Photographer's Emergency Kit(s)

I am convinced that the best way to handle a disaster is to prepare for it. We can't foresee all potential situations but we certainly can predict a lot of them and alleviate their impact ahead of time. My primary criteria for items were that they would be small enough to fit into the little kit box (more on that later), that they provide a solution common to most photographers and that they serve more than one purpose. Your choices may be different from mine, but reading through this may give you some ideas you haven't yet considered.

Promaster Deluxe Lens Kit
Yes, we all need to carry lens cleaning supplies, but what we really want here is the nifty waterproof case this comes in. We are going to modify ours to better suit our needs. You should be able to find this lens kit at your local camera store, but if not try here. The only other thing I kept in the box was the little brush that is great for the lens as well as smoothing our makeup (though don't use it on the lens after it has been used for makeup, please.)

Fresnel Lens
This credit card sized piece of plastic with little grooves in it works well as a magnifier in a pinch plus you can tape it to the front of your speed light to focus the light for telephoto shots. Handy and helpful.

Para Cord
Parachute Cord is rated to 550 pounds so its great for lashing things down. I have used 6' of para cord to make the fob for my waterproof box. Inside the cord are 7 individual strands of smaller cord. That gives me a total of 42 feet of cord in a pinch. Learn how to make your own here.

Tin Foil
Just tear off a sheet of tin foil, fold it and keep it in the kit. It has a million uses as it is reflective, light blocking, conducts electricity, water proof and able to handle high temperatures. Pound for pound the most useful item in the kit.

Duct Tape
Close to tin foil in usefulness, duct tape is legendary for its repair abilities. Check out YouTube for some really outrageous uses, though I'm thinking about making one of those beer helmets when I finish this posting. You may want to get the black variety so it doesn't show up in your images.

Wet Wipes
Think of Wet Wipes as a bandana with cleaning and disinfecting properties. You can't make a sling out of it, but there sure are a number of other situations where it could come in very handy. The one listed in the link even kills the H1N1 virus.

Band Aids
I was shooting a wedding once when a wire caught on my arm and left a scratch that bled profusely. With all the concerns over blood-borne pathogens I knew I had to get the wound attended to fast. Fortunately I had a first aid kit in the car, but with the wet wipes and band aids I could handle that from my camera bag now without the trip to the parking lot.

OTC medications
Baby aspirin is a great idea for anyone suffering from chest pains and studies show that taking a baby aspirin at the first signs of heart trouble can make a huge difference. Even if you aren't in danger, someone you know may be. Tylenol, Advil, Actifed, Benadryl, Pepto Bismol and Kaopectate, all have there place in an emergency kit. You never know when sympotoms will hit and buying yourself a couple hours have a real impact on your image quality.

Space Blanket
Having something waterproof to cover your gear is always a good idea and the shiny reflective surface could also help you put light where you need it or block it where you don't.


Multi-Tool
One thing that will be nice to have is a multi-purpose tool that includes a pair of pliers. Don't think they will ever do any good? I once stopped to help a lady stranded by the side of the road armed with nothing but a multi-tool. Her car had overheated and when we opened the hood it was easy to see why; she had a hole in her radiator hose. Using the multi-tool, I was able to cut off a section of the hose and reattach the hose while she went to get some water. In less than five minutes she was back on the road. It's nice to be the hero every once in a while. Check out the fine "Clutch" from Gerber here.

Lens Filter Wrench
"A what?" you say, "I've never heard of such a thing; why do I need to be carrying one?" Keep in mind, this kit is for emergencies and as much as we appreciate the job filters do in protecting our expensive glass, we also want to be able to remove damaged glass and filters if needed. Just try shooting a wedding reception with a bent polarizing filter stuck to the front of your favorite lens. You'll thank me later. Besides, you can get a set of two for less than $5 from Amazon.

Flashlight
You never know when you are going to need one so you may as well keep a flashlight handy. Ideally it will run on the same batteries as either your camera or flash, though that is not essential. You are probably going to want one with LED lights as the batteries last much, much longer.

Rescue Mirror
This may seem like an odd choice, but the uses go far beyond signalling for help on a deserted island. You can loan it to a model or bride to check out their look and, may as well check out your own while you're at is. Also, it could come in real handy as a reflector for macro shots. You want one that is high quality with the reflective surface on the front side, and that is going to mean you will need to keep it in a scratch proof case. (Check out the note below about the use of CDs as emergency mirrors.)

Rescue Whistle
I hesitated putting this on the list as it is almost exclusively identified with rescue situations. Why would a photographer need one? I can think of two scenarios; this could be a great security device as you walk to your car late at night and to use as a round up device for wandering children (provided you tell them of the signal ahead of time.) The Jetscream Whistle produces a ear-splitting blast at 122 decibels, equivalent to standing next to the big speakers during a rock concert- just short ear bleed. That's not only a deterrant to a would be attacker, but is loud enough to be heard above almost anything else. I'm buying a couple for my grandchildren.

Other Options

Wedding Kit
As mentioned above, the kind of emergency kit you carry will depend a bit on what kind of photography you are doing. If you are a wedding photographer I highly recommend you check out Tom Philo's well thought out list. Elise Sanchez also has a very thorough list.

Special Note: The website Equipped to Survive tells us that people have been rescued through the use of the small holographic image on a credit card so we wouldn't want to ignore the possibility of using a CD for the same purpose. They go on to say that for inherent reasons they wouldn't recommend packing on for emergency purposes, it is something to keep in mind should the need arise. For photographers this may have special import as the slight flexibility of CDs would allow you focus the light where you want it. A good thing to know when you want to play McGyver.

Some things that didn't make the list

Bandana
Almost every survival list will include a bandana as an essential item; they simple have 1001 uses from wiping things off to serving as a sling (I've even used mine as a prop.) When I mentioned this to my nurse/wife she reminded me that they were great to use if you have to give CPR. If you don't know why just ask the paramedic who teaches your next class. You are CPR certified, aren't you? I do carry one in my bag but it's not a part of this emergency kit. I would suggest you carry at least one yourself.

Poncho
Another item on nearly every survival guide but in our case I decided that the space blanket would do many of the same things and a few more beside. Still, it you have a bit of extra room Stealth Gear makes a great one especially for photographers.

Toilet Paper
I don't carry this in my pack but I promise you I have plenty in my car. Uses too may to number in addition to the obvious but a bit too bulky to keep in the kit.

Some others you may want to consider:
Nail Clippers
Zip Ties
Magnifier
Sewing Kit
Sewing Kit
Paper and Pen

Magic Moments in Wedding Photography

Several years ago a friend of mine asked if I would shoot her best friend's wedding. The couple was very poor and would not be able to pay me anything. I said no. Not because I am all that mercenary, but because it was a long way from where I live and I was trying to get out of weddings. She asked again...and again...until I said yes. The couple was indeed poor, living in a mobile home in the middle of farm country next to the grassy field where they were going to get married. Both had been in difficult marriages before and they had a passel load of kids between them. All the men wore cowboy hats and everybody drank lots of beer...even before the ceremony started. They were as country and as unsophisticated as I have ever seen but there was a feeling like they had got it right this time and were truly happy together. The ceremony was quiet and uneventful under the trellis that had been built for the occasion. When it was over the two nearly ran to the back of the crowd where he scooped her up and hugged her for all she was worth. In the process his hat fell off and on his sunburned cheeks you could see big crocodile tears. She was officially his at last. It was one of the most touching scenes I have ever witnessed at a wedding and I felt humbled to have seen it. It is among my favorite shots though no one would call it a great shot on technical terms.
My point is this; great wedding photography is not just about making people look good, though I am all for doing that as much as we possibly can, no, we must never forget that the true purpose of wedding photos is to capture those magic moments that can never be staged. No one cares what kind of camera you have or whether or not you were shooting in RAW, as long as you capture those moments of magic and preserve them forever.
I tell people all the time that if they want to shoot weddings they need to have the technical aspects of photography down cold. Why? For this very reason; about the time you have to fiddle with a dial or make an adjustment you are going to miss just such a moment and you can never ever get it back. Practice. Read the manual again. Put your "full manual" pride in your back pocket because no one but you cares about such things. No one ever says, "Be sure to capture the magic moments" but then they shouldn't have to; that's the real reason they hired you and you have a moral obligation to come through for them.

A New Direction...For Me At Least

During the course of a week I read a lot of articles and see a lot of videos like most of you do; some good, some bad, some silly...some unforgettable. What is odd is the fact that at times you see something and it only registers as interesting, only to find days later you can't stop thinking about it. Below is a video that has hit me that way this week. John Chiara has a very interesting way of photographing things. His is a choice most of us are not tempted to follow...but don't take my word for it. See if for yourself:




While I find his process fascinating and it instills in me a nostalgia for my film days, it is one of his statements that has haunted me ever since I saw this video. He says that when he started he looked for areas where he could shoot a beautiful scene, but as his art progressed, he learned to create images that appear to be more random and less purposely designed. Part of this, I suspect, have to do with the limitations of his camera rig, but he also alludes to the fact that his childhood memories are filled with similar images that are not well designed but memorable nonetheless. Clearly, this fellow is thinking along great lines, and his list of awards on his website testify to the fact that a lot of other artists agree.
Here's where it gets personal for me. I have been working hard to build the skills to create exceptionally beautiful images and to a large extent I have been successful. But I want more than that; I want to make exceptionally meaningful images. That's a very different thing. It's almost like starting all over; none of the skill I currently possess will assist me in this quest. At least, I haven't figured out how they will help. Chiara seems to have stumbled in a direction I would like to go. I don't know exactly where this will take me, but I have dusted of my old medium format camera to see what might be laying in wait.

Is RAW Over-Hyped?

I have nothing against RAW. I use it all the time and have little interest in going back to JPEG. I even wrote a tutorial on the subject some time ago to help people who were getting started. So, clearly, I have no axe to grind where RAW is concerned. I just don't want people to work under the delusion that learning RAW will improve their photography. We see the same thing with lenses. People seem to think that if they just had this or that lens their photography would leap to new heights. I can see how they come to that conclusion. Jim Bryant is a great photographer who uses a host of lenses and has mastered RAW and a lot of other techniques, therefore if I want to shoot like Jim I need to do the same. Unfortunately, that simply isn't the case. Give Jim a point and shoot that only does JPEG and he will still kick you a$$. Why? Because he has 30+ years experience and he knows what he is doing, that's why.
"Yeah, yeah," you say, "Experience trumps tools and techniques, I get it," but it goes much deeper than that. What if I could show you a twelve year old boy who was well on his way to being a world class photographer. He shoots with a point and shoot and has no interest in RAW, nevertheless, he's already outshooting 90% of the people on the photography forums. Why? Because he has an insatiable curiosity about what he can do with his camera. He's up in trees, he's down on the floor, he's shooting in mirrors, he's shooting at night, because he want to try it all. He is also interested in music, dance and poetry and is curious about how those are related to photography. In the time it takes for the average newbie to master RAW, this young man will make giant leaps in his abilities. Yes, he's a prodigy, but there is still a lesson to be learned from his example and the lesson is this: great photography is about learning to see better, or as Proust says, learning to see with "new eyes."
If you want to learn RAW, go for it, it's a great set of tools, but you will still be the same photographer when you are done. If you want to be a better photographer there are much better ways to learn. Do like Elliott Erwitt and shoot from a dog's point of view. Or do like John Moran and carry a ladder wherever you go so you can shoot from that perspective. Or Professor Charles Benton who shoots from a camera mounted on a kite. You could even do like Ryan Gallagher and take pictures by tossing your camera into the air (for some rather impressive results.) Don't drink the Adobe Kool Aid and think that learning some new program will make you a better photographer. Just get out there and try something new!

The Price for Great Images

We have all had circumstances where we took chances to get just the shot we wanted. The other day I decided to try my hand at night photography, something I haven't done in many years. I decided that a nearby country road was the perfect setting as it has an overpass from which I could set up my camera and has very few lights as there isn't much business in the area. What I did not count on was how little room there was between the lane marker and the railing. The cars passing behind me at a high rate of speed were mere inches from my backside while I held the shutter open. Was it worth it? The shot is above and I'll let you make your own choice here, but for me, yes, it was worth it.

Having survived my night's adventure, I decided to take an ostensibly safe trip around the block. To my surprise there was a lily in bloom down the street in a place that was certainly not tended by anyone in particular. I was attracted to this little flower growing on its own in the midst of the wild and looked for a sufficient backdrop on which to pose my beautiful new friend. To the right and up a bit from the lily was a huge oak tree I thought may serve the purpose, but to place the tree properly in the background I needed to get down to ground level. What I didn't realize then and is painfully obvious now, is that the lily was growing among a large patch of poison ivy. As a matter of fact, if you look at the picture closely you will notice the ivy growing up the trunk of the oak tree. That would be the cause of the terrible rash and itching along my left arm and extending down my back. Was that image worth the effort? Again, I'll let you make your own decision, but right now I'm thinking not.

The Joshua Tree

Francisco Inchauste writes frequently about design issues on his blog designinformer.com. Recently he struck on a fabulous metaphor for a question many people have about design. You see, many people question whether or not design can be taught or even put into words sufficiently for people to learn its principles. Let Francisco tell you his story in his own words:

“Many years ago I received a tree identification book for Christmas. The first tree in the book was the Joshua tree because it took only two clues to identify it. Now the Joshua tree is a really weird-looking tree and I looked at that picture and said to myself, ”Oh, we don’t have that kind of tree in Northern California. That is a weird-looking tree. I would know if I saw that tree, and I’ve never seen one before.”

So I took my book and went outside. I had lived in that house for thirteen years, and I had never seen a Joshua tree. I took a walk around the block, and there must have been a sale at the nursery when everyone was landscaping their new homes — at least 80 percent of the homes had Joshua trees in the front yards. And I had never seen one before. Once I was conscious of the tree, once I could name it, I saw it everywhere. Which is exactly my point. Once you can name something, you’re conscious of it. You have power over it. You own it. You’re in control.”

What Francisco is telling us, if I am reading this right, is that design is a lot like the Joshua Tree; it requires a bit of study to learn the basics, but once you see it and recognize it for what it is, you begin to see it everywhere and even begin to put these tools to work in your photography. I couldn't agree more and I would encourage you to visit Francisco's site and consider his ideas for yourself.

Lucky Dogs

I have been spending the weekend in what must be one of the most photogenic communities in the country: Seaside Beach, Florida. Through careful planning and attention to detail the Davis family has been able to create a low density planned neighborhood that is a welcome change from the highrise monstrosities visible on so much of Florida's coastline. Due in part to the carefully written deed restrictions, the homes are interesting attractive and unique. Each home must have a front porch but each home must also be different from all the others in the area. Many are festooned with copulas, towers and widow's walks. All are in the style of the old Florida cracker homes with numerous significant upgrades.
I don't begrudge those who love the condo lifestyle, but this would certainly be my preference. I am, apparently not alone in this preference. The locals refer to themselves as "Lucky Dogs" with the thought that live in this kind of setting certainly shows signs of fortunes favor.
See my flickr page for this area here.

The Only Rule in Photography You Really Need to Know

If you talk to people about photography and especially about composition you are likely to hear a lot of rules. "Always keep the sun over your shoulder." "Always use leading lines." "Always keep the horizon level." "Don't get too close/far." and the grandaddy of them all "Always place important objects on the thirds." (Rule of Thirds)
There's just one problem with these rules; all of them have been successfully broken to produce great results. Sometimes they work and sometimes they don't. As a matter of fact, many of the same people who give you these rules will add the caveat; "But this isn't meant to be a hard-and-fast rule." Well in my opinion, if it's not hard and fast then it isn't really a rule at all. More like a helpful suggestion. Some, like the rule of thirds, have been so over used that they end up doing more damage than good. No, I think there is just one hard-and-fast rule in photography, one that must never be broken and here it is:

You are responsible for every element in your image.

That's it. Sounds too simple, right? It is very simple but the implications are quite profound. It means that you have to assume responsibility for EVERYTHING in the image; exposure, focus, depth of field, arrangement of elements, everything. Plus it means that you need to assemble these things in a way that drives home the point you were trying to make. Trying to make a beautiful image? Do you want to express an emotion? Are you trying to convey the sensation of movement? Then every element needs to point the viewer in the direction you intend. There are no excuses; it either works or it doesn't.
Edgar Allan Poe mastered the art of the short story because he understood that every word in a his stories had to point the reader to his intended target. Read "The Telltale Heart" again and see if you don't recognize Poe's careful attention to every word in every line to produce the effect he is after: and a powerful effect it is. That's what real composition is and that's why this is the only rule you really need to remember.

Getting Started In: Composition

Composition is probably the most confusing problem in photography. I see a lot of questions from newbies about composition, which is understandable, but what is surprising is the advice given, which ranges from misguided to downright counterproductive. For that reason I have been thinking about this a great deal lately. For one thing, I consider mastering composition to be a lifelong pursuit so I understand the difficulty people have with it, but I wonder if there isn't a way to help people get started so they are least headed in the right direction. With that in mind, here are some preliminary thoughts.

I think there are three things you need to improve your photographic composition; a great source of information, feedback and practice. Clearly, the Internet is a fantastic source of information with thousands of resources and blogs to help you on your way.The difficult part is narrowing it down to a few that are truly helpful. If you don't already have some of your own, check out those listed at the bottom.

Feedback might also be called "constructive criticism." It means posting your image where others can see it and letting them tell you what they like and don't like about it. Yes, you will have to develop some extra skin because you will hear some things you don't like. You will also have to learn to discern between the voices that matter and those that do not. However, if you can do both of those things and survive your work will improve exponentially.

Finally, there is no substitute for practice, and lots of it. My roommate in college practiced piano four hours a day and guess what? He got very, very good at playing the piano. You may not have four hours a day to dedicate to photography, but there will certainly be a direct relationship between the amount of time you invest and the skill you develop.

Getting Started In: Flash Photography

For a lot of budding photographers, figuring out how to get started in flash photography can be a real challenge. If you have a space in your home you can set aside for a studio you may want to start with a monolight system. But for most people, the best starting point will mean getting a speedlight. Buying and practicing with a speedlite is a great idea as there is a considerable bit to learn. Soon thereafter you are going to want to add some things to improve the flexibility of your system: a softbox of some sort to diffuse the light and a remote triggering system. You are also going to want a second and third speedlite with appropriate stands in the not so distant future.
Now for using this system: The best way to use a single on-camera speedlite is as a fill flash. Using it as a main light will leave harsh shadows. A diffuser will help soften the light and shadows for a more natural look, and a remote will allow you to place the light exactly where you want it. Adding more speedlites will give your portraits a far more professional look once you master their use. There is something to be said for doing things this way; for mastering one new tool before introducing a new one. It may take a while, but in the end you will be the better for it.

For more information on buying and using a speedlite, please consider the following sites:

Strobist
Digital Pro Talk
Speedliting

How long will your camera last?

A good way to determine the value of your camera might be to deteremine the number of times you can press the shutter release and expect something to happen. Fixing a damaged shutter requires major surgery to your camera and can be quite expensive. United Camera charges $257 to repair the shutter on a Canon EOS 1D Mark III camera, not an insignificant amount and a possible warning that other things may be on the verge of breaking down. On a camera that costs several thousand dollars, as the Canon does, this may be well worth the investment. But what if you own a cheaper camera?

Pentax brags that their K10D is extremely durable, especially in the shutter department. However, on a camera that sells on Amazon for $733 you would pay $126 for shutter repair. So the question is; how long are you likely to be able to use your camera before requiring shutter repairs? The website olegkikin.com attempts to answer this question with many of today's most popular cameras. As one would expect the professional model Canon leads the pack with a shutter life expectancy exceeding 1.4 million shutter snaps. This is what we might expect from a camera that could take several thousand images a week. By comparison, the low end Canon EOS 30D has a life expectancy of about 50,000 snaps. So when Pentax brags that their K10D will survive 150,000 snaps and this website bears that out, it's worth paying attention.
I do not own any Pentax products, nor do I think shutter actuations is the only factor to consider when purchasing a camera, but I do think shutter life is an indication of the camera's overall design and durability. As for me, I'm about halfway to a new shutter and I want a new camera before that happens.

Note: If you don't see your camera listed on the main page try looking at the "site map." Hundreds more are listed there.
Image credit: The above illustration was made by Billy Wilson. Clicking directly on the image will take you to his flickr page.

Should you be using Camera RAW?

In a previous post I mentioned the fact that there has been an increased interest in Adobe Camera RAW. However, I have also noticed that a lot of people who venture into RAW territory are disappointed with the results. I find this unfortunate as RAW processing can be a fabulous tool in the right hands. I suspect there are several reasons for this problem and I propose we try to set a kind of bar for when you are ready for RAW. Oh, start any time you like, no one is going to stop you, but ask yourself the following questions to see how likely you are to succeed in your quest.

Do I have the requisite skills?
You are most likely to succeed in learning RAW if you are thoroughly familiar with your camera and the software to make adjustments to your images. It doesn't really matter which program you use as long as you are quite familiar with making adjustments like cropping, levels, curves, etc. You will find that the knowledge you have in these areas will help you when you start learning RAW so the more you know going in the easier it will be.

Do I have the time?
Even if you do your homework and master the skills mentioned above, the learning curve for mastering RAW is pretty steep. I would suggest you set aside time to gain for practice and experimentation. No, you don't need to quit your day job, just be aware that this is going to take some time, weeks or months, and make sure you are willing to make that kind of investment.

Do I have the resources to learn?
I started by reading several books on Camera RAW, but made the biggest improvement in my skills after viewing the video series available from Luminous Landscape. There are also free tutorials available on YouTube and other places (including my own). My suggestion is that you assemble the necessary resources as it is likely going to require more than a single book or video to get any good at RAW.

Do I have the necessary software?
Adobe Camera RAW is shipped with all the new versions of Photoshop, Lightroom and Photoshop Elements. Camera manufacturers also often ship the requisite software for working with RAW images with their cameras. Plus, there are also free open source version available on the web. UFRAW is fairly robust and works well with the open source imaging software GIMP.

Do you understand what you will get?
Contrary to what many might say on the forums, RAW is not the Holy Grail of great photography. It is merely a new set of tools for working with images. As a matter of fact, everything you can do in RAW can be done it jpg. The tools may be a bit better and faster in RAW, but believe me when I tell you, you could have a long and successful career in photography and never learn RAW. The real Holy Grail in photography is learning to "see" better, but that is a subject for another posting.

Increased interest in Adobe Camera RAW

I have been noticing a lot more talk about camera RAW in the forums of late. More and more people are asking about what it is and how they can use it. Steer your browser over to Google Insights interest in "Adobe Camera RAW" is roughly three times what it was just a few years ago. From the graph we can see the steady growth of interest in the last few years, culminating with the introduction of Adobe Camera RAW 6.2 in the newest version of Lightroom.

What amazes me most is the fact that so many people, brand new to photography and barely able to work the buttons and dials properly, are asking questions about RAW processing. I don't fault anyone for wanting to make better images, but I have heard enough people complain about how their jpg images look better than their RAW images that I wonder at the wisdom of attempting such a technique laden process at such an early stage in the photographic journey.

I have done a good deal of mountain biking and I often hear people talk about courses that are very "technical." Like the neophyte camera bugs I ventured boldly into these 'technical' areas ignoring the advice of those more experienced. However, I quickly learned that in mountain biking "technical" is a euphemism for "insane" and venturing onto the technical course can have immediate and painful, even life-threatening, consequences.

Not so with Camera RAW. People venture into these technical waters with impunity. And why not? All of the adjustments are parametric so no matter how badly you mess things up you can always go back to the starting point and try again. There are no painful consequences, unless you consider wasting time fidgeting with little dials and buttons a painful experience.

Make no mistake, I love Camera RAW and use it all the time. I have even written a tutorial on the subject for those who want to give it a try. But I am also well aware of the fact that great photography is a matter of learning to 'see' better and, as of yet, there is no software to help with that.