Assembling your gear / Practice using your gear
In part 1 of this 5 part series, we looked at creating two or three projects to keep us motivated and focused when traveling with a camera. But what camera might that be? And what lens might you use? And what about all the ‘other’ gear? It’s a nightmare that can haunt the best of us, and no-one ever gets it perfect, not even the professionals.
The best we can aim for, given the sheer number of possibilities waiting for us out there, is a combination of hard-wearing, high-capacity, low-light, repairable gear, that’s not overly expensive! With regards to the shooting side of your gear, and without spending the next week discussing the pros and cons of cameras and lenses, I’m going to reiterate a claim made by most professionals, including myself; a full-frame camera body coupled with a 50mm f1.4 lens will cover you for c.75% of all situations. Sure it’s nice to zoom, but in a pinch? Just get closer. These days a full-frame camera can be brought second hand for around 500 USD, and a 50mm f1.4 for around 400 USD. Need it cheaper? Consider an f1.8 or f2.8 instead, but try to commit to a full-frame body for the cleaner ISO.
This isn’t a bad image, considering it was shot back in 2008 with a Nikon D90 cropped sensor body and a fifty dollar 70-300 (broken) AF-D lens, out the back of a moving 4x4. Yes, you can still get great shots with less than great gear, and sometimes we need to shoot with cheaper gear to really appreciate the higher-end market.
– A word of warning
Always buy second hand from a reputable dealer who offers an extended warranty. Don’t be tempted to buy off an eBay seller unless they have excellent feedback (90 – 95% positive feedback+), because you have no idea if the seller even understands what they’re selling, and from experience getting your money back on ‘broken’ items can be a long and drawn out process. I use MPB Photographic based in the UK to pick up all my shooting gear. Be safe, buy wisely.
When buying a second-hand DSLR camera body, always look for the number of shots it’s taken. Each camera has a shutter count threshold which suggests when the shutter may need replacing, so you’ll generally notice that the higher the shutter count, the lower the second-hand price. The Nikon D700, for example, can officially shoot up to 150,000 images before the shutter mechanism may need maintenance, but my Nikon D700 has shot well over 700,000 images and I’ve never needed to replace or fix the mechanism! So it’s up to you, take the risk and save money, or buy new and have peace of mind.
– Top Tip
A professional lens will hold it’s value, a professional camera body will not. You know that Nikon D2 you bought back in 2004? Safe to say you’re never seeing that money again! But that 80-200mm f2.8 you brought with it? That’s probably only lost c.30% of it value over 10 years, and probably won’t loose much more!! Good ‘glass’ holds value, and if you look after it (which I don’t) can make an excellent investment to trade-up later on, or sell at a respectable loss.
I once walked into a camera dealership in Beijing and asked them how much the’d give me for my Nikkor 300mm f4 (it’s pretty heavy for ‘light-weight’ travel and I needed the money to repair my 28-70mm f2.8 that I’d dropped when shooting the Great Wall). The guy looked at the 300, looked at me, burst out laughing and told me he’d never seen a lens so battered in all his life, and that I must be a good photographer for using it so much. I wasn’t sure if that was a complement or not :S.
“It makes more sense (imo) to invest in one semi professional weather-sealed camera body and a solid lens, rather than a cheaper amateur body and a bunch of cheaper lenses”
Shooting in the rain (monsoon in this case) is never easy. Your lens glass will catch droplets as soon as you take the front cap off, leaving small blurs on your images if left unchecked. If you don’t have a weather-sealed body or lens it’s not advisable to shoot in the heavy rain unless you use a professional hood or jacket to protect the gear. And camera jackets make using the camera next to impossible. Luckily for us, most semi-pro and pro gear is sealed to some degree (check yours first), so stop being scared of the water, and understand your pro sealed gear will still work if it gets wet, sometimes very wet. And muddy. Leave the front cap on the lens until you absolutely have to take it off, form the image in your mind first, adjust camera settings, whip the cap off, shoot fast, and reseal asap. Always carry two or three lens cleaning cloths in a plastic bag to keep them dry, you’ll want to find some shelter to clean the front element before heading back out. FYI a few small drops on the lens will not affect the image quality, so don’t worry if you can’t get the glass perfectly clear, just make sure there are no smudges or smears.
Shooting in vast empty expanses can yield fantastic results, and even the cheapest cameras would find it hard to screw up here. As a travel photographer, however, it’s your job to push harder and think outside the box…
Don’t try this at home. Sometimes thinking outside the box means putting yourself at risk, and shooting a violent sandstorm was not something I’d planned when I got up that morning. However, with the right attitude, ample planning and the right gear, we can accomplish anything. This image in the heart of a sandstorm contrasts the serenity of the black and white dunescape perfectly and together they really sum up travelling the Taklamakan desert, which, if you remember, is the whole point to our travel photography.
“We’re not climbing Everest or dodging ordnance just yet, unless you are, then good luck with that.”
– Top Tip
The lighter the weight, the better. Shooting all-day with 25 kg strapped to your back will impact your ability to get the shot, and unless you’re very fit will slow you down as the days pass.
– Top Tip
You want to look as innocent and friendly as possible when geared up. We all like the idea of huge lenses and tripods, but the reality is that, unless you’re shooting something that specifically requires this equipment, you’re better off slinging one camera and lens over your shoulder, and stuffing everything else in your day pack. You’ll instantly look less aggressive, and can move about more easily, allowing you to get into position to capture images that you couldn’t if carrying the 500mm, or three camera bodies dangling.
So… two bodies or one? Always two, but that’s just me (and every other professional out there). If you don’t have two then think about picking up a cheap secondary for emergencies, or to use two lenses without having to change all the time. I’ve used a secondary on every personal and commercial shoot I’ve ever done, sometimes just to fill in the blanks while I’ve got the primary setup and waiting. It doesn’t have to be expensive, but it helps if it’s compatible with your existing lenses.
These days I don’t use a professional camera bag as I shoot travel or reportage, I just hold the primary camera with a 50mm f1.4 or 70-200mm f2.8, and stash a wide lens in a lightweight day-sack for easy access. If climbing or scrambling, then consider using a belt attachment to secure the primary camera and to keep your upper body free and balanced. As you progress through your photographic adventure you’ll obviously pick up additional lenses, and what you buy is dependent on how, and what, you shoot. Go look at Ken Rockwell’s website for some of the best and most honest advice on the net.
– Top Tip
Use a simple day-pack for carrying gear. Fill it with foam padding or a towel instead of using that thief-magnet Crumpler; you’ll feel safer, and will spend more time looking for shots rather than thieves. I’ve been known to roll my bags around in the mud to make them even less appealing!
– Top Tip
Change that camera strap!! Thieves know what a Nikon D4 is, but why advertise the fact you have one? Yes, it cost you a lot of money and it’s cool to show off every now and again, but you’re here to shoot, not get shot at, so ditch that thief-magnet Nikon strap, and go pick up something a little more conspicuous. Or make your own.
So, do you have everything you might need? If so, can you slim it down? Get rid of that packaging, leave lens cases at home, batteries do not need boxes, and you don’t need ten lenses that cover the same focal range. You know what I mean, so be harsh and cut out everything you can because we’re going bare minimum here. Conversely, if you’re missing something then go and get it now, as buying abroad can be time-consuming and expensive.
Before we move on, what about the core gear I just couldn’t live without? If customs told me I could only take a walk-on bag, I’d pack this:
– Full frame camera body with extended battery
– Wide lens – 14-24mm f2.8
– Standard low light lens – 50mm f1.4
– Telephoto lens – 70-200mm f2.8
– Travel tripod (I use Packapod)
– Remote trigger (I use Arsenal)
Yes, us professionals extol the virtues of the ‘all-rounder’ 50mm f1.4, and then we pull out a 14-24mm and 70-200mm and expect you to be okay with it! The thing is, a 50mm is just a fantastic lens and so damn useful, and I’ll always revert to using it when I’m somewhere new for the first time, or I need the DoF range, or a quick shutter speed boost. But, when you need to go WIDE, the 14-24mm has helped me win competitions over and over for its fantastically wide perspective, you just need to know how to use it. Likewise, the 70-200mm really is one of my favourite ranges for reportage and portraits, as it allows me to poke my nose into someone else’s business and get away with minimal scars. I’d be lost without these three lenses, but then again, if I could only keep one, it would be the 50mm without a second thought.
– Practice using your gear
So you have your photography projects penned down, your gear laid out, and the motivation to start shooting. Let’s take a look a closer look at the gear, see how it works, try it on, and then adapt and modify until everything works fast and smooth.
Don’t be afraid to cut, tear, sew and mangle your camera gear and clothes to get them the way you want, remember we’re here to shoot, not resell. If it works as standard then great, if it doesn’t, now is the time to fix it. Okay, don’t hold me responsible if you break something, and I’m not telling you to strip the rubber grips off your Nikon body to save weight, they’ll fall off anyway, just use your common sense and make it all work for you and your style of shooting. Get the strap length correct for your body and arm length, figure out which items should go in which bag pockets, stash spare memory cards and batteries close to hand, not at the bottom of your bag. Buy loads of lens cleaning cloths and stash them EVERYWHERE, you might also attach one to the camera strap for easy access. Make sure your favouite travel jacket doesn’t impede the functionality and ‘draw’ speed of the camera strap, load up your day-pack over and over again until you have a packing order etched into your brain, because when it starts to rain (or during customs checks at the airport) you’ll want to pack up as fast as possible.
In this second post of the series, we’ve touched on the vast array of choices when choosing a travel camera and have discussed the importance of personal admin and gear use. Now that we have our projects and gear sorted (don’t worry, more info on gear next month), and are competent at using it all, it’s time to look out across the horizon towards your intended destination. In post 3, we’ll be looking at the real-life considerations when actually shooting abroad and how you can prepare and protect yourself as best as possible. We’ll also look at a couple of websites that can help you hone your actual photography skills before you go.