Canon and Fujinon (the pro division of Fujifilm) are the only two manufacturers of broadcast lenses here in North America. Nikon does not, and never has, made a lens for either broadcast or cine use. Broadcast lenses are parfocal, they hold their focus as they are zoomed in or out. On long lenses, both the zoom and focus are servo controlled. Zoom ranges are between 60x and 100x. Speed is usually around f/1.8 at the wide end ramping down to around f/4.5 at the tele end. The aperture is usually remotely controlled by a dedicated person. They are priced between $140k and $200k, with a significant quantity discount. Because of their size, these box lenses mount on the tripod first with a special adaptor and then the camera body mounts on the back of the lens. The tripod head for one of these lenses typically runs $25k and a tripod $2.5k. A studio pedestal is about $15k to $25k. The trucks I work on typically carry 6 to 8 long lens build-ups depending on the sport and client requirements. These are the most expensive lenses but a 'standard' 16x zoom costs around $15k and a wide lens with a 12x zoom, $35k.

Presently, since the late 80's, broadcast cameras used in multi-camera productions have 2/3 inch sensors which are about a quarter of the size of a full frame. This gives a greater depth of field when compared to a full frame sensor at the same aperture, ideal for fast moving, unpredictable subjects. Presently, Sony is the leading manufacturer but until recently Ikegami, a division of JVC, made a superior product. Phillips, Thompson and Hitachi also make cameras. In most cases, these cameras cost $60k to $80k, with very significant quantity discounts.

You have probably paid quite a bit of money for a camera that is very sophisticated, why not use some of its features? As an experienced wildlife photographer I would agree with camerapapi that manual mode is not an easy way to shoot keepers. Why handcuff yourself? Focus and composition with a long lens are tricky enough. I prefer to shoot in Program mode and keep my thumb on the exposure compensation wheel to brighten up backlit birds in flight. On a sunny day, be aware where the sun is. This is one of those times where sunny days are a hindrance, cloudy days, with its diffuse light, are easier to shoot in. Anticipation is helpful, most animals telegraph their actions. Learn their habits/idiosyncrasies. Owls often approach a perch by swooping upwards before flaring out. Hawks have a good glide ratio and are quite predictable in flight. Most birds defecate, to lose weight, before taking to the air. The only time I use manual focus for BIF is when I am photographing hummingbirds. When feeding, they have a point in space a couple of feet from their food source that they use to observe their surroundings before sticking their head into a flower and return to that spot frequently.

I recommend practicing on seagulls in a parking lot. They are plentiful, predictable and work for peanuts. As always, practice, practice, practice.

Of the over 15 lenses I own, the lens that I use the most is my EF28 to 300mm f3.5 - 5.6L. This is my go-to lens for everything except wildlife and sometimes in thick woods I mount it on my 7DmkII. It is a very versatile lens and the build quality is excellent. I have shot in the rain and snow with it without a lens jacket and have had no problems but use a jacket as not to tempt fate. While it is not as fast as the 24 to 70mm and 70 to 200mm lenses, which I also own, the ability to go high ISO compensates for that shortcoming. The advantage over that pair of lenses is that the 28 to 300mm covers a greater range and you will not have to change lenses to get that range although sometimes I do miss the 4mm at the wide end.

I find the 28 to 300mm good for wandering around without a specific subject in mind or 'gun and run' shooting. I can move from group shots to individual portraits effortlessly and quickly. I have used it for landscapes and urban photography all over the world and rarely found it lacking. It is not a perfect lens but it is pretty close.

Happy New Year! It's a cool -21C up here. Time to start another trip around the sun.

I have been fortunate enough to have visited Panama nine times over the past decade and never once did I feel unsafe. I have been all over the country and the only time I was 'accosted' was by someone in a hotel lobby asking me which magazine I worked for. My go-to gear is a Canon 5DmkIII with a 28-300mm L series lens, not a small, inconspicuous rig by any means. The Canal is amazing and must be seen, the Old Town is very picturesque and the rainforest is almost unbelievable with its diversty. I have found the Panamanian people to be warm and welcoming, even in the 'bad' parts. Learn a few words of Spanish and be open to new customs, culture, etc. and the locals will, in return, be very hospitable. Where possible keep your gear outside overnight, on a balcony or in a car if possible. The air conditioning makes things very dry and lenses tend to fog up when taken into the warm, humid air. Be sure to take in a couple of sunrises and sunsets, both are spectacular.

100mm macro lenses typically have a minimum focusing distance of 12". 150 or 180mm lenses have a minimum focusing distance of 15 to 19". For skittish insects, the longer focusing distance can mean the difference of getting the shot or having it fly, hop or jump away. Canon makes a 65mm 5:1 (5x life size) macro lens that is almost like a microscope.

The previous advice is great; know your subject. Learn their habits and get out there as often as you can. Mother Nature is not as random as she first appears. For wildlife in motion, I find tripods an encumbrance, monopods only slightly less so. I will add that practicing on seagulls in a parking lot is a good way to learn photographing birds in flight, especially with long lenses. A little stale bread will bring you many subjects to hone your skills on. After a book-full of seagulls, birds of prey will become second nature.

For my Canon bodies I use 7D1_, 7D2_, 5d2_ and 5D3_ for my 7D mark I, 7D mark 2, 5D mark 2 and 5D mark 3 cameras. Since all 4 bodies are still in use it's handy not to have to going into LR or PS to see which camera shot the photos on the card.

I think you got him! Your practice has paid off.
Photograph details? Camera? Lens? Aperture? Shutter speed?

The 7DmkII also has a built in GPS. It is a bit of a battery hog, so it is best not left running when the camera is shut off. I have picked up my camera the next day only to find both batteries in the grip drained.

I own a copy of this lens. I also own 15 other lenses ranging from a 8 to 15mm f/4L to a Sigma 120 to 300mm f/2.8 along with 4 DSLR bodies. All of my lenses are Zeiss, Sigma or Canon L series. The 28 to 300mm is my go-to lens for everything but wildlife but a have mounted it on my 7D mk II for very dense woods where the above Sigma (plus a 2x TC) is too much.

It lives on my 5DmkII. I have travelled through many countries where over 95% of my photos were shot with this lens. I have also photographed with this lens in pouring rain and temperatures from +38 to -25 degrees and it never failed. It is not my sharpest lens but it is much more than adequate. This is almost the one lens for everything. The speed varies from f/3.5 to f/5.6, for most of the zoom range it is slower than f/4.5. Not particularly fast but given the high ISO capabilities of modern DSLR's it is not an issue.

The downsides of this lens are: it's price, the push-pull zoom and, for some, it's weight. That been said, it is the most useful lens in my collection and I would be hard pressed to do without it.

I have observed that almost all of the people that say a 10x zoom will have issues have not used this lens. Everytime friends try it, including the pros, they become converts.

Sheeple, you made your bed and now you must lie in it. Terrorism has won over freedom. It is sad that so many have made the ultimate sacrifice to see it squandered by those that have no conception of the worth. I have seen our enemies and have come to realize that our greatest enemy is ourselves.

For some of you that think that they are literate, Pelican is spelled thus and has always been so.

The Cotton Carrier would be my suggestion. I use mine for all but the largest of my lenses. Having a camera and lens swinging around at the end of a strap would spell disaster for both the user and camera. For a long lens, try the 10 degree hub, it angles the lens toward your body.

I own both Canon 7D mk II and 5D mkIII bodies as well as their previous iterations. I also own over 15 lenses, all but two are "L" series and the other two are Sigma "DG" lenses. I also have both the Canon 1.4 and 2.0x TC mkII. My favourite combination for wildlife photography is a 7D mkII with a 2x TC and a Sigma 120 - 300mm f/2.8. This gives me a range of 380 to 960 mm but is still light enough to be handheld. I find that the loss of sharpness is very small and is far outweighed by the gain in focal length. I also own a Kenko 3x TC that is totally hopeless, a complete waste of space in your camera bag. Start with a good lens and the loss of IQ will be barely noticeable.