to digital (I believe it may even be sooner).
The CCD (or CMOS) technology is not quite good enough yet in capturing tonality and details across the full range of light, especially mid tones and details at either extreme (highlights and shadows). It's almost there, but not quite. These are my opinions and many will argue otherwise. All will agree that the technology is advancing and still has lots of room for improvement though, while film has matured and will likely not go any further.
2. Cost
A digital camera the equivalent of the Nikon F5 (which I use) is currently priced at over $4,500. This is a large investment in a camera given that newer, more advanced and better versions of the same camera will likely appear within 12 to 15 months or even less. The current top of the line Canon digital (which delivers over 11 million pixels maximum) is priced at $8,000! These prices have actually come down over the past several years (believe it or not) and they will continue to do so. Film cameras on the other hand are really no longer being designed for the future…the future is digital. Reasons I‘d like to switch to digital format (and eventually will)…
The reasons to switch are mounting and I really am hoping that the digital technology will improve enough for me to do so in the near future.
1. Immediate Results
You can edit your shots and see the results immediately using the camera's built in viewer or on a laptop if you've brought one along for image editing.
2. Film and Developing Costs
I spend close to $750 for film and processing on one of my African safaris. This is based on about 4,000 images and slide film. This is not cheap I'm sure you'll agree. Digital media is somewhere around $350 for a 2-gigabyte micro drive. Even assuming you have two of these and a digital wallet to download the drives to when they get full, you save money almost immediately. No more film, no more running out of film, no more left over film, etc.
3. Transportation of film
Let's face it, carrying 100+ rolls of film in your carry-on baggage is not fun. Getting any amount of film through airport security and x-rays with a hand check is now virtually impossible. Even if you buy the film overseas and have it developed before coming home (which is what I now do), you still have to lug it around in your luggage from camp to camp.
4. Post processing overhead
Scanning of my slides (to convert them to digital), labeling all the slides and filing them ...we're talking LOTS of hours. I'd love to do away with all of this. The digital storage includes all details or metadata for the image (date, time, aperture, shutter speed, etc.) - no more labeling, just download to your PC.
5. Existing Equipment
My lenses will remain compatible with the new Nikon digital bodies ...anybody interested in an F5?
6. Image magnification
This one's perhaps a bit more complicated...
Most of the digital SLR's today use an imaging chip (CCD or CMOS) that's about 40 percent smaller than a 35mm film frame (which measures 24x36mm). The results of these smaller sensors being used in the digital SLR are a lens magnification factor of approximately 1.3 to 1. 6 (depending upon the camera) times the focal length of your lens. I will not attempt to explain the physics of the reasons behind why this is true, but suffice it to say that the smaller sensors use only the center 2/3 portion of the image created by the lens. Therefore, if you use lenses designed for 35mm cameras, the effective focal length of the lens increases by about 50% when used on a digital SLR. So, if you use an 80-200mm lens on a digital body, the lens will have a field of view of 120-300mm and a 300mm lens becomes a 450mm lens and so on. The effective aperture (maximum f/stop) remains the same. All of this extra magnification can be either good or bad (if you want wide angle shots, the additional focal length is undesirable), depending on your needs. Most African safari photographers will usually benefit from additional focal length since good quality telephoto lenses are both expensive and heavy to lug around on African safaris and we all wish we had a bit more magnification to get closer to our wild subjects.
A few final comments:
One less obvious benefit of all this is that since a digital sensor is capturing only the middle portion of the image, the image quality will (should) be better (all other things remaining equal) since camera lenses typically have better optical performance (sharpness and contrast) at their centers than at their outer edges. For those photographers who would still like to be able to get those beautiful wide angle landscape or people shots (this includes me!), the additional focal length is not always good news. A 20mm ultra-wide lens becomes a not-so-wide 30mm lens. You'd need a 13mm lens to get that same ultra-wide coverage on a digital SLR, but no one makes such a lens. A few companies make 14mm lenses, but they are very expensive. Camera and lens manufacturers have responded by introducing new lenses that are made specifically for use on digital SLRs and do not result in any lens magnification.
Finally, there are now at least two digital SLR cameras (Canon EOS-1Ds and Kodak DCS-14n) which offer a "full frame" digital sensor. These cameras have 24x36mm image sensors (the same size as a frame of 35mm film) without any field of view crop (focal length multiplier). Simply put, a 16-35 mm lens on these two digital SLR's will provide the exact same field of view as it would on a "traditional" SLR with film. Note that these are top-of-the-line cameras - not cheap!
One less obvious benefit of all this is that since a digital sensor is capturing only the middle portion of the image, the image quality will (should) be better (all other things remaining equal) since camera lenses typically have better optical performance (sharpness and contrast) at their centers than at their outer edges. For those photographers who would still like to be able to get those beautiful wide angle landscape or people shots (this includes me!), the additional focal length is not always good news. A 20mm ultra-wide lens becomes a not-so-wide 30mm lens. You'd need a 13mm lens to get that same ultra-wide coverage on a digital SLR, but no one makes such a lens. A few companies make 14mm lenses, but they are very expensive. Camera and lens manufacturers have responded by introducing new lenses that are made specifically for use on digital SLRs and do not result in any lens magnification.
Finally, there are now at least two digital SLR cameras (Canon EOS-1Ds and Kodak DCS-14n) which offer a "full frame" digital sensor. These cameras have 24x36mm image sensors (the same size as a frame of 35mm film) without any field of view crop (focal length multiplier). Simply put, a 16-35 mm lens on these two digital SLR's will provide the exact same field of view as it would on a "traditional" SLR with film. Note that these are top-of-the-line cameras - not cheap!
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VIDEO PHOTOGRAPHY
Camcorder: A video of your African safari experience is also a great way to keep the memories lasting and more and more guests are bringing their own video cameras (or camcorders) on an African safari. The small size and amazing functionality of today's video cameras makes them a great way to record your African travels. There are a few things to consider when choosing a video camera...Like the world of still photography, video has gone digital as well. The options are endless and I won't try to put a full glossary of terms here. Here are some things to consider:
Mini DV: The latest camcorders now use Mini Digital Video Cassettes (DVC). The Mini DV tape format is approximately 56% smaller than an 8mm tape, so Mini DV digital camcorders are smaller than comparative Digital 8 models. Mini DV was developed as a future digital video format in 1994, while the 8mm technology that Digital 8 uses was developed a decade earlier, in 1984. The DV format is supported by over 56 companies worldwide, ensuring compatibility with other DV equipment, while Digital 8 is currently supported by only two companies (Sony & Hitachi). The Mini DV tapes are not expensive and come in various lengths.
A Mini DV Cassette (DVC) occupies less than half the volume of an 8mm cassette and holds one hour of video—an amazing 11GB of data on a tape 65 meters long. It’s this small cassette size that makes possible much smaller and more portable camcorders.
Optical Versus Digital Zoom: Optical zoom is the best you can get. It means that the camera lenses give you a true zoom, without losing image quality. Digital zoom takes a portion of the optical image and enlarges from the center electronically, which creates a lower quality enlargement. A digital camera with a good optical zoom raises the price. As a general rule, try to purchase a camera that has at least a 10X optical zoom. Many cameras, for example the latest offerings from Canon, include an 18X optical zoom and an amazing 360X digital zoom!
Use the digital zoom for fun, but don't expect the higher quality you get with an optical zoom. Optical zoom cameras use more power, since they have to physically move lenses back and forth (versus a non-moving digital zoom camera). The higher the optical zoom (combined with high resolution) the higher the price. Also, once your camera moves beyond its optical zoom limit (and moves into digital magnification), it becomes extremely difficult to hold the camera steady enough to avoid "camera shake".
Image Stabilizer: Many manufacturers now include a stabilizer feature to their camcorders. Image stabilization corrects camera shake caused by an unsteady hand, for example. This image stabilization system makes for smoother and steadier video even with hand-held shots, at full telephoto, and with shots taken from a moving car. This feature is a great one to have for an African safari as you will have to worry far less about hand holding your camera while filming. However, do not underestimate that you may get tired of holding even a small camera for long periods of time. Consider a small monopod perhaps.
Color LCD Screen: The screen should fold-out and be very clear. The reason for suggesting a fold-out screen is that you do not want to have to put the camera up to your eye in order to film. You are likely to miss a lot of action happening around you if you are always focusing through a camera lens. With the fold out screen, you can position the camcorder at arm's length in front of you and see what you're filming through the LCD screen. The screen does suck battery power however, remember to bring lots of batteries. Also, read my section above on rechargeable batteries as it holds true for camcorders too. Our Video Camera: For our June 2003 African safari to Botswana and Zimbabwe, we purchased a new video camera. We selected the Sony DCR-VX2000 digital camcorder. All I can say is - WOW! What an exceptionally fine piece of equipment this camera is! I never expected to get the kinds of images we came home with (see our video on the News section of this website soon). This is not a cheap camera (about $2,000 at the time we purchased) but I feel that it is on a par with my Nikon F5 35mm SLR and well worth the price if you can afford it; for those who know me, that is no small compliment. The image and sound qualities are nothing short of amazing, the camera is easy to use, fairly lightweight and for those who are video experts, not short on features. Nicky took the majority of the video but I got my chances with it as well and fell in love! Feel free to contact us with any questions, but we both give it a wholehearted recommendation. etc.
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