To get some effective pointers, we
went straight to the folks who use them day-in and day-out: professional
working photographers. Most pros like to assemble a field kit that includes
some basic supplies and accessories that they always bring with them on
location. Sometimes that includes little gadgets to help them capture those
special moments.
We
spoke with three pros – Caio Guatelli, Adrian
Henson, and Scott Mead – to share their
tried-and-true tips and inexpensive gear they’ve used from years of shooting.
Depending on what you like to shoot, not all of these suggestions may apply to
you, but incorporating them could help simplify your photography
workflow, so you can pay attention to framing your shots.
Don’t let your camera’s screen confuse you
Checking
the shot’s result on your camera’s LCD is an impulsive reaction, but this behavior
can betray you, says Caio Guatelli. The Brazilian-born photographer specializes
in shooting high-speed sports such as Formula One racing and the Track
and Field. “Most outdoor photography is shot in lighting conditions where the
camera’s screen doesn’t faithfully represent the tonal details, especially in
the image’s shadows. Reflections on the camera’s screen or the surrounding
lights or darkness can create the sensation of incorrect exposure. The
photographer is betrayed by the misrepresentation of the shot and instantly
adjusts the controls to make the scene lighter, exposing the image more than
necessary.”
Ametista
do Sul, RS, Brazil, 28/02/2008, 09h08: Searching for amethyst, a semiprecious stone,
miners dig tunnels through the mountains in southern Brazil. (photo: Caio
Guatelli)
He
recommends using a photometer at the spot-metering mode. “Choose the lighter
side of the scene to set the metering. If you don’t have spot-metering mode,
try underexposing by 2/3 and don’t follow your camera’s screen results. Wait to
check it at your computer, inside a low-light room. The correct exposure gives
the photograph more saturated color, better contrast, and has much more room to
be processed, although an image like this almost doesn’t need any
manipulation.”
Tape those switches
Gaffer’s tape offers
infinite uses in the photography world. “One of my most consistent uses is to
cover the switches on my lenses,” says Adrian Henson, who photographs
everything from high school senior portraits to commercial work. “Camera
manufacturers have gotten much better about making switches on lenses with a
low profile, but there are still plenty of lenses that have raised switches. I
cover these with a small piece of gaffer’s tape so that they can’t
inadvertently be switched away from your desired setting. Shooting a session
with the lens set to manual focus when you thought it was in auto can be
disastrous. Prevent that disaster, tape those switches ASAP!”
Velcro the remote shutter release
A
remote shutter release is a must when shooting from a tripod, says Scott Mead,
a landscape and nature photographer based in Maui, Hawaii (see our profile here). But fumbling for a
dangling cable or pocketed wireless remote can mean the difference between
getting or losing a shot when the light is changing fast. “By attaching a piece
of industrial strength Velcro
to the top of a tripod leg, and the back of the remote, you’ll always know
where your remote is, and it’ll be close at hand.”
Gel organizing
Henson
often uses colored gels on his flashes. He will buy a few of the Rosco Cinegel Swatchbooks,
for about $2.50 each, so that he then has every color imaginable. “The
problem is that once you disassemble the swatchbook, the gels are impossible to
keep up with. So to manage my gels, I write the color code on the gels with a
fine point Sharpie and then use a business
card organizer to store, protect, and organize them. I also pre-cut bits of
gaffer’s tape to the size I use when attaching the gels to my speedlight
(flashes) and stick it all over the outside of the organizer. This system
ensures that I always have the gel color I want and the tape I need to attach
it.”
Less is more
Photographers
shooting in sometimes dangerous situations have to sometimes move quickly. The
equipment must be light and easy to carry. Guatelli says to try to figure out
what you are going to use during your shooting; make a concise choice of lenses
and other equipment. “I usually choose two lenses, a 35mm and a telephoto
zoom of 70-200mm. If the frame doesn’t fit the subject, I move backward or use
a naturally cropped frame. If the subject is too far for my lenses, I try to
accept it at the size it appears, or simply wait for something better to
shoot.”
Sao
Paulo, Brazil, June 18 of 2013: 50 thousand demonstrators occupied the most
important places of Sao Paulo city. (photo: Caio Guatelli)
Keeping things at level ground
“When
shooting on uneven terrain, it’s sometimes difficult to optically set a level
horizon,” Mead says. “Acratech makes a neat Double Axis Spirit Level
that slides into the hot shoe of your camera, making leveling your camera an
easy task.”
It’s all about the apps
“There’s
a plethora of photography apps available for Apple
and Android
devices, but there’s one that’s a must for every nature photographer: The
Photographer’s Ephemeris,” Mead says. “With its sun and moon
calendar working with Google Maps, it gives photographers satellite views of
their location, with overlays of the sun and moon’s path anywhere in the world.
It’s a must for setting up a shoot, when getting to the site a day early to
scout the location isn’t possible.”
Varying composition
Guatelli
says to vary your composition; try to fill your frame with useful information.
“Don’t fix your eyes on the subject or at the center of the image. Think before
shooting, move your eyes through the edges of the rectangle and move the
camera. Perhaps try to change the distance to include the detail that can
balance the composition. If the field depth is shallow, try to shoot with
unfocused elements that are close to the camera and not just with those that
are in the background.”
Port-au-Prince,
HAITI, 20/03/2011: Street basketball game beside ruins of a church. (photo:
Caio Guatelli)
Enable flashing highlights
“I
always want as much detail as possible in my images, and this requires that the
exposure be as bright as possible without blowing the highlights,” Henson says.
“While the histogram is useful information, I find that the flashing highlight
feature in almost all cameras is more useful for attaining maximum detail in my
shots.
“I will generally push my exposures right to the point where
the highlights start to flash, then back off my exposure 1/3 of a stop for my
final shot,” Henson adds. “This creates a file with the most information
possible for the scene at hand.”
Change your camera settings
“Before
you start shooting, you can change the factory configurations of your camera,”
Guatelli says. “Set your camera’s contrast, sharpness, saturation, and tonal
adjustments. It’s almost the same thing that old-school photographers used to
do when choosing a specific kind of film. Some used to have richer reds, others
had more contrast, and others were grainy. Each situation requires a different
set of contrast, saturation, etc. Getting used to it can push your creative
possibilities.”
Take a load off
Early
in his career, Henson realized how terrible wearing a camera around his neck
made him feel, even after a short period of time. “When I began shooting
weddings my gear got larger, heavier, and more abundant. One day after a
wedding, my back was killing me and I felt horrible. That night I took my
camera straps off and never put them back. It took some adjusting to and I have
to think ahead and manage my gear better, but it was the best move I ever
made.”
As
a solution, he acquired a Spider Pro Belt. “It is a
fantastic alternative to traditional camera straps. Mine holds two cameras, and
I can wear it all day with both cameras on it and still feel great when we wrap
up at the end of the session. Most days I just hand hold my camera, but when I
need to carry 2 or need a place to put one when I am not shooting, a camera
belt is definitely the way to go. Whatever you do though, get that load off of
your shoulders. Your back will thank you.”
Pacific
Humpback Whale off the coast of Maui Hawaii in the Central Pacific Ocean.
(photo: Scott Mead)
Keeping the elements out
Mead
says shooting from a boat poses a few challenges, especially keeping your
camera dry. “There are a lot of waterproof camera sleeves available, but
they’re pricy, and many nylon versions cover vital controls. Luckily, a couple
affordable options are available: Op/Tech USA makes a clear, 18-inch
rain sleeve with a drawstring lens opening that easily accommodates
pro DSLRs with a 100-400mm lens. Considering you get two per pack for about six
bucks, it’s a great deal.
“In
a pinch, you can also use clear wastebasket bags. Just poke a hole in the
bottom with your finger, and gently stretch the plastic to accommodate the end
of the lens for a $.15 solution,” Mead adds.