This was written with my clients in mind, but if it's of help to you too, then that pleases me greatly!
To get the most from your trip, especially your photography, it’s really important to leave home with the right equipment for you, and have a decent working knowledge of it. If you don't, then I'll most certainly help you with that.
Achieving optimal images starts with the right camera gear and knowing how to use it. As you become more proficient, you’re more likely to achieve the quality of images you expect. But, let's not forget that you have to 'see' an image first, and that's where I can also help.
With all the advances in digital photography there are a lot of new learning curves, but please know that you’ll receive all the help you need on my trips.
OK, let's get to the equipment side of things . . .
CAMERAS
These days most folk opt for either a digital single lens reflex camera [DSLR], or a compact digital camera.
Compacts come with good specs generally, but if you want full control over your shots, i.e., exposure and length of lens, then a DSLR camera is a recommended choice.
Whatever your choice is, think seriously about taking along a back-up camera as there is a much higher failure rate with digital cameras than with film cameras. A second body can also be used with a second lens, i.e., one camera body has your shorter lens/zoom on it, and the other body a longer lens/zoom.
CAMERA SETTINGS that apply to most Nikon and Canon DSLRs
Today’s cameras come with multiple options, so do please learn at least the basics. I’ll not make specific suggestions here because of all the different designs of camera, but do please get to know how to set the following:
EXPOSURE BRACKETING
Recommended if you shoot jpegs as you can edit for your best exposure later. In the meantime you’ll know you have at least one correct exposure which enables you to move onto your next subject.
I suggest bracketing two thirds of a stop either side of ‘normal’ as a third of a stop exposure difference isn’t sufficiently discernable.
As RAW files have more latitude, exposure bracketing isn’t particularly necessary as any exposure discrepancies can generally be corrected when processing the file.
DRIVE/SHOOTING MODE
When firing off frames, your shutter release options are Single frame, Continuous drive mode, Self Timer, and Cable or wireless Remote.
Continuous is useful for action such as wildlife and sport of course, but also useful when bracketing too.
If both continuous drive and bracketing are selected, keep the shutter depressed, and continuous drive will cease after three frames have been exposed.
Note that some cameras can be set for more than three frames of bracketing.
METERING MODES
Evaluative – Evaluates the exposure from the entire scene in your viewfinder. Ideal for most lighting situations.
Center-weighted – One of the Canon manuals says: ‘The metering is weighted at the center, and then averaged for the entire scene.’
Spot or Partial – Reads off a specific area in the viewfinder. Be wary of this metering method unless you know what you’re doing! For instance, it’s dawn in the mountains and the peaks are well lit, while the foreground is in shade. If you ‘accidentally’ meter off the foreground you’ll lose detail in the peaks, when you should be metering for the highlight, i.e. the peaks in sunlight.
EXPOSURE MODES
A or Av - Aperture priority for control of depth of field.
S or Tv - Shutter priority for shutter speed control.
P - Program for 'normal' and ‘point and shoot’ situations.
M - Manual for control of Aperture and Shutter speeds.
Of the other ‘auto’ settings on a DSLR, the Sport setting is very useful for ‘grab’ and action situations as it automatically selects a higher ISO, the servo ‘tracking’ focus setting, and continuous drive mode . . . everything you need for grab shots of moving objects.
EXPOSURE COMPENSATION
I don’t care what they say, if you’re going to photograph a black cat in a coal cellar or a Polar Bear in the snow you’ve got to compensate for what the camera meter thinks you’re exposing for.
Learn how to set the compensation for such subjects, but also get to grips as to why one over-exposes for snow, and under-exposes for a black cat in a coal cellar situation . . . a frequent occurrence of course!
EXPOSURE LOCK
Remember those sunlit peaks? Well, your exposure lock function is useful for locking the exposure read from those mountain peaks. You then re-compose the scene by tilting your camera down to include the foreground. You now have the correct exposure for that particular situation.
ISO/ASA
Being able to change the ISO for perhaps just one shot is the real advantage of digital.
But beware, as you might shoot in low light late in the day at an ISO of 800 or even 1600. That serves its purpose, but the trick is remembering to put your setting back to 100 or 200 ISO the following morning, which we recommend for general shooting.
Of course, if you're using a tripod in low light there is no need for a high ISO unless a moving subject dictates that you should use a higher setting.
JPEG/RAW/TIFF
There are pros and cons about each option, and I can only suggest you read up on this subject and draw your own conclusion. Most importantly though, know why you chose the option you did.
JPEG RESOLUTION
My suggestion is that you shoot at the highest resolution your camera permits as you’re sure gonna need the largest file you can get some day!
LOTS OF MEGAPIXELS FROM FEW?
If you wish you had a larger megapixel camera try this . . . instead of exposing one image of say a ‘horizontal’ scene, switch to vertical, zoom in, and expose several frames to cover your original composition. You then use your image processing software to stitch the images together, thereby achieving a larger file size. Simple, huh?!
WHITE BALANCE
Adjustable for cloud, sun, indoor lighting and so on, but consider leaving this set on auto as it works well in over 90% of the situations you’ll find yourself in. In any case, forgetting to change it back after a particular shoot can get you in far worse trouble.
If you opt to shoot in RAW, the white balance can be adjusted at the processing stage. Jpegs can be 'fixed' too, but your options are limited when compared to a RAW file.
FOCUS MODES
Manual – Speaks for itself.
Auto Focus/One Shot – Your camera will not fire until auto focus system is able to lock onto the subject you specify in your view finder (see Focusing Points below).
AI Servo – Tracks the movement of your subject. Ideal for action.
AI Focus – Automatically switches between single and servo auto focus based on subject status.
FOCUSING POINTS
When using the auto focus option, learn how to adjust and lock the auto focus points within your field of view. This speeds up your response time, and you’re more likely to capture both a moving subject, or quickly adjust for the optimal focusing spot in a landscape.
FOCUS LOCK
This is most commonly done by depressing the shutter half-way down, but some camera models offer other options via various programmable buttons.
LENSES
Before you buy, see what is new on the market first. Several manufacturers are now making an 18-200 mm lens for DSLRs, and it is a great all-purpose option with excellent macro ability at the 200 mm end of the zoom range.
In regard to lens quality, visit a website that does independent comparisons of the varying brands.
The debate continues in regard to the better of zoom lenses and fixed or prime lenses. Zoom lenses offer fabulous convenience, so it’s hard to ignore this option, right?! Fixed lenses are faster and sharper, right?! Well, all I can suggest is that you do your homework then decide for yourself.
A useful addition to lens technology in recent years is the advent of image stabilization/vibration reduction/optical stabilization [IS/VR/OS], the term varying from one lens brand to the next. In a nutshell it reduces camera shake, but should be turned off when your camera is on a tripod.
CLOSE-UP and MACRO
After a macro lens, your options in regard to getting close to your subjects are down to close-up filters, or extension tubes.
The latter is placed between the camera body and lens, but despite the ‘inconvenience’, they are my preferred choice for close-ups.
However, do make sure your choice of extension tubes brand is compatible with your camera, and no automatic features are lost.
THE DIGITAL SENSOR
First off, keep lens changing to a minimum to prevent dust getting into the mirror box and sensor area.
When you must change lenses, pick a spot free of airborne dust.
To test your sensor for dust set your lens at its smallest aperture, and take a picture of something uniform such as a light sheet of paper. Enlarge the image, and if dust is present on your sensor you’ll see sharply defined specks.
There are several schools of thought on how best to remove dust from sensors, and my first course of action is to use a strong blower. If some dust can’t be dislodged with that method, I then move on to a soft statically charged brush, then follow up with the blower again to finish off. The trick is to have no or minimal contact with the sensor area. I recommend you look into this subject further as there are several other methods of sensor cleaning available, but do leave the Brillo pad under the sink where it belongs!
Compressed air is likely to leave some moisture on the sensor and isn’t recommended.
Before you attempt any method of sensor cleaning, make sure you understand the instructions in regard to the process, and know what your warranty covers.
One last thing, before cleaning the sensor blow away the dust around the rear element of your lens, and the mirror box of your DSLR. Even your rear lens cap. Not doing so is likely to trap dust just where you don't need it.
FILTERS
It must be said that the need for some filters has declined of late in view of what can be achieved with Adobe PhotoShop or similar software. However, I do recommend at the very least that you have with you the following filters . . .
Polarizer: Reduces reflections/glare, and darkens blue skies
Graduated gray/split neutral density: Darkens bright skies
Neutral density: Helps in achieving longer exposures in any light. ‘Slowing down’ a waterfall comes to mind, but more importantly a river or ocean movement at twilight can be quite stunning with a long exposure. Go here for an example.
When using threaded filters combined with wide-angle photography, avoid using more than one or two or you’re likely get vignetting.
TRIPODS + MONOPODS
TRIPOD HEADS
Pleeeeeease, do yourself a favor by not using a tripod with a plastic head!
Heads with quick release plates are highly recommended.
I don't recommend older style 3-way heads unless your camera and lens combination is very heavy as they'll slow you down.
I recommend a ball head for purposes of quick set-up and flexibility.
A two button/knob head works better than one. You'll need the second for panning left and right. If accurate registration of stitched images is important to you, you'll know what I mean.
Try before buying if possible.
TRIPOD BASES
Don’t use an extremely lightweight tripod as you’ll defeat the object of owning one, which is for stability, not convenience.
Most folk don’t want a heavy tripod, and an overly fragile tripod is not advisable. So, a compromise is necessary, i.e. the lightest available tripod, which is at the very least stable with a camera body and long lens attached. The best way to pick one out is to head to a camera store that offers a wide selection. Also see my suggestions below.
Select a tripod base that ascends to at least neck level, and is sturdy when a moderate to large lens is attached.
Try before buying if possible.
OK, SO MY PERSONAL PREFERENCE IS . . .
I recommend Bogen/Manfrotto for choice, stability, and quality . . . and no, I’m not paid to make such a suggestion! If you have to know though, I use their 3021BPRO tripod base . . . note that the non-pro version of the 3021BN has a different center column arrangement. I use an older 3055 or the newer 488 RC0 ball head on top of that particular base.
RECOMMENDATIONS
Tripod heads:
Manfrotto 498 RC2 midi ball head with two knob control. See B+H Photo.
Manfrotto 468 MGRC2 hydrostatic ball head. See B+H Photo.
There are also alternative 468's and 498's that take different sized quick release plates you might already be using, and would save you money if you were to match your head purchase with the quick release plate/s you already own.
Tripod bases for travel:
Manfrotto 190X Pro B Tripod. No need to remove the center column to get low. It tilts. See B+H Photo.
Manfrotto 458B Neotec Pro Tripod: Fast set-up. One button release of legs. See B+H Photo.
MONOPODS
They're not just for sport and wildlife photographers as I use mine for nature close-ups too. Anyway, the longer your lens, the more likely you'll get camera shake with or without an IS/VR/OS lens, so the added stability of a monopod is not to be ignored. However, a monopod is not recommended for long exposures.
PURCHASING TIP
Before you buy anything, check out the store ratings at Reseller Ratings. They'll help you detect scammers who are 'bait and switch' artistes.
MEMORY CARDS
I don’t recommend the micro-drive types as they have moving parts, and you know what happens to computer hard drives!
Don’t be afraid of cards 1 gigabyte in size and larger, otherwise as file sizes get larger you’ll be changing cards constantly. That’s also a headache when you're downloading your images from several cards instead of just the one.
I suggest you write on your memory cards in permanent ink, ‘Reward for return’, and your e-mail address. This may be a blessing in the event of loss.
Oh, and to prevent a ‘blank card’ disaster, make sure your camera provides a warning when there is no memory card present. Your camera setting for this could be construed as ambiguous, so to test yours take the memory card out, turn on the camera, then try to take a picture. If you don’t get a ‘No CF Card’ message, change the setting so that you do receive that message.
BACKING UP YOUR IMAGES
When traveling, it’s important that you have at least two back-ups of your images. Your choices are:
Dedicated CD burners for up to 750 megabytes, and dedicated CD/DVD burners for up to 4.7 gigabytes. No computer is needed as these units burn discs directly from your memory card.
A laptop for burning 750 megabyte CDs, and 4.7 gigabyte DVDs. If your DVD burner can burn dual layer discs you can burn over 9 gigabytes worth of data to a disc.
A laptop with sufficient gigabytes of available space, especially if you shoot in raw.
An external hard drive. There are USB powered units that need no power. You’ll need to connect to a laptop for transfer to, and retrieval of files.
Digital Media Storage Devices with image review screens such as the Epson, Delkin, Jobo/NixVue, Transcend, and Nikon models.
Alternately, you could just leave your images on a large memory cards such as 4 gigabytes and above, but you may need more than you think.
BATTERY GRIP
Looks like a motor-drive, but holds a second battery for extended photo sessions, and adds additional controls when shooting verticals.
Make sure you buy one that permits essential camera’s functions, as some cheaper models don’t.
BATTERIES
Don’t rely on just one or two, but carry sufficient spares plus the charger.
On winter trips keep your batteries warm when not in use. A pocket works well for this.
OVERSEAS VOLTAGES and ADAPTERS
First off, look at the 'input' on each of your devices you intend taking with you. If it reads something similar to 100v-240v then you do not require a transformer. You will just need an adapter for the country you are traveling to.
Leave your *power strips at home wherever you may hail from, as those with a 'safety trip' need the correct voltage. We suggest that you buy a power strip when you get to your destination, but remember that you'll need an adaptor for each item if plugged in at the same time.
Alternatively, look for a 'Universal power strip' on EBay or Amazon. They are 100-240 volts, and will cover all your needs. It's what we use.
CAMERA BAGS and CASES
There are many options available for carrying your gear – hard and soft cases, and back-packs, etcetera. Let's look at some options . . .
1 Soft cases can come in the 'on the shoulder' variety or as a backpack. The latter is useful if you're a serious hiker of course.
Hard cases protect gear well, and those made by Pelican are waterproof. Hard cases can also be sat or stood on, which is useful sometimes.
Cases and bags that have rollers. Useful in airports and suchlike, with both hard and soft cases being available with this feature.
An interesting variation on the soft case I've seen some of my clients with lately are the ‘hip packs’ used for day hikes and by sports enthusiasts. Usually there are two padded areas in the belt intended for carrying water bottles, and they appear to be the perfect size for holding and protecting a couple of lenses. Just an idea if you’re looking for something practical and light-weight for use in the field.
Personally . . . I picked out a medium sized roller case at a luggage store - one that fits in overhead compartments - then bought a foam block to fit. I then cut out the shapes for my lenses, camera bodies and accessories etcetera. I have to say that for me personally it is the perfect camera case, but doesn't look like one and therefore perhaps, not a target for thieves.
In conclusion, please remember that whatever you shoot, the final result is only limited by your imagination. Good shooting!
Written by John Baker, Travel Images/www.travelimages.com
All images and text are strictly copyrighted by John Baker Photographer LLC/Travel Images, 1990-2011. Permission in writing must be sought for any form of reproduction.
Do you have questions or comments about 'Practical Photo Insights'? To share your thoughts or suggest a photography subject you'd like to see addressed, please E-mail me.
You're also welcome to submit images for critique, which run the risk of being used as a Practical Photo Insights topic!
