In the case of these photos, it’s really not all that exciting. My overview video includes a screencast of my editing process in Lightroom. A loupe wasn’t practical given I needed to be switching back to stills often, and things like the Zacuto can get in the way. It was completely impossible to see the LCD, given the sun and snow, so I relied entirely on the waveform to get proper video exposure. On shore, I would bring the 1D C, all lenses, and a small Ikan monitor to evaluate the waveform. My main rig was the 1D C, which I had brought mainly to shoot 4K video. The 5D was actually my backup camera, used on the water and in crazy conditions. It’s neat to see as you can sort of get a better sense of scale, seeing the water move around it. I was mostly taking stills, so the amount of video I have is limited. My only gripe with the 100-400 II is that the focus ring is in the rear, and if you’re used to the 70-200, this can be confusing for a while.Īs you’ll see in the video, I include some footage of the iceberg. This is vastly better than the pump-action style found on the 28-300. The lens is the same size and weight as the beloved 70-200mm f/2.8, and utilizes a similar rotational zoom ring design. Long focal lengths are extremely helpful in Antarctica - 100-400mm is a wide range, and was all the zoom I needed to get closeups of little wee penguins falling over. It’s a separate topic, but this lens is a stunner. I also had the newly released Canon 100-400 II zoom with me on the trip (not in the boat).
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