5 Pieces of Photography Gear to Consider as Your First Upgrade

By: Neil Creek 

Neil Creek is the author of the ebook Photo Nuts and Gear. In this post he offers some advice to the beginning photographer about the first upgrade they should buy for their camera.
So you’ve been getting into this photography thing pretty seriously ever since you bought that “good” camera you wanted. It turns out that you really enjoy photography, and you think you’ll be doing it for a while. You want to know what cool camera gear is out there, and you know there’s a lot, but what should you get first?

Where to start on the photography gear upgrade trail

When you’re just starting your photography journey, it’s intimidating how much gear there is and how much it costs. It’s obvious that some photos are impossible without certain gear, and sometimes it’s not obvious when gear has helped a photo.
I’ve been shooting and helping new photographers to get the most out of their gear for years, so I have a few suggestions for great first investments in photography to suit your varying interests and budget.

1. A 5-in-1 reflector

Light is everything in photography, but sometimes you can’t quite get the right kind of light where you need it. A great example is outdoor portraits. With the light predominantly coming from overhead, there are often dark circles under the eyebrows. A reflector can be used to reflect some light back up into the face of your subject to fill these shadows.
A 5-in-1 reflector is cheap and very versatile. Built around a collapsible steel ring spanned by diffusion material, it has a reversible cover with four different surfaces. The diffusion material inside is great for turning full sun into bright shade, for small and macro subjects as well as head and shoulder portraits. I’ve even used it as a flash diffuser in a pinch. The cover has three reflective surfaces: white for gentle fill, silver for strong fill, gold for a warm strong fill, and a black surface for eliminating light to bring shade back to a scene which is too evenly lit.
This is an incredibly versatile tool at a very affordable price, and it neatly fits into the “laptop pouch” in camera bags which have one. This item should be in every portrait photographer’s kit.
Who is this for: photographers on a budget who shoot in natural light
Approximate cost: $20-50 depending on size

2. The Nifty 50 lens

Lenses are a critical part of the optical system that creates the photographic image. Unfortunately almost every lens choice is a compromise between price, speed, image quality and more. Plus, lenses are expensive!

There is one lens however that is possibly the best of all worlds: the 50mm prime, also known as the “Nifty 50”. Several lens makers have their own or similar versions of this lens, but the most famous is probably the Canon 50mm f/1.8. This lens is small, fast (thanks to its wide f/1.8 aperture), tack sharp and extremely affordable. If you are looking for an excellent portrait lens that will take well exposed photos in low light, it’s hard to go past the Nifty 50 especially if you are on a budget.
These lenses aren’t without their weaknesses of course: cheap plastic body construction keeps the price and weight down, but negatively affects the durability; weather sealing is also thus not an option; it is notoriously slow to focus in low light; there’s no image stabilization; andthe focus ring is very small. Despite all this, it is hard to resist the appeal of professional level image quality, at a hobbyist price.
Who is this for? Anyone looking for a high image quality, fast, small lens on a budget
Approximate cost: $100-200 depending on brand

3. A good solid tripod

Photographers are always limited by the amount of light, and without adequate amount, you are forced to make compromises with your settings. When you have to use a slower shutter speed you risk getting blurry photos from camera shake. A tripod fixes that. By providing a stable platform you can almost eliminate camera movement from short, to incredibly long shutter speeds.
Not only does a tripod fix the problem of a shaky camera, it opens up whole new photographic and creative opportunities. Seven of the eleven special effects photography techniques discussed in my ebook Photo Magic use a tripod. A Tripod is possibly the most versatile piece of photography equipment you can buy. You will be able to try photos and techniques otherwise impossible.
Buying a tripod can be like walking through a minefield however. There are so many options from the very bad to the very expensive so it pays to do your research. For a first time tripod for a small DSLR user, I recommend one of the base end models from the big name tripod makers. I go into a lot of detail in Photo Nuts and Gear on choosing the right tripod for you. One tip – avoid department store tripods!
Who is this for? Photographers shooting in low light, with macro subjects, landscapes, and creative low light photography such as light painting.
Approximate cost: $100-200 for a first tripod

4. An external hot-shoe flash or speedlight (speedlite)

A flash unit or speedlight is often one of the first big purchases camera owners make, and unfortunately it’s very easy to pay more than necessary. The flagship units from Canon and Nikon are very expensive and packed with features, many of which a new photographer won’t need. I personally recommend buying a cheaper, manual power, third party flash first. The ETTL, or auto exposure, feature of the expensive flashes is handy, but I find that manual power control is pretty easy to master, and it will save you a lot of money: enough to buy one or two more flashes for the price of a flagship model. Manual flashes are also compatible with the more affordable radio triggers that let you fire your flash off the camera and enter the amazing world of Strobist photography.
Flashes adds a good deal of versatility when shooting in low light, but their real power comes when you get them off camera. A couple of flashes, triggers, light stands and simple modifiers can utterly transform your photography, and add creative options that match those offered by a tripod. A little research and careful spending can put all of these within reach for the about same price as a top of the line flash from Nikon or Canon.
Who is this for? Photographers shooting indoors in low light, Strobist wannabes
Approximate cost: $100-200

5. Walk-around lens

Like most people, you likely bought your camera with a kit lens. These lenses are often good enough for most photographers, but unless you buy a top end DSLR (which come with higher quality lenses as standard), they’re not going to be the best you can find. Most kit lenses are a bit slow, a bit soft, a bit “plastic-y”. If you’re getting serious about being a photographer, you’ll probably want something better. A walk-around lens is one you leave on your camera by default, and use all of the time you don’t have a specific need for another lens. As such, most of your photos will be taken with it, and you’ll probably want to upgrade it once you can afford to grow your lens collection.
There are a lot of options available, so you need to think a bit about how you use your camera, and what features are important to you. You will want to consider:

• how heavy is the lens
• how often you shoot in low light
• what frustrates you most about your current lens
• whether you’re always wanting to fit more in your shots or if you want to bring distant things closer

All of these issues will affect the best choice of walk-around lens for you. Be prepared to possibly spend a lot of money. Lenses are expensive, especially high quality ones. Since there are so many options and factors to consider it’s hard to offer much practical advice in a blog post, but I go into a lot more detail in Photo Nuts and Gear. In short however, be prepared to do a lot of research to understand your options and how to choose between them. A good walk-around lens will get a lot of use over many years, and the quality of your images will be impacted by the choice you make.
Who is this for?  Someone who is taking the first big step into turning photography from a pastime into a serious hobby
Approximate cost:  $300-1800
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4 Tips for Doing Photography on a Budget

By: Simon Ringsmuth  

Several times in the past few months people have asked me how to get into photography without spending a lot of money. I must admit the idea of emptying your wallet to get all the camera bodies, lenses, flashes, tripods, and other gear you need to do some serious photography can seem quite daunting, it certainly was for me when I first got bitten by the photography bug.
The good news is you don’t really need the latest, greatest, and most expensive gear to make some stunning images thanks to the magic of modern technology. In many cases all you need to do some serious picture-taking is the camera you probably already have with you: your smartphone. However as good as modern mobiles can be, they do have some serious limitations (particularly due to their small image sensors) like limited low-light capabilities, and non-zooming lenses. If you really want to up your game and take advantage of the bigger image sensors, larger lens selection, and incredible accessories available for DSLR or mirrorless camera without breaking the bank – here are a few options to get you started.

You don’t need a lot of money to take pictures like this. A basic camera and some creativity will do 

just fine.

1. Buy used gear

New cameras sure are nice, and I can certainly understand the desire to have a model with the most megapixels, best image sensor, highest ISO, fastest autofocus, and coolest bells and whistles. But, before you rush off to drop hundreds or thousands of dollars on a brand new model though, consider this – every picture you have ever seen was taken with a camera older than one you can buy today.
Think of the most famous photographs in history: A man facing down a row of tanks in Tiananmen Square. Muhammad Ali standing triumphant over a defeated Sonny Liston. The 1984 National Geographic photograph of a young woman from Afghanistan. These were all taken on film cameras, with capabilities outmatched in almost every possible way by even the cheapest digital camera today. Certainly new cameras make the act of taking pictures easier in many ways with bright screens, easy-to-use controls, and a host of other features designed to help you get the hang of your hobby. But if you’re pressed for cash buying an older, used camera can be just as good.

Photo of a cottonwood borer beetle taken with my old Nikon D200 that is far less capable than any 

new DSLR on the market today.

To put my money where my mouth is, I take most of the pictures on my weekly 50mm photo blog not with my new Nikon D7100, but with my ten-year-old Nikon D200, which can be found used online for a fraction of what a brand new camera costs today. It’s only 10 megapixels, and doesn’t have features like wi-fi, a tilting screen, or even the ability to use live view – but it allows me to take beautiful images and that’s often the only thing that matters.
Buying a camera just a few years old can save you significant amounts of money while giving you a high-tech photographic instrument that your photographic forebears from decades gone by would only have dreamed about. Older cameras like the Canon Rebel T2i, the Nikon D80, Olympus PEN E-P2 and many others don’t stack up to modern cameras when you look at marks on a checklist of features, but all of them are capable of producing amazing images, and can be purchased used for much cheaper than any new camera today. This applies to more than just camera bodies, and you can find very good prices on accessories like lenses, flashes, tripods, and other equipment too.

My brother took this shot with a ten-year-old DSLR and a macro lens he found when cleaning out 

his basement.

I prefer buying used equipment from sites that offer some type of warranty or trade-in period if you decide you don’t like what you receive. Two of my favorites in the United States are KEH.com and Adorama Used. Other sellers like B&H offer used cameras, and you can often buy refurbished equipment directly from camera manufacturers that even come with a warranty. Some photographers I know get a lot of high quality gear for cheap on sites like eBay and Craigslist as well. Be forewarned that sites like these often make no guarantees as to the quality of what you are buying, but as long as you are careful you can find some good deals.
For some buying tips read: How to buy used camera gear 

2. Make your own gear

If you’re like me you may find yourself scrolling through websites, or flipping through catalogs, dreaming of all the camera gear that you don’t have, mostly because so much of it is too expensive. While many common photography accessories can be purchased used, you can actually make your own versions for almost no money at all. These won’t stand up the the daily rigors of a professional photography environment, but most offer similar functionality as their full-priced name-brand counterparts for far less cash. From do-it-yourself tripods to homemade lighting kits, the internet is brimming with articles, videos, and tutorials for enterprising photographers looking to fashion their own equipment to save a buck or two. The end result might look the same as a professional product, but you may be quite surprised at what you can come up with to expand your photographic horizons with a bit of searching and a willingness to try making things by yourself.
Read these dPS articles for some DIY projects:

• Creating Effective DIY Studio Lighting With Household Items
• 5 DIY Hacks to Have in Your Camera Bag
• How to Make a DIY Light Panel or Scrim
• DIY Light Modifier You Can Do With Savage Translum Material
• DIY How to Build and Use a Reflector to Take Better Portraits
• How to Make An Inexpensive Light Tent – DIY

As an example, here’s a photo of a toy train I took with my son one morning before I left for work. It required no special equipment, and took about 10 minutes to set up.

A toy train, seen in a whole new light.

You might think a photo like this would require an expensive camera, a fancy studio, and a lot of costly lighting rigs, but in truth it was quite the opposite. I shot this using my trusty D200 on our dining room table with a bit of aluminum foil taped to a board.

No fancy lighting or expensive equipment required.

This is only one case scenario out of thousands, and just goes to show that a bit of out-of-the-box thinking, and some creativity, can net incredible results without requiring a trip to the bank. While spending money on additional gear and equipment can certainly boost your capabilities as a photographer, this is just one way to take you skills to the next level without breaking the bank.

3. Learn to use the equipment you already have

Recently I was talking about cameras with a fellow photography enthusiast who was a bit frustrated with his DSLR. He wanted to shoot in Aperture Priority but have his camera also take care of setting not just the shutter speed but the ISO as well. As he told me about the new camera he was thinking about buying and pondering how he could save enough money to get it. I asked if I could look through his camera menus a bit. A minute later I found that his camera did indeed have an Auto ISO setting which did exactly what he was hoping, and saved him hundreds of dollars right there on the spot.
This is only the most recent example of a phenomenon I have encountered many times; the camera you already have can probably do a lot more than you realize. If you’ve never sat down and read the manual for your camera, you might be in for a pleasant surprise when you find out how much it can actually do. You can almost always find online tutorials dealing with your specific camera with a bit of internet searching.

The equipment I used to shoot this was not expensive (a $100 pocket camera) but I did have to 

learn about lighting, posing, focal lengths, background compression, and other aspects of photography.

If you want to seriously enhance your photography skills without buying a single piece of new gear, one of the best routes you can take is to learn from others. Most cities have photography clubs where members meet regularly to teach workshops, share tips, or just gather to talk about their favorite hobby with fellow like-minded individuals. Often these groups and clubs require nothing of new members except a passion for photography. Those that do charge a fee usually keep it reasonable and have a good motive for doing so; membership dues give the group access to better facilities, early sneak peeks at new equipment, or even a notable guest speaker.
If you don’t have one of these groups in your area there are plenty of online forums as well, such as the ones right here at Digital Photography School. Joining a community, whether face-to-face or online, is a fantastic way to learn more about the capabilities of your gear, teach yourself about the principles of photography, and make personal connections that can help you when you need it. No new equipment is required – just a willingness to meet people, stretch yourself, and try something new.

4. Get out and shoot photos!

This might sound a bit silly, which is why I’m leaving this until the very end. I often have conversation with people who want to improve their photography skills but think they can only do it by spending money. One of the best ways to improve as a photographer is to actually go out and take pictures, and if  you already have a camera this requires spending no money at all.
It’s easy to think that buying a new camera, lens, flash, tripod, or camera bag will inspire you to get your creative juices flowing and take better pictures, but after a while all that gear will usually start collecting dust just like the camera equipment you already have. Whether you have a mobile phone, a pocket camera, or a full-fledged DLSR or mirrorless model, you are in possession of equipment that is light years beyond what your forebears had only a few decades ago. The secret to improving your photography is not about spending even more money on an ever-growing cache of equipment, but simply taking what you already have, going out into the world, and using it.

Capturing the beauty of nature with an old and relatively cheap iPhone 5.

What about you? What are some of your favorite low-budget tips for improving your photography? Share your thoughts in the comments below.

5 Tips for Using Risk Taking as a Tool for Better Photography

By: Christopher Scotti 

With the rising tide of enthusiast photographers and the ubiquitous camera phone, there is more competition for eyeballs than ever before in the photo industry. How can you ever stand out from the crowd to be noticed? The trick is both deceptively simple and incredibly complicated: take more risks. Great photographers rarely play it safe, but before you head into the world with reckless abandon, let’s dive into what kinds of risk taking is productive.

1 – Your camera is a tool, not a pet

You’ve received your very first, very shiny, very expensive DSLR kit. Your instincts are to cradle and protect the expensive piece of equipment. Don’t. While you shouldn’t fully submerge your camera, or throw it off the balcony and expect good results, coddling it like your newborn child won’t do you any good either. It’s a tool and is meant to be used out in the world. It should get a few scratches in the paint and some wear and tear on the grip. Take a look at the following images and ask yourself where the camera is.



For the first two, the camera is sitting on the bow of a kayak roughly four inches above the water. For the third image, the camera is a half inch off the muddy ground. Water is often a camera’s worst enemy, but without the risk of the camera getting wet, these images would not be possible. Water is not your camera’s only enemy though. Dings and scrapes, dust, and even wild animals pose a threat.
That said, there are ways to be smart about risk taking and mitigating potential problems. For example, when kayaking you could store the equipment in a dry bag, so it is only exposed when you stop to take a photograph. You could have a friend kayak with you and help stabilize your kayak, or warn you when a large wave is coming. (It is recommended to do outdoor activities with a buddy anyway for general safety). You can use various coverings, coatings, and cases as well to protect your gear.

You don’t even have to be in the water to expose your camera to harsh elements. The spray from
Wli falls in Ghana was strong enough to reach me 300 meters away. I kept a light jacket in front of my camera until the right moment.

2 – Know your tools

In order to take risks in a smart fashion, it helps to know the limitations of your tools. Does your camera have dust or weather sealing? Does the lens? Did you remember to put a clear (UV) filter on the front of the lens to protect against the basic threats? Is the body primarily plastic? Does it have a metal frame? A quick visit to the manufacturer’s website or a websearch for your equipment’s user manuals should get you the information you need.
There are many more things to consider, but the point is to learn as much as possible about your kit. Your DSLR and lens may be weather sealed and can handle light rain but the audio recorder may not be and may wind up being the weak link.
It’s wise to know how to use your camera well. Often in risky situations you will want to expose your equipment to that risk for the least amount of time possible. The better you know your camera, the less time you’ll spend fiddling with settings. Be sure to practice using your equipment in a low-stress environment, before exposing yourself to a risky situation. Digital Photography School is a great resource for articles on the nitty-gritty workings of your camera, so you don’t have to travel far to get started mastering your gear.

3 – Do your homework on your subjects too

Let’s say you have been given an assignment that involves getting into an occupied cage at the zoo. How do you prepare? It isn’t enough in this situation to know your gear alone. You need to learn about the animals you are interacting with, some basics on their behavioural cues, and what potential stressors may be present. Luckily in this situation you are likely to get help from the zoo’s staff; in fact, they are required to enter the enclosure with you. But be sure to meet with them prior, and take some time online or in a library to supplement your knowledge. Be sure to ask questions specific to your situation as well.

Photo courtesy of Clare Hancock.

In this case, what do you do if an animal approaches you and grabs, bites, or otherwise latches onto the camera? It turns out in the case of lemurs, just hold still and they’ll lose interest pretty quickly. The point is don’t panic and don’t be afraid to ask questions, even if they sound far-fetched.

What would you do in this situation? Photo courtesy of Clare Hancock.

In the same vein as asking questions to be prepared, don’t be afraid to ask questions during a shoot either. You are only expected to be an expert photographer. In this particular example, the zoo staff are there to help everything go smoothly. Don’t let pride prevent you from tapping into their expertise. Consider the photo above, I had no idea what to do when a wallaby and her baby decided I made a comfy resting place. I checked with the keepers to make sure there wasn’t any risk to myself or the wallabies. There wasn’t, so I continued to shoot from that position until she eventually hopped away.
Being informed is the best way to enter a potentially risky situation. The zoo session may seem specific, but consider what would go into photographing a tall ship setting sail, or snowboarders screaming down slopes, or even your own dog in your backyard. Snapping good images often involves getting in close, or shooting from a unique angle that could involve having a camera accidentally knocked out of your hands on a crowded ship deck, having snow sprayed onto your camera, or even having an excited dog slobber all over your equipment or tackle you. Do some homework, be aware of your surroundings, ask questions and you will have mitigated most of the riskiness.

4 – Taking risks in your career

Using risk as a tool in your career is not specific to photography, but it is especially important in this field. If you always use the same tried and true portrait poses, and standard three point lighting that you learned in your high school photo course, you are likely going to be stuck at a studio in the mall holding a stuffed giraffe in one hand and a remote trigger in the other, praying that baby Jesse stops crying. (If you work at one of these and enjoy your job, that is awesome and you are honestly a much more patient person than I). Most photographers I know have bigger dreams than this, whether it is running their own mall studio or becoming a successful commercial photographer. Unless you run into some magnificent stroke of luck and were born with real talent, this is going to a lot of time, more effort, and a few risks.
I am no Warren Buffett when it comes to business sense, but I can say the biggest jumps in my own career came from taking big risks. When former Ghanaian President John Atta Mills passed away in July of 2012, I was just coming out of graduate school and interning at the Daily Guide newspaper in Accra. President Mills was the first Ghanaian president to die in office and his state funeral was considered one of the most important stories in the region. I had just arrived in country, knew only what I had read about the culture and only had two weeks to convince my new, sceptical editor to let me be a part of the team covering the story. I worked very hard with my new coworkers, contributing to as many stories as possible, and hanging out with the reporters to learn about Ghanaian politics, history and culture.

Two days before the funeral, I convinced my editor to let me go on the assignment. Going in I was scared. I felt like I could never be prepared enough, and doubted every decision I made during the assignment. Regardless, I took the risk of screwing up an important assignment, and managed to rise to a challenge. The images ran front page and an entire centrefold was dedicated to my images of the event. Moments like these demand taking risks. If you have ambitions beyond photography as a hobby, you will need to get used to going in over your head. Risk will always force you to be a better photographer.

However, the risks you can take regarding your career can be mitigated to some extent as well. The key, as you already know, is being prepared. This is a much more abstract process compared to mitigating risks related to camera equipment. While some things are the same, – knowing your tools and subjects well enough to work efficiently – others go a little beyond the act of photography itself. They involve politics in your particular branch of the profession, and knowing just how far you can push yourself.

As I eluded to earlier, I am not the kind of guy you will see doing family portraits or weddings. I am horrible at convincing the average person to smile or look natural. I simply am no good at those kind of portraits. That said, after I won my first photo award I ran out and bought a Vivitar flash, cloth backdrop and three hot lamps. I was convinced I was going to quit my job waiting tables and pay for my impending college career with my photographic talent. I was wrong… very wrong. I managed to perform poorly on three portrait sessions before realizing that my foray may have been a mistake, and I was out a few hundred dollars in studio gear.
I knew nothing about the family portraiture business. I didn’t do any research aside from reading a couple of gear reviews and really burned myself in the process. Worst of all I didn’t know my equipment very well. I had a total of one lesson in studio lighting under my belt at the time and may have purchased a book, that to this day, I have read a total of three pages of. I took a dumb risk and hurt my confidence and disappointed people in the process.

An example of a failed attempt at portraiture in my early career.

5 – When things go wrong

There is one catch to risk taking. What if it doesn’t pan out. You may end up with broken equipment, angry customers, or bodily injury. What now?
Broken equipment is relatively easy to deal with: mourn the loss of your trusted tool, then buy a new one. If you are worried about not being able to afford replacing equipment, talk to your insurance company about whether your homeowners or renters insurance will cover your gear outside your home. Specific camera (and commercial) insurance policies are available as well. Be sure to find out what is covered and how they handle claims.
Smoothing customer relations or repairing a career are tougher issues. Patience and good customer service skills will go a long way, but every case has to be approached individually. Giving a discount for a mediocre portrait shoot might work in one case, but blowing an expensive commercial shoot is going to take a whole different approach. I have been lucky enough that I haven’t had to do this in my own career, but I encourage joining professional associations and talking to other professional photographers to learn what consequences there might be, and how to recover from them.
Bodily injury is the worst on this list. If you are risking your life or serious injury for a photograph, STOP! No photograph is worth getting hurt or dying for. There has been a recent rash of people dying while taking selfies or trying to capture memories from crazy angles over the edge of a skyscraper. It doesn’t matter if it could be the best photo ever taken, this kind of risk is never worth taking in the first place. Broken cameras can be replaced, careers rebuilt, and customer relations smoothed over, but the best photo of your career is worthless if you die or are maimed in the process. Just don’t do it.

One final disclaimer

The nature of risk taking is that the result could be game changing good, or painfully bad. You can fail and fail hard. The advice given here is simply what I have learned over the course of my own career, and it may not apply to you at all. There is no guarantee that taking any kind of risk will result in a positive outcome. Ultimately, you must decide if the risks you take – if any – are worth taking. The outcomes of taking those risks will be entirely yours, so use your best judgment. If you do decide to take a risk, be smart about it and do everything in your power to lessen that risk. Best of luck out there.

My Portrait Gear Essentials

By: Gina Milicia 

What’s the best equipment for taking amazing portraits?

I’m often asked what the best equipment is for taking great portraits. Many people assume that a great camera will take great portraits. That is simply not true. A quick scan through Flickr, Instagram or any photo sharing site will reveal thousands of beautiful portraits, some taken on mobile phone cameras, and yet others using very basic entry level equipment.

A great photographer can take great photos using any kind of camera. A great camera in unskilled hands will still deliver mediocre photos. Before you invest the big bucks in high end gear take the time to learn the craft first.

I started out my professional career with a borrowed camera and very cheap lens. I worked this way for a few years and then invested in a high end second hand camera and lens. If I were starting out again now I would do exactly the same thing. My advice on buying a camera is always buy within your means and upgrade as your skills start to improve.
Most girls love buying shoes and handbags. I admit I’m a self-confessed gear-a-holic!
It’s taken me 25 years to accumulate this gear. My gear is subjected to punishing workouts, with my average shoot being approximately 2000-3000 images. I need gear that is built to last and won’t curl up and cry for its mama when I push it too far.

My portrait gear essentials – what’s in my bag

Cameras

• Canon 1Ds Mark III – this is a pro-level camera, so it’s more expensive and a lot heavier but it’s designed to survive heavy usage. I would say I use this camera for 80% of my shooting.
• Canon 5D Mark II – I’ll favour this camera body if I know I have to shoot with a high ISO (in very low light or on a night shoot). At 400-1600 ISO this camera is amazing.

Lenses

I like to work with a focal length between 70mm and 200mm. With a long lens, facial features are slightly compressed, which is really flattering for portraits.
The workhorse
Canon EF 70-200mm f/2.8L IS lens – this lens is my workhorse and I use it for 70% of my shoots. It’s fast, sharp and consistently gives amazing results.
I like working with zoom lenses because they give me the luxury of zooming in to get tight head shots and mid-shots, or zooming out to get full length shots. All without moving my camera. As a result, I can stay out of my model’s personal space, which can be intimidating or confronting, and keep the momentum of the shoot flowing.
The traveller
Canon EF 24-105mm f/4L IS lens – this is the lens I use for events, lifestyle and travel shoots. It’s light, compact and my go to lens when travelling.
Makes my heart skip a beat
Canon EF 85mm f/1.2L lens – it’s expensive, heavy, and slow to focus but I quickly forget all of this when I see the gorgeous results. I love using this lens for head shots, beauty, portraits, and events.
This lens will give amazing results in very low light conditions and the shallow depth of field will eliminate any background clutter giving me the luxury to use it lens in any location.

Tripods

Most of my portraits are shot using tripods. I like to set up my shot, position my model and then focus on their expression. Keeping my camera fixed in one position allows me to do this and really suits my shooting style.
Having my camera on a tripod also allows me to focus 100% of my attention on my model and frees me up to gesture with my hands, or step away from the camera without breaking the shot.

I have four tripods:

• Manfrotto 190XPROB – small, light-weight tripod that I use when I travel
• Manfrotto 475B Pro – great sturdy tripod for location shoots
• Manfrotto 058B – heavy duty tripod for studio use
• Manfrotto 679B Monopod – for film, TV stills, and theatre

Remote flash triggers

PocketWizards
I have six PocketWizard remote flash triggers because I’ll often have three different sets running. I love the PocketWizards because they are reliable and rarely misfire.

Light meter

I believe the light meter is an essential tool in good portrait photography and would never leave home without one. When you use a light meter you know you have most accurate readings.
Minolta IV (not available any more) – I’ve had this light meter for over 23 years now and I’ve grown rather fond of it. As a basic meter it’s excellent, reading ambient light or flash, and it’s perfect for most lighting conditions.

Lighting

Speedlights
I use a speedlight off camera for about 20%-30% of my photo shoots. Like any piece of gear, they have their pros and cons, but they can light you out of some tight spots (quite literally).
I use Canon 580EXii speedlights as my preferred lighting when I am travelling or need to work quickly or in tight locations. I will also use a Photoflex medium size softbox that folds flat, and is perfect for lighting one person and couples.

Portrait of Vito shot on location at my Sicily Photography workshop

My complete travel location portrait photography kit:

• One Canon 5D MKII (much lighter than the Canon 1Ds Mark III 
• Two Canon 580EXii speedlights
• Four PocketWizard remote flash triggers
• Six 8GB memory cards. I prefer smaller cards because I don’t like to have an entire day’s worth of images on one card. I’ve had several cards fail over the years ,and also lost one once.
• Minolta IV light meter (this model is no longer available, try one in the Sekonic line)
• Canon EF 24-105mm f/4L IS lens
• Canon EF 85mm f/1.2L lens  or Canon EF 70-200mm f/2.8L IS lens

Studio lighting

Elinchrom Lights
60% of my shoots require studio lighting, so I need heavy duty monolights with fast recycle times, and a high quality of light. When I’m working on location, I still need a great quality of light and I give my Elinchrom Rangers a work out in those situations.

Behind the scenes for Piperlane.com

Large Softboxes
If I could only pick one light modifier to take to a deserted island, it would have to be a softbox. Small, medium or large this little puppy is my go to light source for 80% of my shoots.
Why? The quality of light is soft, flattering and malleable. Changing the angle and proximity of the softbox to the subject, easily changes the quality and direction of light.
A softbox, I feel, recreates the effect of soft daylight through a window.
I think what I like most about softboxes is that they are subtle. Highlights gently merge to shadows.
If it’s a studio shoot I love using my Chimira Medium softbox, with white reflective interior. The white interior creates a softer light and this particular softbox has an extra layer of diffusion on the inside, adding even more softness to the light.
Rotalux Deep Octabox
Rotalux deep octabox would be the result if a softbox married a beauty dish and made babies. This, as far as I’m concerned, is a match made in heaven for lighting single person portraits.

Laptop

MacBookPro 15”

Shooting tethered to a computer has made my life as a photographer so much easier, because I can use my computer as a teaching tool. ?I can show my model a series of great images, with slightly different poses. We can talk about how the poses are different and what I want them to do in the next series. They can see what I mean and it makes more sense, straight away.

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How to make money Online as a Photographer

How to Use Portrait Angles More Creatively: A Visual Guide

By: Meredith Clark 

When it comes to creating a successful portrait, there are a lot of moving parts! We talk often about finding the light, composition, and camera gear when it comes to portraits. While all three of those things are important in creating your final image, they aren’t the only variables at play.
Another important aspect in capturing portraits is angles. Understanding and making good use of angles in portrait photography, allows you to capture images of your subjects in the most flattering way, unique to each person you’re photographing.

Under the umbrella of “angles” are two different aspects – facial view, and camera angle. Facial view simply refers to how much of a person’s face is visible in the photograph. Whether or not you recognize the term facial view, you probably understand that there’s a visual difference between a photograph of someone looking directly into the camera, and a photograph of them in profile. These are examples of both ends of the facial view spectrum. In addition to facial view, you’ll also want to learn to utilize camera angle in portraiture. Camera angle refers to whether you’re holding the camera at eye level, or above or below the eye level of your subject.
The concepts themselves are pretty simple, right? However, the difficult part is learning how each of these variables interact with each other, and your subject. Let’s walk through some visual examples of different facial views and camera angles using the same gear, subject, location, and same time of day, while observing how different angles change the look and the feel of each image.

Camera Angles

Eye Level

One of the most common camera angles for portraits is to place the camera at the subject’s eye level. This camera angle results in a final image that is balanced, and proportionate between head and body. It also allows for the subject to look directly into the lens, which tends to create the feeling of connection in a portrait. This is a flattering camera angle for most people.

High Camera Angle – Above Eye Level

Shooting from a high camera angle (with the camera above the subject’s eye level) is another great option to try in your portrait photography. With this angle, the focus is on the face rather than the body and can be a very slimming angle for adults. I’m not at all concerned with making children seem slimmer than they really are, but find that I use this angle a lot when photographing children because I like the way that it emphasizes the childlike qualities of kiddos. I find that parents tend to really enjoy photographs of their children taken from a high camera angle, and I believe that’s because parents see their children from this angle quite often in their day-to-day life, so it feels very natural and candid.
As a bonus, shooting from a high angle makes it really easy to achieve good catch lights in their eyes, and can also help to camouflage a less than desirable background. On the other hand, this camera angle may not be to your advantage in some situations; if your subject is very thin, shooting from above can sometimes make your subject look like a bobble-head, which is very rarely flattering.

Low Camera Angle – Below Eye Level

Shooting from a low camera angle (with the camera placed below the subject’s eyes and tilted up) can make people seem tall and authoritative, but can also tend to make people (their body in particular) look larger than they really are, which is not very flattering for most people.
This is particularly important to keep in mind if you’re photographing someone who is taller than you. If you’re 5’2″, and the person you’re photographing is 6’4″, you may need to be creative to make sure that you’re not photographing the whole session from a low camera angle. Have your subject sit, crouch, or find something that you can climb on to create a more even plane, for at least some of the photos – it really will make a difference.
I’ve used this camera angle a handful of times with newly walking babies, and could envision using it with a wider angle lens (to capture more of the body) if I were photographing a politician, a football player, or someone who wished to appear particularly powerful. Overall though, this is usually not the most flattering angle for portraits.

Don’t be afraid to experiment. Try capturing the same image from two different camera angles. The image above demonstrates how the same subject and pose appears from eye level, as well as from a high camera angle. If you did a poll, I bet you’d find that some people prefer the eye level shot, and some prefer the high camera angle. This is largely a matter of taste and preferred aesthetic, so I frequently make a point to include both sorts of angles in my portrait sessions.

Facial Views

Photographing a subject full-face means that their face is pointing directly towards the camera lens – you can see both ears, and both sides of the face in equal amounts. Full-face portraits often convey a sense of confidence and assertiveness, especially when the person being photographed is looking directly into the camera with their eyes also.

Other facial views include 3/4 view, 2/3 view, and profile view. With 3/4 view, the subject has turned just enough so that one of their ears is no longer visible to the camera. With 2/3 view, the subject has continued to turn so that their nose is just about to break the plane of their back cheek. For a true profile portrait, the subject’s face is turned 90 degrees, and is perpendicular to the camera.
Shooting with the subject’s face turned to 2/3 view or 3/4 view tends to convey a more casual, and less assertive portrait. Images shot with a 3/4 facial view, and the subject looking just off camera, are often the most successful candid images, because the facial expressions are still easily visible to the viewer. Similarly, shooting in profile allows for portraits that feel unposed, while also being graceful and demure (particularly when shot in silhouette).

The best way to begin to learn, and really understand angles, is to grab a friend and go experiment. Take photos from every camera angle you can think of, including non-traditional angles like a bird’s eye or worm’s eye view. Then, take a photo with every facial view – full face, 3/4 view, 2/3 and profile. If you’re really feeling ambitious, try combining facial views and camera angles – does the feel of the portrait change if you shoot full-face from eye-level versus from a high camera angle?
Chime in below, do you find that you gravitate towards images with a particular facial view and/or camera angle? What tends to be your preference and why?

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