This gallery features field work with the Canon EOS 1DmK1V. Currently I am using and the 1DsMkIII for landscapes. I find the 1DMk1V AF capture performance quick, consistent, and accurate overall for my style of shooting. The improved LCD provides me better viewing feedback. I especially enjoy the sixteen mega pixels for larger wildlife prints on canvas, as well as the availability of the 45 points in the autofocus system. In circumstances of low light, and higher iso settings this camera body offers me a notable advancement in retention of smooth and subtle tonalities. Tack sharp files are loaded with fine detail (as shown below), and in my experience these raw files are responding well to editing in the workflow. In all I am finding the 1DMkIV responsive to my inspirations, and a joy to use.

The decreased noise in combination with the increased mega pixels from 8 in the 1DmkIIN, to 16 mega pixels in the 1DMkIV is significant to me. These 1DMk1V advancements allow me to shoot at higher iso and/or smaller apertures, The new low noise capabilities of the 1DmkIV in late afternoon light has IMO a capacity to open up new possibilities for wildlife photography in large print format. As I compose in camera, I prefer no crop or small 5% approximate crops to photographs that are prepared for print on paper or canvas. The 1DMk1V photographic samples in this gallery feature use of 1.4 and 2 times Canon tele-converters, a range of medium and high iso settings, along with a variety of close ups, 50% and 100% crop to help reveal 1DMk1V capabilities, in my style of shooting.

I approach photography as an artists medium, with the intent of creating fine images that honor wild nature. The equipment, at whatever stage of evolution, is for me a means to that end. I shoot in raw format, frequently with tele-converters. At distances closer than 60' I often close down the lens to f/5.6 to f/8 increasing DOF. My focusing orientation is to select and place one of the 45 AF points on the eye of the wild life subject. I usually shoot in short bursts of 3 shots that are specifically timed, from a stable shooting platform, using a Wimberley on heavy duty Gitzo G1548 legs, or a Gitzo mono pod. To date I am pleased to be receiving approximately 70%-80% tack sharp files (on average) with the 1DMk1V, in a variety of field conditions.

Image quality is key to me, as my final output is prints on canvas to 36”, on the long side for gallery exhibitions. I find the 1DmkIV files, with care and attention to qualities of light and exposure are loaded with nuanced detail, and subtle tonal gradation. I am receiving a surprisingly high proportion of fine files with the Canon 2x tele-converter, as well as the 1.4 tele-converter. In my experience each camera sensor has an intangible aesthetic character or signature. I am pleased with the 1DMk1V raw files when using fine optic glass such as the 500 f/4, and the 100-400 ll as they are responding well to editing choices.

My intent is to work to a camera's strengths. I believe one must put in their dues to get the most out of any given camera body. There are many ways of making balance with equipment and shooting styles, and IMO the attitudes one brings to their chosen equipment influences the possibilities. I look to myself to elevate the creative process, and look to the hardware to be responsive to my visual choices, and not get in the way of the inspiration. From this perspective the 1Dmk4 is overall satisfying for me to work with.

For more on my orientation as a visual artist see: PBASE learning article: Issue 11, pgs. 28-37 here: https://pbase.com/magazine