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If you’ve ever wondered what you need to bring with you for certain types of photography below is a list with the whys and therefores.
Travel Photography Equipment List a. For low light or night time i. Tripod – to keep camera steady when using a shutter speed below 1/60 of second when avoiding the use of a flash. Also, so you can use the self-timer on your camera and put yourself in the photograph ii. Lens – that can widen to an aperture of at least 2.0 –This will allow you to record more available light than a camera with a lens that cannot open that wide. So if you don’t like using flashes using a lens with a lens speed of f/2.0 or faster may delay the need for a flash iii. White card to record correct color temperature in mixed lighting situations iv. External hot shoe flash – For indoor use to brighten a dimly lit room v. Colored Gel filters – To tint the light emitting from a flash so it matches the ambient light in the room vi. RECOMMENDED CAMERA: a camera that can be mounted onto a tripod, allows the recording of custom white balances and the use of an external hot shoe flash b. For capturing architecture and monuments i. Wide angle lens (a lens with a lens focal length of 10mm to 24mm) – in order to increase the chances of capturing the breadth and/or height of a building or monument in one shot. Otherwise you may have to shoot several slightly overlapping shots of the structure and stitch them together in an image editing software that has that capability. ii. Image editing software – that can stitch photographs together to create a panorama; software that allows you to combine two or more images into one. iii. RECOMMENDED CAMERA: one that allows for the use of a wide angle lens; and has auto exposure bracketing as a function to help create high dynamic range images. (See previous’ issues post to see why you may need to shoot more than one exposure of the same scene.) c. Candid portraiture i. Lens – When you’re travelling you may want some distance between you and the people you’re shooting, if they are strangers. On a 35mm film camera or a digital camera with a full-frame sensor a medium telephoto zoom lens with a range that includes 75mm to 200mm. should do. Remember that if your digital camera’s sensor is less than full frame the lens you use should account for the camera’s lens crop factor. For a good explanation of crop factor please read this article http://digital-photography-school.com/blog/crop-factor-explained/ by Darren Rowse. 2. Studio or Formal Portrait Equipment List a. Individual or groups i. Backdrop - which should be either uniform in color or textured but not clash with the clothes of the people you’re shooting. ii. Studio light for one individual– a common way to light up an individual for a formal portrait is to use a 3-point lighting set up: a main light brightens 3/4 of the face, a second, less powerful light source lightens the other side of the face to reduce shadows; a third light is used to brighten the hair or remove shadows on a background caused by the first two lights. This mode of lighting aids in making the portrait more three-dimensional. However, two lights are one may be used for a more dramatic effect. iii. Studio light for two or more people – If shooting indoors be prepared to use at least a four-light set up for groups – two lights overhead and one from each side, plus lights at the front shining up from the floor if the goal is even lighting. Composition-wise you may want to avoid placing groups in straight rows in order to achieve a more dynamic feel. If using continuous lighting they should have variable power for controlling light output iv. Soft box – to achieve diffused lighting; diminish the appearance of wrinkles. Soft boxes often are used fill lights. v. Reflectors – an alternative to using soft box. vi. Tripod – to avoid camera shake. vii. Cable Release – helps reduce camera shake viii. RECOMMENDED CAMERA – a Large format, medium format, dSLR that can record at least 8 megapixels (the more pixels the larger print you should be able to make in theory), or 35mm camera will do. The difference between them depends on the largest print you intend to make. 3. Event/Wedding a. The ceremony and reception i. Flash with a fast recovery time so that you don’t miss a shot ii. 50 mm lens that can open to an f/stop of 1.4. This will help you record more ambient light in low-light situations and it’s also very easy with a 1.4 aperture to take a picture that blurs the background which lets your subject stand out. iii. Wide-angle lens to capture a location shot of church or banquet hall if the size of these venues is immense iv. External, hot-shoe flash with a high guide number. The higher the guide number the more powerful the flash in terms of the distance it can project the light. When shooting a banquet hall you’ll want a light that can light up as much of the room as possible. You’ll also want to be able to rotate the flash so you can use the bounce technique which will place a more diffused light on your subject. v. Colored gel filter to adapt the color temperature of the flash to the room. The combination of bouncing a flash that has a colored gel filter that matches the room can result in a picture that looks like a flash was not used. vi. RECOMMENDED CAMERA – dSLR or 35mm camera for portability and versatility b. Candid shots – Unlike travel photography the candid shots you take in a wedding will be of people who are known to the groom or bride and expect to have their photographs taken, therefore, a lens with a shorter focal length will do. i. Lens – 50mm with an aperture that can go as wide as f/1.4 ii. External flash which can be swiveled away from guests faces to avoid the harshness of direct light; a flash whose intensity can be reduced since the distance between you and your subject will be short. iii. Gel filter on flash that matches the color temperature of the room. iv. RECOMMENDED CAMERA – dSLR or 35mm camera for portability and versatility c. Formal Portraits indoors at the wedding or reception. i. Backdrop – portable backdrop unit and lighting kit. ii. Lighting – the lighting should be very portable. Brining flashes that can act as slaves (be triggered by a master flash) will reduce the weight of everything you’re bringing. iii. Long grounded electric cord – to connect the lights to electrical outlets or buy lights that are battery powered. iv. Duct tape – often something will try to fall or tear. Duct tape can be a miraculous savior. v. Clamps – to secure the backdrop to the backdrop posts. It helps keep cloth backdrops taught and reduce wrinkles. vi. Portable steamer to steam out wrinkles on a cloth backdrop (rarely do wedding photographers bring a steam with them, but a crisp backdrop can reduce editing time.) vii. Soft box – to achieve diffused lighting; diminish the appearance of wrinkles. Soft boxes often are used fill lights. viii. Reflectors – an alternative to using soft box. ix. Tripod – to avoid camera shake. x. Cable Release – helps reduce camera shake xi. Printer – if you’ll be selling prints at the wedding bring a printer optimized for photography and plenty of back-up ink, paper, and cardboard photo frames, and a stamp with your business name and contact info to press onto the back of the photos in case someone want to contact you for more copies of the photos. xii. RECOMMENDED CAMERA – dSLR, 35mm film, or medium format camera. d. Formal portraits outside i. The solo photographer – if you’re by yourself doing the shoot you only need dSLR or 35mm camera with an external flash to help freeze action and movement of clothes and flowers on a windy day. ii. The photographer with assistant(s) – you may want to also have with you a larger reflector to make sure everyone in a group shot is lit well. One very important accessory not mentioned is the battery. The constant use of flash at events such as weddings drains batteries very quickly. Make sure you have two more sets of fresh batteries than you think you’ll need. For the camera body you may want to consider investing in a battery grip which allows you to shoot with the power of two batteries at the same. That way you don’t have to stop as often in the middle of a shoot to swap batteries.
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These tips come from recommendations by other photographers, other experts, and my own experience. Some of the tips haven’t always worked for me. Others have. I let you know what went right for me and what didn’t.
1. No perfume. Shooting animals or bees? Leave the perfume bottle on the dresser unless you want a too-real close-up shot. (The no-perfume recommendation comes from the guidelines provided by the great staff at Wolf Park, in Indiana; and from having been the focus of an actual bee-line. I wasn’t shooting the bees heading straight towards me at the time. I suppose that was a good thing. It allowed me to duck.) 2. Camouflage – Whether you’re exploring the woods at the edge of your backyard or those at a forest preserve or park clothes that blend with your surrounding is often recommended as a way to avoid detection by your prey. That’s assuming your prey isn’t smarter than you. For instance one beautiful wintry day I wore all white with the intent of shooting a flock of geese in the park. There were about thirty gees eating snow. When I arrived I was facing their rear ends. I decided to every so-slowly circle around to shoot them from the side so I could include faces in the shot. And I was very slow. It took me about seven minutes to walk a 90 degree arc. I stopped not because I had arrived at my intended destination but because I realized I was still facing their rear ends. Through all this time all thirty-or-so birds had maintained their back-end to me ready for flight while munching snow. I probably should have just run into their midst and sent them scurrying into the sky. I probably would have obtained some great shots of scared geese that way. Oh well. 3. Camera supports. Sturdy tripods are a wonderful thing. They keep cameras steady during strong winds; allow for slow shutter speeds when capturing a sunrise or night photography. Tripods with spikes for feet are even better for outdoors. You can really push them into the earth for even better support. A tripod that can have its legs angled to 180 degrees lets the photographer shoot subjects that are near the ground. Otherwise bring a second table tripod for low shots. Monopods take up less space than tripods. To make them less wobbly try this tip from Outdoor and Survival skills for nature photographers by Ralph LaPlant and Amy Sharpe. Steady the monopod by placing it against the inside of your leg and knee and pushing it gently into the ground. If you’re driving and don’t feel like getting out of the car try a window mount. It’s a clamp for cameras that you place on a window. I’ve often thought about using one for various projects but I’m always paranoid that the camera is going to fall. Depending on where you’re going you should find out ahead of time if there are restrictions on how much and what type of camera supports you can bring with you. 4. Flash. You may think that when you’re shooting outside during the daytime you may never need to use a flash. On a beautiful still day you’re probably right. But the slightest breeze can cause a flower to tremble. Using a flash will help freeze the plant’s movements. 5. Book Guides. City dwellers who have an affinity for nature may be unaware of how close nature may be found. Book guides that cover subjects like bird watching and nature walks in nearby areas are a great resource. 6. GPS. Do I need to say more? 7. Lens cleaner. When you’re outside the wind will blow dust and particles onto your lens. A student asked me what my preference is when it comes to cleaning lenses. You have options such as a specially made non-abrasive cloth that costs under $2.00. There are brushes and pads and liquid cleaners to dab that pads with. If I absolutely have to I will use a dry cloth but my preferred way to clean my lens is with an air blower. I use a rubber one with a long red plastic tube at the end. It looks like toy rocket ship but it’s made for cameras and their lenses. I like it because its effective and won’t scratch or smear the lens. 8. Batteries. Always have extra. 9. Gloves. If it’s cold outside yes wear gloves. I know gloves can make handling a camera’s controls more cumbersome and you might think that handling the camera with gloves will result with lint on your lens. Use a shutter cable release or wireless remote to activate the shuutter without touching the camera. Or buy mittens with detachable finger holders so you can have more dexterity. There’s also another option of which I am apparently fond of this winter. Take your hands out of the gloves when handling the camera. After you take the shot blow on the cold fingers before sticking them back inside the glove and remind yourself why you’re out there. 10. Flashlight. After you’ve shot that beautiful sunset you may want a flashlight to guide you out of the forest or park (along with your GPS unit). Also, a flash can be used as another light source for shooting your image. There’s an eleventh tip. Don’t forget the golden rules of composition. (See article from an earlier post.) |
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