Photography Gear I Would Pack on a Trip Around-the-World in 2017

Seven years ago I wrote a blog post about the gear I was taking for a 3-month trip around the world with my daughter, creating a documentary on six continents about people who were creating positive change. The post has gotten more hits (by far) than any other blog I’ve written.

At the time, I had just purchased the Canon 5D Mark II and the Canon 7D. Along with lots of lenses, audio gear, accessories, hard drives and 2 laptops, my daughter and I filled up two large (heavy) backpacks. It worked out very well. We used everything and captured some beautiful footage as well as quality sound.

My partner and I have recently embraced mirror less cameras

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Gear I would bring on a 3 month trip around the world in 2017. (not pictured laptop, various cords and backpack.) Shot with an iPhone

and purchased the Sony A7R Mark II and A6500 camera bodies and 5 lenses: Sony FE 70-200 f/4 G OSS, Sony Vario-Tessar T* FE 24-70mm f/4 ZA OSS, Sony Vario-Tessar T* FE 16-35mm f/4 ZA OSS, Sony Vario-Tessar T* E 16-70mm f/4 ZA OSS and Sony E 10-18mm f/4 OSS. All that plus 8 batteries and 2 dual chargers took up far less space than my Canon DSLR cameras and lenses, not to mention the Sony gear was half the weight.

We put the Sony gear through its paces, shooting video and still images on an extensive job for NJ State Travel and Tourism. The 4k video is beautiful and the still images are extraordinary, especially those shot with the A7Rii. I had heard lots of complains about the menus but after taking numerous tutorials, I created lots of pre-set buttons and it has made operating the camera much easier and quicker.

My biggest complaint is when switching to a mirror less camera system it is far too easy to get dust on the sensor, especially when changing lenses frequently like we did on this job. I have heard good things about the VisibleDust Arctic Butterfly 724 (Super Bright) for cleaning your sensor. I bought one but haven’t used it yet. After the NJ job had been completed we had a thorough cleaning of both cameras at Photo Tech Repair Service in New York City. My other complaint is that Sony’s customer service is dismal at best. It took too many hours online and on the phone simply to apply for ProSupport. You can do better than this Sony. I love your products but don’t make me hate the company.

Since my last trip I’ve upgraded my audio kit a bit. I replaced my transmitter/wireless kit with a Sennheiser ew 122-p G3 Wireless system with microphone and I upgraded my Zoom to the Zoom 6N. Along with those items, now I would pack 2 lav microphones (1 Tram, 1 Sennheiser) a shotgun microphone, deadcat, earphones and a very small boom stand.

I’ve also upgraded my Go Pro and now have a Go Pro Hero4 Black (which shoots 4K) with a couple of different mounts. In addition I purchased two Ikan stabilizers: MS-PRO Beholder 3-Axis Gimbal Stabilizer with Encoders which works well with the A6500 camera but not so well with the A7R ii and the 3-Axis GoPro Gimbal Stabilizer which is great for the GoPro Hero4 Black but it’s been discontinued.

I also bought a small portable slider – Edelkrone SliderPLUS small – also discontinued. I’m not sure if I would take this on a long backpacking trip because even though it is very small for a slider – it still takes up quite a bit of space.

A small Manfrotto tripod and video head. Tripods are a necessity for shooting video but I always have a conundrum because small tripods aren’t necessarily the most sturdy. There’s always a trade off.

I would still bring a laptop to download and backup up my assets. I’d love to find a solution for downloading and backing up on site without having to bring a laptop. There are too many travel restrictions these days. I’d love to hear about other solutions that work well for intensive traveling.

There have been huge changes in portable hard drives. I replaced my (8) Lacie Rugged 250 GB Drives (total – 2000 GB) with (4) 4T My Passport Drives (16 T).

I no longer have a Blackberry – I got enlightened and bought an iphone years ago.

Technology changes our lives and our professions quickly and continually. It mandates that I must upgrade my gear and software much more often. As a professional photographer I need to update my tools about every two years. I do wish that company’s would invest and upgrade in their customer service. Good customer service stands out these days. It is also affecting how I make a decision as to which products I want to buy.

Am I taking a trip around the world?  You never know – I just became a million miler with United.

 

 

 

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Video Editing – Some Tips Not to Forget

I have a love/hate relationship with video editing, depending on which point I’m at. HotShoeExtensionExtenderMy initial ingestion of content and first edit is always tedious, but once I’ve edited the time line sound bites, I feel as though I’m more than half way there. But sometimes I lose sight of some critical thoughts in the process. Here’s a few:

  • Remember your commitment / story. Your story gets told and comes alive in the editing. If you don’t have a clear and concise message or story that you want to tell, then go no further, until you do. I have found when editing the latest short film in the Like A Woman series, that there is more than one message to relay. This video is about Simona de Silvestro, one of the few female professional race car drivers who races for the Andretti Autosport Team in Formula E (electric). It has two themes – one, about a woman in a man’s profession and another about electric racing. It’s tough to get across one theme in a film that is less than 3 minutes long, let alone two themes. I knew that I needed to be concise and to deliver the messages organically without forcing the issues. As much as Simona is one of the few females in this profession, she still wants to be known as the best driver she can be .
  • Let a piece breathe. I always make the mistake of trying to squeeze too much dialog into a short piece. It took me a dozen cuts, each time, taking out soundbites and stretching them over added b-roll to get the balance just right. Breathing gives the audience a rest and allows them to digest the information better.
  • Don’t try to be perfect. In an effort to leave no stone unturned in regards to my b-roll, I initially went through everything and then put all the selects on a timeline (or in a event). It was the first time we shot 4K GoPro footage and I put that in a separate event on a timeline. It was a big mistake. It took me a long time to make the timeline and an even longer time to look for a clip within the timeline. Next time, I will edit my clips from my bin and mark “favorites” as I go along, which is what I usually do, and is much faster.. Not sure why I departed from that approach, but I learned my lesson.
  • Audio is everything. The interview with Simona was challenging. We were literally in a tent set up on the side of an active roadway. Even with a shotgun mics and a lavalier with an undercover we still picked up some background noise of the traffic. I did everything I could think of to blend the sound including S-Curve transitions and adding another noise track to fill in the dead air spots. I’m not totally happy with it, but I’d like to up my skills in audio mixing. My only consolation is that the story is about racing, so the audio is somewhat acceptable.
  • 4K – What a memory suck! I love the results from the GoPro Hero 4 Black but the clips are difficult to view as it can be sluggish. But, because my final output is HD 1920X1080, I was able to crop the 4K and/or blow it up and it looked great.

Check out the other short videos and portraits on the Like A Woman channel. And please like our FB page.

10 Mistakes Photographers Make When Shooting Motion

1.  They forget about the story – it’s not your camera that tells the story – it’s the person using the camera. Pretty visuals, slapped into a motion timeline with music, doesn’t necessarily tell a story.  Video is a story telling medium – don’t forget that.

2.  They think they already know how to shoot – if you think because you are a professional photographer and all you need to do is get a camera with a “video mode” on it, you are mistaken. Shooting in motion is far different than shooting still images. An experienced motion shooter can spot a video shot by a still photographer with little know how, right away.

3.  Thinking audio isn’t important – audio is more important than the visual when producing video.  Hire a sound person to do it right, but don’t discount it.

4.  Thinking the DSLRcamera is all you need for video productions – this is a biggie.  How are you going to go after professional video jobs if this is the only tool in your kit?  Sure you can rent a RED – but make sure you are as proficient with this tool as your competition is before hanging out your “motion” shingle.

5.  Positioning themselves just as DP’s or Directors and thinking you’ll maintain ownership of your work. If you assume the role of a camera operator, DP or even a director – you will be in a work for hire position in most markets.  Position yourself as a producer – shoot if you want to – and direct – but realize that you’ll be just one rung on the “content ladder”.

6.  They don’t learn interview skills – this is what separates the pros from the still shooters who have DSLR cameras and think that’s all they need.  I’d say about  70% of my work includes on camera interviews.  Even though I ask the questions- I’m not on camera, my subject is.   I not only need to know how to ask the right questions and get great audio, but I need to produce a usable interview clip for an editor. That means knowing how to get great soundbites. This is one area I excel in – it’s all about rapport with your subject.

7.  They try to compete in “old business model” markets – Everyone wants to shoot broadcast spots and feature films (or short films) so they think that after shooting motion for only a few months – or even a year – they will be able to compete in the high end business of video production.  First, this market, like the still photography market,  has changed drastically, mostly marginalized by still photographers who are just starting to shoot motion,  shooting jobs for next to nothing because they have no understanding of this “business”.

8.  Learning the “how to’s” in terms of gear – but nothing about the business – this is also a biggie.  There are so many “how to shoot motion” workshops and roadshows out there but no one seems to be teaching the business end of things.  Still photographers think they already know “the business” but quickly realize that they don’t, and they put themselves out of business in this medium – before they’ve barely started.

9.  Teaching “how to” workshops in video with little or no experience – I can’t tell you how many photographers have called me for technical advice about some pretty basic stuff in terms of video,  and four months later they are teaching workshops. Please don’t become part of the problem and send more shooters out into this field without teaching them something about business. And if you are considering taking a workshop – do your homework and take the workshop from someone who is accomplished in this field and has done something.

10. They forget about the story – I know that’s #1 but it needs reinforcing.

 

What Every Photographer Needs to Know About Video?

Video is not a business model – it’s a medium – a medium that is well suited for storytelling and that’s in vogue right now for branding. Consumers today want to know more about a brand before they “buy into” it. 2014 NAB ShowWhen choosing a company’s product or a service, they want to know more about the company. They want to know the company’s story. They also have a limited attention span and want to be entertained. Video is in high demand right now and if you can fulfill your clients video needs, it can be good for your business. It all depends on how you position yourself in the marketplace.

In September, I attended the Next Video Conference and Expo in Pasadena, CA. One session, Make Content That Resonates and Multi-Purpose, given by Max Kaiser, Founder/Director of Hand Crank Films, really opened my eyes, to not only seeing how still photographers should be positioning themselves in today’s marketplace, but what they need to know about their competition. Max up sells his clients by listening to their needs and creating visual solutions to get their message out in a variety of different ways. A client may come to him and ask for a proposal to create a web video for a company’s website. Max shows the client how they can multi-purpose the content he creates for them for; YouTube pre-roll ads, sales meeting videos, TV spots, emails, social media platforms AND still images pulled from frame grabs. Max explained that because he shoots 6K, he is able to fulfill more of a client’s needs as well as put more money in his pocket.

A still photographer’s competition is not only other still photographers, but video production companies that are fulfilling more of a client’s communication needs. If you’re a photographer working in certain genres or markets like editorial, corporate or fashion you will need to provide mixed media solutions. There’s no reason a still photographer can’t provide mixed media for their clients, but they need to scale-up their way of thinking about their business and the role they play and become more of a visual assets producer, as fellow member and colleague Jan Klier calls himself.

Some things to keep in mind:

Greater demand – for mixed, integrated media. Video is not new. What’s new is that it is easier, faster and cheaper to distribute, stream and watch motion content online – anytime – anywhere. We are using our phones more and more as our go to place for news, shopping and even entertainment. Keep that in mind when you position your business and how your brand and products that you create,  fit into today’s communication channels.

Create from your own point of view and identify “the market” – Find a need and fill it – in your style. Market yourself to potential clients by listening to what their needs are and telling them how you can help them. Many times a client has a hard time articulating what they need in creative terms. That’s your job, translating how you can help them sell their brand in a creative way.

Make content that resonates and multi-purpose it. Video + Stills + Sound = Story telling messaging. Content should be well planned, scripted with high production values and should feel authentic. Up sell a client by explaining that they will get more – not just more footage or better quality footage – but more mileage out of it. That demonstrates value to a client by fulfilling more of their needs. When you demonstrate value – you can charge more and you keep the money in house (your house) It’s a win/win.

Video, Work for Hire and Copyright

Many still photographers who are new to video, ask me; “A client is asking me to sign a “work for hire” contract – What do I do?” By law, a creator holds copyright to their work. imagesHowever, when signing a work for hire contract, a creator relinquishes ownership to their work, transferring it to the client who commissioned the work.

Professional still photographers are accustomed to maintaining ownership and copyright to their work and use a business model based on licensing their images and charging for usage. Video production is a collaborative effort and contracts are generated by whoever is commissioning the work and paying the bill. Most contracts are work for hire agreements between the client (executive producer) and all the players on the team, from the director of photography to the sound engineer to the gaffer (lighting). However, when I have worked direct to client and assumed the role of producer, I have been successful in amending contracts so that I maintain the rights to any unused b-roll – that is if the subject matter isn’t proprietary.

If you are working on self-initiated projects like a narrative film, a documentary or just shooting independent motion clips for stock, as the creator of the work you hold the copyright. It’s important that you register the copyright of your work. If you are registering independent video clips, you register them just as you would your still images, using the VA form. I license my motion clips, just as I do my still images.

If you are registering a movie/film, you are registering the “whole” and you have the rights to use the content that is contained within the film in the context of that “whole”. When registering a movie use the PA form.

One thing to remember; if you are a still photographer getting into video production, please respect others’ intellectual property rights. I see too many photographers using mainstream music in their videos and I know they didn’t license the rights to that music because it would have been cost prohibitive. If I can’t afford to license mainstream music for my compilations, I either use royalty free music or I commission someone to create the score.

Here’s more information about copyright for motion and video as well as information about fair use:

Copyright Registration for Motion Pictures Including Video Recordings

Gail is President of the National Board of ASMP (American Society of Media Photographers)

Timing is Everything

NPPA_MultimediaImmersionWorkshop
© 2014 J.C. Carey

Have you ever looked back at your life and wondered “How would things have turned out differently if…..I hadn’t have moved to a new part of the country when I was 13 years old or if I had stayed at Syracuse University instead of leaving school after completing my sophomore year and traveling around the world?  Or if I had taken the job at Boeing after graduating from Brooks Institute…..or  if I hadn’t seen that article in Time Magazine about “Indie” media ventures, referencing the 1st Digital Video Symposium that was going to take place at the American Film Institute?” Every one of those events at pivotal points in my life, carved out my next “chapter “ – determining who I was going to be and where I was headed. Some of my life’s twists and turns, I had no control over – like moving from Rochester, NY to the greater NYC Metro area when I was barely a teenager. But there have been a lot more pages turned in my life since then, and along with that a whole lot of decisions to be made along the way. The best decisions I’ve made in my life happened when I was open minded to possibilities and I listened to my gut. Last week I coached at the NPPA’s Multimedia Immersion Workshop.  It was a perfect example of peers helping peers and a wonderful collaboration between NPPA and ASMP, my trade association that I’m about to be President of next month.  Even though these workshops are exhausting in every way, I get as much as I give on so many levels. Ultimately the workshop is about learning good solid video journalism storytelling, but the technical learning curve can be daunting to many coming from a still photographer background.  Many of the students were totally green when it came to audio, movement, sequencing or the post-production editing process.  Some became so overwhelmed by the gear that they lost focus of the most important part of the workshop – “the story”. It’s easy to lose sight of the “story”. At the workshop, Bruce Strong from Newhouse School of Journalism gave a talk about “Storytelling Basics”.  He said something that really resonated with me “Ask the why behind the why.  Look for the emotional core of the story”. I realized that I needed a reminder at this particular time in my life, as to what was the essence of a good story. I’m currently working on a documentary film about a family that has a deep and rich history. To be honest, I had been floundering on the story aspects of the film as I had begun to get lost in the details and facts. I had an epiphany as I listened to Bruce and realized that my job wasn’t to document the timeline of this family, that had already been done in written form – my job was to “tell a story”. That epiphany may sound obvious and simple, but sometimes I get blindsided by the daily consumption of life, and the “obvious” gets overlooked.  But if I put myself in a different place, in body and mind, at a time in my life when I am open and receptive, the “right” path does become obvious.  That path was there the entire time, but perhaps it wasn’t the right time for me. As Orson Welles once said “If you want a happy ending, than it depends on where you stop the story”.

2014 NAB Wrap Up

Still photographers and motion shooters love to get a “first”  look at “new gear”. Here are a few interesting items I saw last week at the NAB Show (National Association of Broadcasters):

Cameras

  • Black Magic Ursa A 4K camera 2014 NAB Showat an affordable price (around $6,500) that will be shipping in July. They’re calling it the first user upgradable-camera because you can change the sensor and the lens mount. It looks like this will be a great camera for filmmaking and documentaries.
  • Sony A7s Sony’s latest mirrorless camera features a wide-dynamic-range sensor and amazing sensitivity. With this camera, Sony didn’t jump into the megapixel competition against other camera manufacturers, but instead concentrated on image quality at staggering ISO’s. I would use this camera more as a still camera, but it’s small and it also shoots 4Kvideo.
  • GoPro  This company continues to innovate and make products that provide shooters with the tools that allow them to come up with incredibly creative solutions, especially in sports/action content.

Storage/Monitors

  •  Atomos has created the Ninja Star, a tiny ProRes Recorder for theGoPro Hero 3 that has an HDMI-out port and allows you to loop the signal through the Ninja Star and out to a monitor for composition or review. Atomos also debuted their Shogun, a combination seven-inch monitor and recorder with 4K capability.
  • G-Speed Studio by G-Techology This product, a hardware RAID 4-Bay Thunderbolt 2 storage solution, won the “Best Storage of NAB 2014 Award.” The G-SPEED Studio is a storage device with room for four hard drives and is configurable to RAID 0, 1, 5, 6, or 10. You can bring the total storage up to 24TB; at a lesser amount, the sustained 660MB/s transfer rate will get your files going quick.

Sliders/Stabilizers/Helicopters

  • Kessler Unidrive This is a motion control system (slider) that’s automated to enhance your production values.
  • Shape ISEE 1 Camera Stabilizer for GoPro A very cool device to stabilize your action GoPRo footage. The SHAPE ISEE I is a handheld gimbal-based stabilizer for GoPro cameras and smartphones. The powered, self-calibrating ISEE I enables steady shots with the GoPro and features a joystick for up/down tilting of the camera.
  • DJI’s Phantom 2 Vision Plus with Gimbal and GPS The latest addition to DJI’s quadcopter lineup gives you stunning images at a super affordable price ($1,000, or $1,099 for a version with extra battery). The copter has a 1080P camera that supports Adobe DNG RAW, which is great for workflow. There are also features that allow you to stream video to your smartphone in real time and to synchronize your phone with the quadrocopter through WiFi up to 700 meters away.
  • Syrp Genie Time Lapse & Magic Carpet Slider This is a motion controller coupled with a simple slider that provides a relatively low-cost solution for great time-lapse photography.
  • GimbalGunner A new device designed for run-and-gun video shooting. It’s essentially a cross between a two-axis gimbal and shoulder-mounted rig.

Software

  • There were hundreds of booths demoing software, but perhaps the most impressive of the bunch for me was the iZotope RX 3 2014 NAB ShowThis audio postproduction software will take away your fears about working with sound. I saw a demo in which it fixed substantial audio issues with the push of a button. Technology continues to make our lives easier. There is an incredible deal on the software until May 1, with prices slashed from $749 to $249. I don’t advocate capturing bad audio, but you’ll want this repair tool if you do.

Lighting

  • Litepanels This company launched its new Hilio series, versatile panels that emit a raw, narrow beam that provides high-intensity light for long throws.