HI All

A few weeks ago I posted a list of my gear (that will be published in my next book in Oct.)

The chapter was posted as ONE long, eye-crossing paragraph. I could not figure out why, until now.

I posted it though Safari on my Mac. Here it is posted through Firefox.

Sorry for all those crossed eyes!!

Take care,

Rick 

Photo Gear that Rocks

G1
Digital SLRs vs. Compact Cameras   
    Serious photographers use digital SLR (single-lens-reflex) cameras because they offer several advantages over digital compact cameras. First and foremost, they accept more than 50 accessory lenses for creative framing and depth-of-field control of subjects near and far. Other important benefits over compact cameras include better image quality, faster and more accurate auto focusing, more custom functions, improved durability, lower digital noise, in-camera noise reduction, and faster image writing speed of large files to a memory card.
    One of the main features to consider when buying a digital SLR is the size of its image sensor. There are full-frame image sensor cameras, such as my Canon EOS-1 Ds Mark III (left), and less than full-frame image sensor cameras, such as my Canon EOS-1 D Mark III (right). The difference? With a less than full-frame image sensor camera, lenses have a magnification factor, so they function as slightly longer lenses. For example, on a camera with an image magnification factor of 1.3X, a 100mm lens functions like a 130mm lens. That’s great for wildlife and sports photographers, but not great for indoor photographers and landscape photographers who shoot with wide-angle lenses and need a wide angle of view. With a full-frame sensor camera, a 100mm lens functions as a 100mm lens.
    Many of the pros I know, however, carry compact cameras as backup cameras and fun cameras. I’m one of ‘em. Pictured here is my Canon Powershot SD800 IS (image stabilization). It’s a great fun camera that I keep with me at all times.

G2
SLR Lenses
    As I mentioned on the preceding page, SLRs accept more than 50 accessory lenses. When choosing a lens, it’s best to stick with the camera manufacturer’s lenses for optimum image quality, auto focus speed and color consistency throughout the lens line.
I actually don’t use anywhere near 50 lenses. My six Canon lenses are pictured here (clockwise starting at 9 o’clock): 17-40mm, 70-200mm, 100-400mm, 24-105mm, 15mm fisheye and14mm ultra-wide. My Canon 1.4x tele-converter is pictured in the center of the image. Throughout this book are examples of when and why I use these lenses.
I also use macro lenses for my close-up photography. I talk about these specialty lenses later in this chapter.
    In choosing your lens system, keep in mind that portability and access to lenses is important. On my workshops, folks who show up with too many lenses get too few shots – because they are usually digging through their camera bags trying to find just the right lens while everyone else is shooting.

G3
Accessory Flash Units
    When it comes to serious flash photography, you really need to shoot with an accessory flash unit (as opposed to a camera’s built-in flash).
     Not all accessory flash units are created equal. In choosing a flash, you want one with a swivel head (as shown in the top picture) so you can bounce the light off a wall or ceiling for softer and more creative lighting
    Most accessory flash units feature built-in diffusers and mini-bounce cards to soften the light for on-camera flash shots. The diffusers and mini-bounce cards slide in and out of the flash head for easy use.
You also want a flash unit that offers variable flash output control, which lets you increase or decrease the automatic exposure (a decrease of –1 is illustrated in the bottom picture).
Accessory flash units are also way more powerful than a camera’s built-in flash, which means that they will illuminate subjects at greater distances than a camera’s built-in flash.
       

G3a
Remote Flash Operation with Wireless Transmitters
    A wireless transmitter is an essential accessory for any serious photographer. Mounted in a camera’s hot-shoe, it can fire a flash (or multiple flashes) when the camera’s shutter is released.
    Several creative options are available when you use a wireless transmitter with a flash or multiple flashes. From the wireless transmitter, you can create ratio lighting, meaning that you can increase or decrease the   power output of the flashes.
On a flash or flashes, you can use the +/– Exposure Compensation feature to fine-tune flash exposures. And if you set several flashes to different channels, you can fire them independently by selecting different channels on the wireless transmitter.
    Here you see a flash mounted on the stand that comes with my Canon 580 EX flash. On the bottom of the stand is a tripod socket for easy mounting on a tripod. You can also use the stand to support the flash on a table or other flat surface.
    Of course, you can also hand-hold a flash and fire it from a wireless transmitter for off-camera creative flash photography.

G3b
Special Macro Gear   
    Most of the photographs in the Close-up Photography chapter of this book were taken with my Canon 50mm and 100mm macro lenses and my Canon ring light, the Macro Ring Lite MR-14EX. As I mentioned in that chapter, the main difference between the two lenses is that with the 100mm lens (mounted on the camera in this picture), you don’t have to be as close to the subject for a great close-up as you would with a 50mm macro lens. That is beneficial when photographing skittish subjects such as butterflies.
    The ring light consists of a power unit that fits in the camera’s hot-shoe and a light that fits around the lens.
    From the power unit you control +/– flash exposure compensation. It’s there that you also create ratio lighting, adjusting the light output individually from each of the two flash tubes. You can also activate the focusing lights on the ring light from the power unit.
    Different kinds of ring lights are available from camera manufacturers, as well as from independent manufacturers. In choosing a ring light, make sure that it has all the features you need for your creative close-up photography.

G4
It’s In the Bag
    Having the right bag for your gear is actually more important than most photographers realize. Basically, you want a bag that will protect your gear, offers easy accesses to your cameras and accessories, and is easy to carry or tote.
    I use three different types of bags. From the top left and going clockwise, I use a backpack when I am trekking around outdoors so if I trip and fall my gear is protected, I use a pull-bag when I am shooting in a city with a workshop group for which I need a lot of gear, and I use a shoulder bag for easy access to my gear when shooting by myself in a city.
    Both my backpack and shoulder bags have pullout water repellent covers that have saved my gear on more than one occasion. All the bags have adjustable compartments for customizing them for individual gear.
    All my bags are made by Lowepro (www.lowepro.com)
    When shooting in the snow and from small boats, I use a special backpack from Lowepro, called the DryZone, that actually floats if you accidentally drop it in the water. It’s pictured, along with me surrounded by several ice cicles in Croton-on-Hudson, NY, two pages from now.

G5
Third Carry On
    Getting camera gear on an airplane is getting harder and harder all the time. As I write this, most airlines allow one carry-on bag and one personal item, such as a laptop computer. I get around that by wearing my photo jacket (with zip off sleeves) when I travel, stuffing accessories like filters, extra batteries, flash diffusers, etc. in the pockets.
    Naturally, a photo jacket or vest is a great in-the-field carryall, giving you easy access to accessories.
    When it comes to buying a photo jacket or vest, check out several, and try them on before you buy one. Comfort is important, too. My suggestion is to get a lightweight jacket or vest with lots of inside and outside pockets. Mine is from ExOfficio (www.exofficio.com).

G6
Snow and Rain Gear
    When it’s snowing or raining, I protect my camera and myself from the elements.
    To protect my camera, I use a Storm Jacket (www.stormjacket.com). Storm Jackets come in difference sizes to accommodate wide-angle and telephoto lenses and keep my camera dry. To keep the front element of my lens or a filter free from rain and snow, I use a lens hood.
    An option to a store-bought camera protector is a plastic garbage bag. Simply wrap it around your camera and cut an opening for the lens.
    When shooting from small boats, I use a special camera backpack called the DryZone from Lowepro (www.lowepro.com). This backpack is partially made of scuba diving dry suit material and seals tight – so that if the backpack is dropped in the water it floats.

G7
Backgrounds
    When I teach a photography workshop, I stress the importance of the background, saying that it can make or break a photograph. In portraiture, the background is especially important, because we want the viewer’s attention placed on the subject.
    For portrait sessions, I use collapsible backgrounds from Westcott (www.fjwestcott.com). These backgrounds come    in different sizes and colors and fold to about 1/3 their size.
    Some backgrounds have patterns. You can control the sharpness of the pattern by selecting a wide aperture (to soften it) or a smaller aperture (to keep it in focus). Keep in mind that the background’s distance to the subject also affects its sharpness – the closer it is to the subject, the sharper it will be.
    Also keep in mind that light from a light source or sources and natural light affects the background’s brightness. Sometimes I use what’s called a separation light on the background, a light that illuminates only the background to provide some separation between the background and the subject. Other times, I just let the natural light, or light from my front strobes/flashes/hot lights illuminate it.
    Both of these portraits are natural-light only portraits.


G8
Reflectors
    Reflectors bounce (reflect) light onto a subject. In this photograph, our guide on Papau New Guinea is reflecting skylight onto the face of a Huli Wigman. The reflector is not only lighting the man’s face, but it’s adding a nice “catch light” to the subject’s eyes.
    Reflectors are sold separately and in kits. Gold surface reflectors bounce a warm light, and silver surface reflectors bounce a cool light. Kits usually contain gold and silver reflectors that zip over diffusers (which soften the light). Black zip-on covers (which reduce light) and white zip-on covers (for bouncing a very soft light) are also found in kits.
    Westcott (www.fjwestcott.com) offers a variety of reflectors sold separately and in kits and in several different sizes – including my own: Rick Sammon’s On-Location Light Controller and Tote. Our guide is using the reflector from the kit and is wearing the handy tote on his shoulder. You’ll find some before-and-after examples of this kit in use on the Tote page of my Web site (www.ricksammon.com).
   
G9
Diffusers
    Diffusers soften harsh sunlight, which is advantageous when it comes to portraits, because soft lighting is more pleasing than harsh, unflattering lighting.
    My friend Jack took this picture of me holding a diffuser during an impromptu photo session in Mongolia.
    Diffusers are also sold separately and in kits, as I described on the previous page.
    Westcott (www.fjwestcott.com) offers a variety of diffusers sold separately and in kits and in several different sizes.

G10
Hot Light Kits
    Hot lights are called hot lights because they get hot. They provide a constant light source so that you can see in real time the effect (shadows and highlights) of using one or more lights and changing their positions.
    Hot light kits can cost thousands of dollars, but I use a 3-light PhotoBasic kit (www.photobasics.net) from Westcott that sells for about $500. The kit, PB500, comes with two main lights, two umbrellas to soften the light, a background light, three stands, a background, a floor mat for easy light placement, and a carrying case. All three lights were used for this portrait of my friend Kristin.
    Product photo: courtesy of Westcott.
   
G11
Strobe Light Kit
    Strobe lights work like an accessory flash, firing in the blink of an eye. They have photocells that allow them to be fired from a main strobe that is tethered (attached by a wire) to a camera.
Professional strobe light kits can also be pricy, costing several thousand dollars.  Rather than spending big bucks, I use a 3-light PhotoBasic kit from Westcott (www.photobasics.net). The kit, the Strobelite Plus 3 Light Kit # 231, cost around $700 and comes with three lights, two soft boxes (to soften the light), two adaptor rings (to swivel the soft boxes), three stands, a carrying case and a Westcott instructional DVD.
     All three lights were used for this portrait of my friend Kristin.
    Product photo: courtesy of Westcott.

G12
Studio Accessory Flash Unit Set Up
    For my more serious studio lighting portraits, I use my accessory flash units (up to four) mounted on stands fitted with mounts for a flash. I either bounced the light from the flashes off gold reflectors (for warm light), off silver reflectors (for cool light), or I position the flashes behind diffusers for a very soft light. The reflectors/diffusers are held in place by stands with arms. I fire the flash units with my wireless transmitter, which fits in the hot-shoe of my camera.
    The flash units alone cost around $400 each, and each reflector/diffuser set can cost a few hundred bucks, so this setup can get expensive.
    I used a four-light setup for this portrait of my friend David.
    Check out the following Web sites for this cool gear.
    Canon flash units and wireless transmitters: www.canonusa.com.
    Flash stands and flash mounts: www.bogenimaging.com.
    Reflectors, diffusers, stands and arms: www.fjwestcott.com
   
G13
My On-Location Light Controller and Tote
     As you saw in the Reflectors lesson in the People Photography chapter, I have my own reflector/diffuser kit, called Rick Sammon’s On-Location Light Controller and Tote. The kit also features a flash diffuser, which softens the light from an accessory flash for a more pleasing and natural-looking photograph. The handy tote carries it all, plus a flash, memory cards, extra batteries – and even a copy of this book!
    I developed this kit because I wanted an affordable product with which photographers could control the light. That’s easy to do with a little know-how, and often makes the difference between a snapshot and a great shot.

G14
Tripods
    Wowie zowie! Here you see a full-color picture of a two tripods and a picture of a tripod head. 
    Seriously, I know these shots, like most of the other product shots in this section are not very exciting, but I do have some important tips about tripods that can help you when you are using one.
    First, you’ll notice that on one of my tripods I have attached a camera strap. I’ve done that so that when I am walking around I can sling it over my shoulder so I don’t have it hold it, which would tie up one of my shooting hands – and perhaps cause me to miss a shot.
    I took the close-up shot to show you that I have a ball head attached to the tripod and a quick-release bracket attached to the ball head. The ball head swivels in all directions, which makes composition fast and easy. The quick-release bracket features a shoe that screws into the tripod socket of a camera. Pulling the lever on the bracket allows you to mount and dismount you camera in a couple of seconds.
    These are lightweight tripods. When you are shooting with long telephoto lenses, which exaggerate camera shake, you’d want a sturdier tripod and ball head.
   
G15
Sensor Cleaning Kit
    One of the latest innovations in digital SLRs is an in-camera sensor cleaning system, which basically shakes dust and other particles off the filter that’s over the image sensor. For hard to remove particles, you’ll need to manually clean the filter.
    The first step is to carefully follow the instructions in your camera manual for cleaning the sensor. This involves locking up the mirror for the entire process – which means you can’t lose power! Some cameras let you lock up the mirror on batter power, others only let you lock up the mirror when the camera is attached to an AC outlet. The point is that you don’t want the mirror flipping down when you are holding a cleaning device inside your camera.
    Once the mirror is locked up, the first step is to use a blower (available at camera stores) to try to remove the particles.
    If that does not work, other devices are available.
    Picture on the left is the Arctic Butterfly from Visible Dust (www.visibledust.com). The unit is battery powered – but don’t turn on the power when it’s inside your camera! You only turn it on to charge the brush to attached particles.
    Another option is to use sensor swabs and a special cleaning liquid to wipe away particles. Sensor swabs are available in different sizes to match the size of the image sensor. These products are available from Photographic Solutions, Inc. (www.photographicsolutionsinc.com) and from Visible Dust (www.visibledust.com).
    Of course, having your sensor professionally cleaned is an option – but that involves sending your camera to a service center, which will charge you for the cleaning.

G16
Test All Your Gear Bring Back Up Gear
    You never want to look at your computer monitor and see this. This is what corrupted files look like when you open them. Ahhhhhhhhh!
    Actually, don’t panic if you see something like this. You see, in this case, the files were not corrupted. Rather, a new card reader that I had just purchased was defective – so that the files looked corrupted. 
My point here is to test all your equipment as soon as you get it. Having backups does not hurt either.
    If you do “lose” files, again, don’t panic. There are software recovery programs that are available to help you “find” them. See the Recovering Lost Files lesson in the Digital SLR Must Know Info chapter for more info.
   
 

Thanks for fixing that!

Dave