New gear

There is no way around it – shooting with a brand-new camera is one, if not the, most exciting aspects of photography. Admittedly, I like new technology in a stereotypically geeky way, so my view is probably biased. Still, these are exciting times for photographers, with the technology advancing at an amazing pace.

During the past couple of weeks, I’ve been taking my new Sony α7R IV for some sports and concert performance shoots. The amazing 61 Mpix of resolution and the super-nimble autofocus (I mostly shot with a Sony FE 70-200mm f/2.8 GM OSS lens) makes shooting incredibly exciting. Last time I had the same feeling was when I laid my hands on a then-new Canon 1Dx. Immediately, I knew that it was a revolutionary piece of equipment that was going to change the way I approach taking photos.

I am glad that I’ve had an opportunity to take my photography hobby to a professional level. Not the smallest part of it is that it allows me to play with the latest and greatest gear. Ironically, the state-of-the-art gear is needed to stay competitive as a pro. So it is not clear at all what is the means and what is the end.

The preferred weapon

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Last Sunday, I had an excuse to put away my Sony a7R II, which I have been using almost exclusively for the last year, and to spend some time with my old Canon 1DX. Armando and I were covering the Cross-country National Championship at the Beacon Hill park. It was an intense day, both i terms of the race itself and in terms of shooting. Everybody hoped in vain that the cold, pouring rain that started just as the athletes began their warm-up runs would stop before the race. Instead, it continued on and off throughout the day.

On the positive side, rain makes action photos more interesting, at least for sports like running, soccer and rugby. I like how the fast shutter speed (I was shooting at 1/1000 s most of the time) freezes the out-of-focus rain drops between the subject and the camera.

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The cold rain is tough on the hardware, though, not to mention the athletes and the photographers. For example, I could not shoot with the Sony as much as I wanted to – it is not weather-proof enough.

The bulletproof feel of the 1DX, the autofocus speed, the framing rate, even the characteristic shutter sound of the high-speed bursts – these are the things I’ve been missing in my mirrorless camera. About the sound of 1Dx – I can recognize it in the crowd of photographers even on TV. It reminds me of an episode from “Heartbreak Ridge”, when Clint Eastwood’s character says to young marines: “This is the AK-47 assault rifle, the preferred weapon of your enemy, and it makes a very distinctive sound when fired at you, so remember it.”

For the rainy days, my preferred weapon is definitely a Canon.

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Shooting Raptors

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Last two days, I was shooting basketball games at our university.

Toronto Raptors, the only Canadian NBA team, had a training camp at our university last week. At the end, they had an inter-squad game and I had an opportunity to shoot photos of it.

The NBA training camp was a big event for our university’s athletics department and, arguably, for our entire town. The Raptors media unit had their procedures worked out in minute details, and they conveyed a message that we, as photographers, were privileged to have access to the players. I fully realize that this was, indeed, the case, considering that the tickets for the only publicly-accessible game were sold out in a matter of minutes. I came to the athletic centre an hour before the game, and the was already a line of lucky ticket holders stretching around the building.

The instructions for photographers were exceptionally detailed. They specified everything from the designated area beside the court (a square of approximately 1 m x 1 m marked by a tape on the floor) to how we were supposed to sit in it (cross-legged, with cameras on our bodies or behind us) to the periods during the game when we were allowed to leave the box.

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I believe the hype leading to the event played a large role in creating a positive experience for the spectators and the local media people. The game itself was a bit disappointing, because it obviously lacked the competitive aspect. The pace was quite slow. Despite having almost no breaks, most of the players literally didn’t break a sweat by the end of the game. Of course, this is also due to their impressive physical condition. There were a couple of episodes, when some players showed the speed they were capable of by sprinting across the court. I missed some shots of these moments because I simply could not react fast enough to keep these guys in the frame. Only during these rare bursts of speed could I hear the rapid squeaking of the sneakers on the floor that is so characteristics of basketball matches.

Yesterday’s opening game of our university’s men’s basketball season was a complete opposite in terms of the energy of the players. It was fast and exciting. It was a real completion, which is what basketball is about after all.

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Both the professional and the student games were fun to shoot, though. It was my first time shooting sports with a mirrorless Sony a7R II instead of a Canon EOS-1DX DSLR. I took the Sony with me on sabbatical trip, and I have gotten used to its higher resolution, larger dynamic range and advanced focus tracking features. Of course, the autofocus on the a7R II is not as fast as it is on 1Dx and the faming rate is not as high. On the balance, though, I find that the Sony produced nicer images.

I shot compressed RAW files, which allowed practically the same level of flexibility in post-processing as RAW, but did not fill the buffer during continuous shooting nearly as fast.

Another useful setting that I learned from Armando, my associate, who has been shooting sports with a7R II during entire last season, is the focus area – Lock-on AF: Flexible spot L. Combined with the continuous AF setting, it makes the camera focus on the object in the centre of the frame and then track it as long the shutter button remains half-pressed. It is just a joy to use for sports. An important note is that tracking features like this (and also eye detection, which is fantastic for portraits) work only with native Sony lenses. Using my Canon lenses on a Metabones adapter is a bit frustrating, because it feels like I am missing the best part of the mirrorless experience.

For these two basketball games, I shot mostly with my new Sony FE 24-70mm f/2.8 GM lens, which I used for the first time during my latest trip to Japan.

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Under and over the water

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Here is a post for The Black Light Magazine on a photoshoot, where I was not involved as a photographer. In fact, the most challenging part for the production planning, and I avoided even most of that, being on travel in The Netherlands. Moving into the area of technically challenging shoots, where we have to rely on other people (e.g. a diver in this case) to press the trigger for me and my associates. One aspect that I am still trying to reconcile is the apparent lack of creative control that comes with delegating the actual shooting part. Perhaps, this is the inherent difference between the skills and the vision of the camera operator and the director. I should start looking at the shoot from the director’s chair and learn to enjoy the view.

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During a recent underwater photoshoot, which involved a marathon body-painting session by three artists working simultaneously on two models and a diver sitting on the bottom of the pool with the gear that is typically used for photographing marine creatures, we came across a rather unique challenge. Our objective was to show the models in fluorescent makeup swimming underwater, while simultaneously showing their environment, i.e. the reflections of the free surface and the colour of the water itself.

Capturing the images of the models was relatively straightforward. They were illuminated with underwater strobes cover with custom UV filters. “Straightforward” doesn’t mean “trivial”, though. The diver-photographer actually to shed some blood by cutting his finger on the edge of the filter. Luckily, there were no no bloodthirsty creatures in the pool…

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The challenge was to simultaneously illuminate the environment (i.e. the water) with studio strobes placed at the edge pf the pool. Since they were positioned above the surface, they could not be triggered with a radio trigger on the diver’s camera, since the triggering signal does not travel well under water. A makeshift solution was to stick one of the underwater flashes over the surface and trigger the studio strobes optically. The major drawback of this approach is that it significantly reduced the already scarce amount of light available underwater for illuminating the models.

A modified triggering method, that we are going to thoroughly test in a follow up photo shoot will involve floating a wireless trigger, coupled with an optical sensor, in a sealed glass container on the surface of the pool, giving it access to both the underwater flashes (optically) and the above-water studio strobes (via radio).

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Travelling with an iPhone

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My 1D X and three lenses were already packed for the trip to The Netherlands, but at the last moment, in fact, on the morning of departure, I changed my mind and decided to leave the DSLR in favour of an iPhone. It was a conscious effort to do things differently from my usual routine. Besides, I wanted to see if I would be able to still do photography, if I focussed on different aspects of it – namely, on documenting (nearly) everything I encounter and sharing it with my wife almost instantly.

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On the second day of travel, I can report that it is indeed possible to do a significant amount of travel photography with a smartphone. In certain ways, it is even easier than with a DSLR. Indeed, carrying just a phone, instead of a bulky camera and a backpack makes you more nimble, both physically and mentally. I found myself actively looking for photo opportunities not only after arriving at the destination, but throughout the trip.

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Also, a phone camera allows me toby much stealthier and sneakier while taking candid shots. the sound of a high-speed burst from a 1D X is as distinct as that of an AK-47, and has a similar (but not as lethal) startling effect on an unsuspecting person. Not only the phone camera is silent, but the smartphones are so ubiquitous, that it seems that people stopped paying any attention to them – I could be taking a picture of a persona meter away, and he won’t even notice it.

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There are a few issues with iphonography, though, compared to shooting with a DSLR. I am not talking about image quality – it is expected that a phone camera would have some limitations. The first thing I noticed is battery life. Shooting, editing and posting photos through the travel (two airports and a train ride) and then walking around The Hague for entire afternoon drained the battery completely and sent me beck to my hotel room (I must say that I was quite tired and glad to do it anyway).

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The second issue is storage. In my particular case, it is not the amount of storage on the phone itself – it is the capacity of my cloud account, where all the images are backed up automatically. My 50 GB filled by the end of the second day. The issue was easily resolved by deleting some old backups. I am sure that my workflow can be optimized, for example, by copying the photos from the cloud to a laptop at the end of each day. However, a camera phone does not completely free you from either a computer or a power outlet.

Travel photography gear: to be or not to be nimble

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It seems that every time I am about to travel somewhere, I debate whether to take a particular piece of photo gear, e.g. a tripod, a certain lens, a flash, etc. The reason I hesitate to take everything that I may potentially need is that lugging around a heavy backpack really detracts from the experience of travel, and can even be detrimental to the photography aspect of it (e.g. it can limit your access to certain cites, or it can make you tired, so you would be more likely to miss photo opportunities). It really makes a lot of sense to be nimble, to borrow a term from Derrick Story.

When considering whether to take a particular piece of equipment on a trip or not, if I really want to be systematic about making the decision, I find it useful to apply a principle that Cal Newport describes in his book “Deep Work”. The idea is that while any tool has some potential to be useful, it often has drawbacks. The logical thing to do is to use the tool only if the benefits outweigh the drawbacks.

In the case of travel photography, for example, if I foresee an opportunity to shoot a sporting event, I take the 1Dx body because of its great autofocus speed, despite the relative bulk. However, if I will have only a few hours to explore the new location, my iPhone would allow me much greater mobility, while still giving an opportunity to capture some images.

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Action shots with an iPhone

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Taking action shots is challenging with any camera, because there are several elements of the shot that have to be done correctly at the same time: focus, exposure and composition/framing. Fast moving subjects present challenges in all three aspects, and they are particularly difficult to manage with a phone camera.

I really like my iPhone 6+ camera. It certainly cannot do everything that my 1D X with a fast lens can do, but when the conditions (mostly, lighting) are right, it really shines. You just need to pick your battles wisely if the iPhone camera is your weapon…

Today, we were flying a kite with our four-year-old daughter on a very bright and windy afternoon. The light was harsh, but the contrast and saturation were excellent, which I find always works well for an action shot. My wife took a few photos of my daughter and me with the kite and the dramatic clouds in the background. I think there are two key factors that make these photos work: good composition (taking many shots really helps – one needs to expect many of them to be throw-aways); very bright lighting (it helps with sharpness, saturation and contrast).

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Equipment failure

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I have heard that CF cards can fail for no apparent reason, and that the results can be very frustrating. I has never happened to me until now. Yesterday, an UDMA 7 card failed after an hour of shooting (nothing very intense, just a family walk around town). The card has never left the camera: it just stopped responding at a certain time, and could not be either formatted in the camera or accessed through a card reader afterwards.

This is not a big problem in the sense that could have been worse (e.g. I could have lost images from a professional assignment), but it is definitely frustrating. I guess, the dual CF slots and the option to write files on two cards simultaneously in my Canon EOS-1D X are there for this kind of eventuality.

I will check off this accident as a learning experience: I rarely reach the full capacity of both cards that could be put in the slots, but losing images even once is not a pleasant experience.

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Professionalism: a matter of size

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I find that many rules in Italy (including some traffic laws) are either ignored or can be overruled as the need arises. One great example of this are the regulations regarding photography in Sforza Castle in Milan.

The sign at the entrance showed a camera in a red circle, crossed with a red line. Suspecting that in this case “no” does not necessarily mean “no”, I asked a lady at the ticket office to confirm, and she said that photography without a flash is allowed. Then she saw my camera (I had a Canon 1D X with a 24-105mm f/4 lens, which happened to be extended to its longest focal length) and said that I cannot use it, because it was “professional.” As I was thinking about what to say, I turned the zoom to 24 mm, which made the lens shorter by about 50%. Seeing this, the lady said, pointing at the camera, “This is Ok. You can use that.”

So, I found that my level of professionalism can be instantly adjusted (at least in the range of 24 to 105 mm.)

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Gear list

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I do not have a specific photography agenda for my upcoming trip to Shanghai. I will have only a couple of days available for photography, but the destination is so exotic that I want to take enough gear to not be limited in the types of shots I can take. At the same time, I plan to carry most gear with me as I wonder around the city, so excessive weight can easily become a limiting factor itself.

With all this in mind, here is my tentative gear list for the trip, based on my prior experience:

  • Canon EOS-1D X camera body. It is bulkier and heavier that my 5D Mark II, but fast autofocus and much better low-light performance of the 1D X really tip the metaphorical scale. If I had a 5D Mark III, it would have been a perfect compromise for travel.
  • 70-200mm f/2.8L IS II USM lens.This is the heaviest lens that I plan to take. Leaving it at home would save a lot of weight and space, but this lens is incredibly versatile. In fact, most of my best photos are taken with it. Besides, one type of shot that I do plan to take is a night-time cityscape, similar to the one from Yokohama (above), and this lens is the perfect one for this job.
  • 35mm f/1.4L USM lens. This is currently my favourite walk-around lens. I was debating wheteher to take a 24-105mm f/4 L IS USM lens instead, but I am willing to sacrifice its zoom and image stabilization for incredible low-light performance, shallow depth of field as well as physical size and weight of the 35mm f/1.4L.
  • 16-35mm f/2.8L II USM lens for close-up shots of architectural details, like the shot from the Forbidden City below.
  • Tripod. I have a slightly different tripod from the one in the link, but carbon is the key for saving weight.
  • Flash. Mine is an older model from the one in the link.

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