What would you pack in your camera bag to shoot the biggest sporting event in the world? PopPhoto has a great interview with Getty photographer Streeter Lecka in which he talks about preparing for (and shooting) the Olympics in London. His daily-basis kit includes two Canon 1D Xs, a 400mm f/2.8, two 70-200mm (f/2.8 and f/4), a 16-35mm f/2.8, and a 15mm fisheye. Here’s how his images are beamed to headquarters:
Getty has our own lines that are hardwired into every single event. Our tech crew came over months before to get an idea of where we’d be shooting. We can just plug in and send from there. The editors are in the media center where they can send it out immediately.
I have a backpack everyday with a computer and a card reader. When I plug it into the wire, push in the card, and press start, it automatically sends everything to the editors. Everything transfers to my computer as well. I also bring a separate little hard drive so I can back up everything I shoot for myself. If I want an original RAW file, I can get it if I want to.
Lecka says he expects to snap 2,000-4,000 photos a day on average.
Shooting The Olympics: Inside The Camera Bag Of Getty Photographer Streeter Lecka [PopPhoto]
Unlike most photographers, I hate my camera. I have read hundreds of stories on the Internet in which photographers argue about which cameras are the best and why. There are stories trying to prove that Canon is better than Nikon, or that 4×5 film is better than medium format digital. Camera review websites show scientific-style photographs displaying how much detail they have captured in a dollar bill, or pictures of color checkers and skin tones. They will also show “real-world” and studio tests illustrating how camera A is better than camera B and write long narratives about why.
This small mountain of gear leads to two very frightening thoughts. Firstly, there’s no ending in sight; one keeps accumulating more and more equipment in order to keep pushing the edge of what’s possible both from a compositional and artistic standpoint, as well as from an image quality standpoint. You’ve either got to have a great day job and very deep pockets, or some good recurring clients.
The second thought is around obsolescence. In the film days, the camera body and lenses lasted a long time; you invested in glass, got a decent body – one that fulfilled your personal needs as a photographer – and then picked the right film for the job. Read more…
Based on some patents filed by Nikon, the company is expected to announce an updated 800mm lens, which will be the largest lens in the current lineup, according to Nikon Rumors. As of now, the 600mm f/4G ED VR is the longest lens Nikon is offering, though Sigma and Canon both have 800mm f/5.6 lenses in their lineups.
Ever wonder what camera gear NASA astronaut Don Pettit uses to shoot his amazing photographs from the International Space Station? Here’s a portrait of Don floating around on with his massive collection of Nikon DSLRs and lenses. How much of the gear can you identify?
Thanks for sending in the tip, Zach!
Image credit: Photograph by NASA
If you follow any part of the photographic blogosphere, you’ve heard folks repeat this mantra over and over and over again: “Gear doesn’t matter.”
The basic premise of that dictum is as follows: making great pictures is about the photographer, not the camera or the lens or any other piece of gear. A good photographer can make a great image with a point-and-shoot that an amateur armed with a Nikon D4 and an 85mm f/1.4 lens can’t match.
Photography enthusiast Jeff Vier made himself a cheap DIY grid spot using a $5 gutter downspout adapter he purchased from Home Depot and a $0.50 bag of drinking straws. Simply cut all the straws to the same length (the longer the straws, the more focused the light), carefully arrange them inside the adapter, and then use super glue to fix them into place. Vier found that his makeshift adapter fit perfectly over his Speedlight 580 EX II without any adjustments.
Image credit: DIY Grid Spot by boingr
TrekPak is a new padded camera bag insert that does away with the annoyances of velcro by introducing a new pin system for adjusting dividers:
What makes TrekPak really unique, is that you won’t find any Velcro. When you try to adjust a normal gear bag while out in the field, you know how frustrating it can be. The Velcro sticks where you don’t want it to, is hard to pull apart, and just looks messy and cluttered. Our patent pending system uses anodized aluminum pins and durable padded dividers to offer limitless organizational options. The TrekPak pin system is much easier to adjust, very secure, and straight up, it’s slick.
They’re starting with inserts for Pelican camera bags, but are planning to release generic inserts and inserts designed for other bags as well.
Physics guru David Prutchi recently came across a line of professional grade gyroscopic camera stabilizers by Kenyon Laboratories. They cost thousands of dollars each, but Prutchi noticed that the designs hadn’t changed much since they were first patented in the 1950s. He then set out to create his own DIY version using low-cost gyroscopes from Gyroscope.com. His finished device (shown above) actually helps stabilize his DSLR when shooting video or when photographing with non-image-stabilized lenses.
Last year MIT grad Justin Jensen raised nearly half a million bucks through Kickstarter to launch CineSkates, a camera slider system that adds wheels to GorillaPod Focus tripods. Now Jensen and his startup Cinetics are back again with a new product called CineSquid, which provides a strong suction cup mount system rather than wheels. This allows cameras to be mounted onto things like cars, boats, and even airplanes.