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Equipment
CAMERA ( SLR)
When selecting a camera body, one of the most important things to consider
is if the camera you want "feels" right for you. Go to a dealer
and handle the camera you consider buying. If it fits nicely in your hands
and you find that the controls are where you want them, this might indeed
be the right camera for you. We urge you to handle and try different models
and brands before selecting a camera to buy for your stock photography.
These days, digital auto focus SLRs are the most commonly used cameras
by professionals, advanced amateurs and amateurs alike, mainly because
of the large assortment of interchangeable lenses and other accessories,
and because of speed, ease of handling, easy access to film and so on.
Before you buy a new, or used, camera take your time and think about what
you will use the camera for.
Does the brand you have selected offer enough lenses for what you want
to do? If not, perhaps it's time to consider a different brand.
Popular features that most advanced amateurs and pros will look for in
an SLR are auto exposure, focus tracking, various program exposure, sturdiness,
availability of accessories, focus lock, bulb-feature, depth of field
preview and so on. Only you can determine what features are important
to you.
If you are considering buying your new, or used, camera by mail order,
be aware of "grey market" models and make sure you order your
equipment from a reputable dealer. Check out retailers at consumer information
sites such as www.resellerratings.com before placing any orders. Research
as much as you can before you decide from whom you are going to buy. Grey
market products are normally not covered by the manufacturer's USA warranty,
but some of the larger retailers offer their own warranties on grey market
products they sell.
Q: What brand of camera should I get to be able to make professional-looking
photographs?
A: Any brand that you like to work with. If shopping
for a new camera, and in need for more information, read the "equipment
section". It all boils down to what kind of photography you do when
it comes to determining what equipment you need. Digital SLR is the most
widely used camera type. Generally speaking, find a Digital SLR that offers
a minimum of an 8 mega pixel sensor with a sensor no smaller than APS-C
size. For the exact measurements of various sensors, see http://www.dpreview.com/learn/?/Glossary/Camera_System/sensor_sizes_01.htm
Q: What is a light meter and do I really need one? Isn't there
one built into my new SLR already?
A: Yes, there is most likely a light meter built into
your new SLR, and no, unless you want to have full control over the exposure,
you probably don't need to buy a separate light meter. There are, however,
quite a few situations that are hard for the camera's light meter to read
correctly and an accessory light meter can often do a more precise job
than a built in light meter.
Q: I'm just starting out and I wonder what the difference is between
a "pro" SLR and an "amateur" SLR?
A: Normally, it can be summed up this way: Increased
ruggedness and a greater option of custom settings and functions. A pro
camera needs to be rugged since it has to stand up to hard work ever day.
Since most pros want to configure their camera to their personal needs,
a pro grade camera often allows for that with custom settings and other
features. Minimum digital requirements are at least 8 mega pixels sensor,
and stay away from digital point-and-shoot models regardless of how many
mega pixels they claim to have. Sensors are smaller in digital point-and-shoot
models compared to digital SLRs and smaller sensor makes for lower technical
quality in your photos, making them much harder to sell.
Q: I am
thinking about upgrading from an entry level SLR to a "pro grade"
SLR. Should I stick to the same camera brand or is any brand better than
the others?
A: That depends. If you're happy with the brand you're
using now and have a number of lenses for that brand, the answer would
be yes, stick with the brand you own. Always research the market before
buying new equipment though. Changes come fast and if you want to have
the latest, you need to do your homework.
Q: My camera manual says that my camera has a "depth of field"
preview button. What is that?
A: Depth of field preview is a very useful function on
most modern SLRs. You can set the aperture you want to use and by pressing
the d-o-f button, the lens will stop down to the set aperture. With some
experience, you will be able to see how much, or how little, of the final
photograph will be in focus.
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LENSES
Lenses are the most important part of any SLR system, simply because
the lens you use determines the quality of your photograph. You can use
the best, most sophisticated camera body in the world but if you put a
lens of low quality on that camera, the poor lens quality will become
all too obvious in the finished photograph. Rule of thumb is, buy the
best lens you can afford. It's always better to have one really good lens
than to have a camera-bag full of lesser quality lenses. After all, if
your lenses aren't pro-grade, chances are that your photographs won't
be pro grade either.
When it comes to choosing lenses for stock photography, it all depends
on what you are going to photograph. If you're into sports and wildlife,
a telephoto lens makes sense. If you're into flowers and insects, a macro
is your best choice. If you will be shooting a variety of subjects, you
will need a versatile lens like a zoom lens. Zooms are the most natural
choice of lens if you can't afford to buy every prime lens in the focal
length area your zoom covers. Zoom lenses have come so far that most pro-grade
zooms are as good as the prime lenses. A prime lens is a lens with a fixed
focal length, while a zoom covers a range of focal lengths.
Typically, most editorial stock photographers will get by with lenses
that cover a focal length from 35mm to 200mm.
Normally, most pro-oriented lenses have an aperture of 2.8 or brighter
and the brighter the aperture, the more tolerant to low-light shooting
the lens is.
Wide angle lenses are great for their ability to "get everything
in the picture" and you can achieve some wonderful creative effects
by moving in really close to a subject, distort a subject and so on.
"Normal" lenses typically range from 28mm to 70mm in focal length
and this is the basic focal range for most 35mm/Full Frame systems. Short
and medium telephoto lenses normally range from 85mm to 200mm in focal
length. A 100mm to 135mm in focal length is considered a "standard"
portrait lens.
Telephoto and extreme telephoto are great for when you need to get in
close from a distance for things like sports, nature, wildlife and so
on. Range anywhere from 300mm to 1200mm.
Macro lenses are used for "life-size" images such as close-ups
of bugs, flowers, butterflies and so on. Most macro lenses are good for
macro as well as "normal" shooting but things rarely work the
same the other way around. Many zooms and prime lenses have some sort
of macro function built in, but this can rarely be used for pro-grade
macro shots. If you plan to do a lot of macro work, it pays to get a dedicated
macro lens. Normally ranges are 50, 90, 100 and 180mm.
Fisheye lenses distort the image by having a huge field of view, normally
180º.
Tilt/Shift lenses are specialty lenses that allow you to control the positioning
of the image on the film plane compared to what you are photographing.
The "key stone" effect when photographing tall buildings from
the ground can be eliminated and you are able to exercise a greater control
of focus with a tilt/shift lens than a normal lens.
Q: Why do "pros" lug around those huge lenses? Wouldn't it
be easier to simply use a higher speed setting on the digital camera?
?A: No. Faster speeds mean grainier photos, especially when making big
enlargements. A professional photographer needs to be able to handle as
many situations as possible and hence the need for big, fast lenses. Many
digital cameras also produce rather poor quality files when the speed
is bumped up significantly.
 Q: A salesperson
at my local camera store told me that I need to get a "dedicated
macro" lens to get really good close ups of flowers. Several of my
compact zooms have a macro function built in, isn't that enough?
A: Macro, or close up, photography can be tricky. True
macro is life-size magnification, 1:1, of the subject you photograph.
Dedicated macro lenses can normally give this magnification, or greater
magnification, without any accessories such as bellows or extension rings.
Since the magnification is so big, imperfections in the lens will show
up in the image. Zoom lenses with built in macro functions are normally
not able to give 1:1 magnification. Depth of focus is extremely small
when using a macro lens close up.
Q: Why does my photographs come out blurry? I use a 100-300mm,
f3.5 - 5.6, zoom and I know I can hold the camera perfectly still for
at least a second.
A: It's a common misconception that you are able to hold
your camera still for quite a while. Even though it might look to you
like you are indeed holding your camera steady as a rock, there will always
be vibrations. From the mirror slapping down/up, the wind, anything. When
using telephoto lenses, try to use a tripod. Rule of thumb is that you
are only able to hand hold a long lens for a tenth of the reciprocal of
the focal length in time. That is, if you're shooting with a 300mm telephoto
lens, you will normally be able to hand hold it for 1/30th of a second
and faster shutter speeds. With a 600mm lens it's 1/60th of a second and
so on. If a tripod is impossible to use, consider a bean bag and/or a
monopod.
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FLASH
A flash, or strobe, is perhaps one of the most handy and useful accessories
you can get for your camera. Even if your camera has a built-in flash
unit, I strongly recommend that you consider getting a separate flash
unit. As with all other equipment, research before you buy.
A separate flash unit will normally allow you to bounce the light from
the flash on a wall or a ceiling which gives a smoother, more natural
light. You will also be able to diffuse the light from your flash with
a white, and/or colored diffuser, have more direct control over your flash
exposures and have a lot of features that you will have a hard time finding
on your built-in flash.
If you are concerned about having to spend tremendous amounts of time
taking readings with a light meter and bracketing wildly, pick a flash
that is dedicated to your camera and that has some form of TTL-metering.
TTL stands for Through The Lens and basically means that the flash "sees"
through the lens and communicates with the camera and gets the best exposure
set automatically.
Having a bit of trouble with people photographed indoors with a flash
in a dark environment looking like the cast from "Lost Boys"
or "Dracula"? Well, it's called red eye and can be avoided by
either having your flash fire a small amount of light, a pre-flash, before
the big flash goes off for the exposure or, and this might be simpler,
you can move the flash away from smack dab on top of the camera. An off-camera
shoe or cable will allow you to do that and this accessory also gives
you quite a bit of creative freedom since you can move the flash around
as you like, as long as you stay within the length of the cable, and use
the light from the flash for creative lighting.
Q: Always when I see the staff photographers from the newspaper
here in town, they all carry around these bulky battery packs for their
flashes. Why do they do that? Wouldn't some extra batteries be enough?
A: High end flash units are known for having a huge "battery
appetite". With an external battery pack you don't need to change
batteries as often and you will get a more rapid recycle time for faster
shooting.
Q: I'm confused. What is the difference between a "strobe"
and a flash?
A: In practice, no difference. Technically speaking,
however, a strobe can fire repeating short bursts of light, and many flash
units can do this also. The terms are used interchangeably for the same
piece of equipment.
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GRIPS
There are several kinds of grips available for most SLRs. Normally there's
a grip that really has no other function than to "bulk" up the
camera body so it is easier to hold still during long hand held exposures.
Then there's the kind of grip that includes various controls for the camera
that makes vertical shots easier to handle. Grips often have room for
more batteries making them great for extending the battery life for your
camera. Grips attach under the camera body on SLRs. Some high end cameras
come with a grip built in, while for other models grips are available
as accessories. In stock photography, the advantages of a grip are the
same as for all other professional use.
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BATTERY PACK/CAMERA
Battery packs for camera bodies normally come in the form of a grip that
attaches under the camera body. What they do is give you longer camera
use before you have to switch/recharge the batteries.
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BATTERY PACK/FLASH
Unless you do a lot of on-location shooting and use your flash a lot,
you will probably not need a separate battery pack for your flash. But
if you need your flash to recycle fast (meaning getting ready to fire
faster than with "normal" batteries) and/or to get a lot of
flashes without having to worry about running out of batteries, a battery
pack might be something for you. Battery packs are available from your
camera manufacturer as well as from independent manufacturers. Before
you buy any battery pack, make sure that it is compatible with your flash.
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FILTERS
Filters are a great way of protecting the front element of your lenses
as well as a fantastic creative tool for a huge number of effects. In
most cases, the diameter of your lens determines the diameter of your
filter. There are, however, some filter systems that use "clip-on"
filter holders and that way you can use one size filter for many different
lenses. Check with manufacturers and retailers to find out what system
works best for you. Some filters rotate and those filters are best used
on a lens that has rear or internal focusing. There are way too many filters
relevant to stock photography to cover all of them here but some examples
of good, basic filters to use are:
UV/Skylight - cuts down on ultra violet rays from the sun entering your
lens and camera. Also a good filter to use as a protective filter to prevent
scratches to the front element of your lenses. ?Polarizer - Usually used
to "pop" the colors and take away glare from glass, water and
so on. ?FL-Day - Used under fluorescent lights to counter the green effect
you get from photographing under fluorescent light when using daylight
balanced film. ?Neutral density - used to counter brightness when necessary.
For instance, if you want to make a picture of a waterfall on a bright
sunny day and want the water to be blurred by using a slow shutter speed,
a neutral density filter allows you to do that. Filters do, in some cases,
require exposure compensations.
Q: I am interested in getting a basic supply of filters. What
would be a good starter kit and how much money would I have to spend?
A: How much money you will need to spend depends on the size
and type of filters you are getting. The bigger the diameter of your lens,
the higher the price of the filter. There are basically two kinds of filters.
Screw-mount, that screws on to the front of your lens, and drop-in filters,
such as Cokin or Lee for example, that is used with a system. First, determine
the right system for you, then consider which filters you need. A basic
filter set would probably include a UV-protector, a polarizer (cuts down
on reflections and haze), a neutral density filter (allows slower shutter
speeds when photographing bright subjects), a FL-D (compensates for the
greenish tint fluorescent lights will produce on daylight film) and perhaps
one or two graduated filters.
Q: What is a UV/Skylight filter and what does it do for me?
A: A UV-protector, also known as a Skylight filter, protects
your film from harmful radiation from the sun's Ultra Violet rays. It's
also a cheap way to protect the sensitive glass element in the front of
your lenses from dust, scratches and wear.
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 CAMERA
BAGS/CARRYING EQUIPMENT
Generally speaking, there are mainly two kinds of carrying equipment
used in the trade, often combined. A camera bag is normally a shoulder
bag or a backpack in which you can store and carry your equipment. I used
to carry a shoulder bag for many years and ended up, like so many other
photographers, with back problems. I have since done extensive testing
of various brands and models of camera back-packs. Without a doubt, Lowepro
offers the best back-packs currently available for photographers. For
everyday use I have a Vertex 300 AW that I am willing to recommend to
anyone. The bag is extremely versatile and functional. Placements or pockets,
pouches, fasteners, and options are well thought out and makes it work
right away. Your gear just naturally finds it's space inside the bag and
lenses, camera bodies and all the other things we all haul around all
the time are held snugly and securely.
When I need to carry even more gear, the enormous Super Trekker AW II
is my best friend. Like the Vertext, this bag is constructed from durable
and professional grade materials. It too is well thought-out and highly
functional. It's large enough that I can bring everything I could potentially
need, and then some.
Besides Lowepro, I also really like the bags and packs from the Israeli
company Kata. Trendy, nice designed, functional packs that are smaller
than the Lowepro packs and not quite as rugged, but a very interesting
option. I use a few different Kata packs when I photograph in cities and
want something a little smaller that blends in in the urban environment.
A photo vest is a "normal" vest with a lot of pockets that will
let you store film, filters, lenses, battery pack and so on. There are
many manufacturers of bags and vests for photographers and since almost
everything varies by the manufacturers, please take the time to research
the different brands to find what is best suitable for you.
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FILM Digital
film
Digital film is really the memory cards you use in your digital camera.
Please don't skimp on the memory cards. There are a lot of fake Compact
Flash (CF) cards on the market and they frequently causes all sorts of
problems for photographers all over the world. Buy from reputable retailers
and stick to the big names such as SanDisk, Lexar, Hoodman, Kingston,
etc. A good tip is to check your digital camera's manual prior to purchasing
memory cards. Make sure you get the right kind for your camera. Also check
what the highest write speed is compatible with your camera. It doesn't
make any sense to buy a faster card if your camera can't utilize the extra
speed.
Slide film
Slide, or positive, film is industry standard for everything but newspapers
that generally can handle basically anything. What kind of slide film
would be best for you, is virtually impossible to say since there are
many different kinds from different manufacturers. Generally speaking,
a slower speed film (ISO 50 to 100) is preferred since it allows for larger
enlargements to be made without excessive grain.
Neg. film
If you prefer prints, negative film might be something for you. Be aware
though, that most photobuyers only want slides.
Q: What is the best film to use for close up photography?
A: Any films you want to use and normally use will work
for close ups. We would strongly recommend that you use a film that's
as fine grained as possible since close ups normally are enlarged quite
a bit and grain will be more visible compared to smaller prints/enlargements.
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TRIPODS
AND MONOPODS
A sturdy tripod is a very handy accessory for most photographers. It
keeps your camera still during long exposures and can also help you get
sharper pictures generally since it reduces camera movement. Tripods range
from $30 to several thousand dollars. Again, research the market to find
the tripod that is most suitable for your needs. Important things to consider
are sturdiness, ease of setting up and taking down, lowest height, highest
height and weight. Also make sure that the tripod you select can bear
the load of your equipment.
Tripods have one of two kinds of heads. The head is what you attach the
plate that goes on your camera to and the head is what allows your camera
to be positioned in various angles. Ballheads are generally preferred
by pros because they are more versatile than panheads. Many photographers,
certainly we photojournalists, often find that there's no time nor space
for a tripod. Things happened so quickly that there is simply no time
to get a tripod set up or there's no room for it. Then a monopod can be
used to grant some stability to a shot if needed. A monopod is basically
an extendable "leg" that attaches to your camera and that you
rest on the ground for added stability. Personally, I hardly ever use
a tripod, even when shooting with big lenses, simply because 99 percent
of what I do is on location and on a "snap as it happens or it's
gone forever" basis. No time, no room.
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CLEANING
PRODUCTS
Keeping your lenses and your equipment clean is of utmost importance.
The best shot of the millennium can be lost to dirt, smear, grit and anything
else that gets on your equipment.
This is especially true for digital SLR cameras. Keep that sensor clean!
You can easily clean the sensor yourself as long as you're careful and
take it slow. Use Google to find tutorials on the exact procedure for
your digital camera. Avoid using regular cleaning products - even camera
or lens specific - inside your digital camera. They're not built for the
challenge and chances are you deposit more dirt and dust than you take
away.
Most lenses are multicoated and we urge you to read your lens manufacturers
instructions on how to clean your lenses and what products to use. DO
NOT use soapy water! Generally speaking, a special lens cleaning fluid
along with lens cleaning papers and a small "blow-brush" will
normally get the job done. The key is to be gentle and not use excessive
force. If your lenses are very, very dirty, send them to a professional
for cleaning. Otherwise you might damage the glass elements and your lens
might become nothing more than a very expensive paperweight. General camera
maintenance requires gentle cleaning of the camera as well. Avoid any
kind of fluids normally and be gentle. Read your camera manufacturers
instructions for further information.
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TELECONVERTERS
Teleconverters basically extend the focal length of the lens they are
used with. Camera and lens manufacturers offer these converters and there
are also independent manufacturers offering similar products. There is
normally a 1.4X and a 2X converter available and they extend the focal
length by a factor of 1.4 and 2.0. So a 300mm lens with a 1.4X converter
becomes a 420mm lens and a 300mm lens with a 2.0X converter becomes a
600mm lens. There is a loss of brightness, though, and depending on the
brand of lens/camera/converter, you might have to compensate for this
manually. On some brands, there might also be a loss of auto-focus and
other functions. Research the market before buying to find the best combination
for your needs.
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LOUPES AND LIGHTBOXES
Critically editing your pictures is one of the most important steps in
selling your work. If you send 20 slides to a photobuyer and half of them
are out of focus, overexposed or otherwise technically flawed, chances
are that you will not make it through the initial stage with that photobuyer.
Submitting photographs that are not of a good enough standard in regards
to the very basics, might actually do you great harm in your relations
with photobuyers. A good quality loupe and a color-corrected light box
are crucial tools in the editing process.
Take your time and don't send anything out that you haven't checked for
sharpness and correct exposure. Creative blur and odd focusing can be
useful as creative tools in certain pictures, but take the time to make
sure that what you're submitting is up to snuff regarding sharpness and
correct exposure. For stock photography, a 8x loupe is normally enough
to view 35mm slides and/or contact sheets. If you need to view slides
and neg./contact sheets, make sure you get a loupe with an interchangeable
base.
 Q: What
is all this I hear about "color-corrected" light boxes? Why
should I spend $100 on a lightbox when I can just hold my slides up to
the lamp in my office and see what they are?
A: A "color-corrected" light box is used to
view slides and/or contact sheets and negatives. Color-corrected means
that you will see the slides in the same kind (temperature, or degrees
Kelvin) of light as the photo editor and by doing that, you'll be able
to assess more accurately if the slide is good or not. Remember, strict
self-editing is crucial.
Q: What is a loupe and what is it used for?
A: A loupe is used to magnify an image on a light box.
The better loupes have interchangeable bases that can be changed for viewing
slides or negatives/contact sheets. For 35mm, an 8x loupe is generally
a good choice. Buy the best loupe you can afford since this is a very
important piece of equipment to use in the crucial self-editing process.
Q: What does "self-editing" mean?
A: Self-editing basically mean that you, yourself, look
at your images with a critical and honest eye. You want to look for things
like correct exposure, correct composition and so on. You only want to
send top quality slides/prints to a photo buyer for consideration so self-
editing is crucial.
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OTHER ACCESSORIES
There have always been and will always be plenty of gadgets around in
any trade. Photography is no exception. Some are useful, some are useless
and what might work for me, might be useless to you and vice versa. Generally
speaking, stock photographers, like all other photographers, need things
to work smoothly. We all have individual needs and prefer different things
when it comes to equipment and the like. The best thing to ask yourself
before buying any kind of accessory is, "Will my stock photography
benefit from this and if so, how?" If you can honestly answer that
question with a "yes", by all means buy whatever it is your
thinking about. If not, do yourself a favor and spend the money you save
on film instead.
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