As photographers we love accessories, it’s just the nature of the beast. One of the accessories that can often be hard to choose is the right camera bag. Perhaps one of the biggest misconceptions about camera bags is there isn’t just one perfect bag, but rather a perfect bag for any particular situation. In this article we will break down which bags work best in different environments, for different shooting styles so you can choose the right bag no matter what, or, as you may lean, the right bags.

Transportation. Transporting your gear for long car rides, on planes or packed in trains requires a little more protection and some more thought. If you are checking your bags, a hard-sided case like those made by Pelican will give you the absolute best protection.

Photo By xunil96

Designed to meet military specs for impact resistance and durability, and an interior featuring pick and pluck foam to fit every piece nice and snug, these cases can and will take a beating, and even float should you need them to. The downside to using these cases is they are hard, bulk, can be very heavy to hand carry and with such a specific interior, don’t allow for much expandability. You certainly wouldn’t want to go on a hiking trip with one of these cases.

Point A to point B. Sometimes you’ll have a need to move your camera gear from point A to point B, say your home studio to a location shoot.  You may not need the extra rugged, hard-sided protection from Pelican style cases, and you may need to carry the gear over slightly different terrain.  If you’re moving your gear from one point to another, and once there, consider a photo backpack.

Photo By Jurvetson

Small through very large backpacks are made, some even come with a rain jacket to increase water resistance should you get caught out in a storm.  Backpacks are a wonderful way to move a lot of gear from one spot to another, especially if you plan on walking and need two hands free.  Because of their design, they aren’t great to work out of and getting something from inside the bag means taking it off your back.  While there are clear advantages over a hard-sided case for transporting your gear, backpacks are best used if you simply need to move gear from point A to point B and then setting up your shoot.

Working bags. Often times you’ll need to be on-the-move and change lenses, grab filters or any other of a number of needs and will have to carry your gear with you.  Messenger bag style camera bags are the preferred favorite among photojournalists, street shooters and wedding photographers because of their comfort and ease of accessibility.

Photo By The Old Penfold

Utilizing a single strap worn over the shoulder, usually cross your body, most messenger style bags have a zipper or flap across the top to easily gain access to the inside of the bag.  Because of the design and function, it leaves both your hands free to make lens changes or attach a flash easy.  A working bag is designed to carry your extra gear, not your camera plus all your gear, so keep that in mind when shopping for one.  Ideally, you’ll have your camera in your hands and accessory lenses, flashes, filters and sometimes a laptop in the bag.  It’s possible to go hiking with these types of bags, but unlike the stability and room of a backpack, they can get heavy on one-shoulder and may not have enough room to carry everything you need with you.  Because of this, working bags are only ideal for situations when you’re shooting, not solely transporting gear.

Three bags, three purposes.  The reality is most photographers are bag junkies anyway, and it’s not uncommon to pack one camera bag inside another on trips.  If you transport your gear in a pelican case on a plane for vacation, pack your working bag in your regular luggage along with your clothing.  It’s not about choosing the right bag, it’s about choosing the right bag for the job at hand.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Once upon a time the camera body of an SLR system would last you several decades, and then some.  Technology made advancements, but for the most part you won’t see any groundbreaking advancements from the late 60′s to early 80′s when the autofocus system came out, at which point camera bodies started a fast track and then digital came to market about 12 years ago.

With the digital age, technology advances very rapidly and our needs and wants from our hardware have continued to grow with each passing day.  The major manufactures are putting out new bodies anywhere from 8-16 months right now.  That means the model you buy today will be surpassed by a newer version in the next 8-16 months.  The trouble is, if you continue to wait till the next newest model to buy, you’ll be waiting forever.  Complicating matters, you may not need to upgrade your current camera body yet.

Photo by Sikachu!

To examine whether or not you are really ready to upgrade a camera body, lets break down what features are most important to photographers, as this will help determine if an upgrade is needed.  This article assumes you already own a DSLR body and it isn’t your first purchase.

• Megapixels
• Frames per second
• ISO sensitivity
• Cropped / full-frame sensor
• Physical size

While many other features are important, these five are generally what will sway someone, along with price, to upgrade.  Breaking them all down will help you determine if it’s time for an upgrade.

Megapixels. It’s apparent that the megapixel race is all but over, most DSLR’s are falling between the 10 and 24 megapixel range.  If you’re shooting a DSLR that is below 10mp and you routinely make prints 20×30 or larger, or do heavy cropping, the added resolution will without a doubt help.  If you rarely make enlargements or prints at all, and 99% of your work shows up on the web, having more megapixels just means you’ll fill memory cards and hard drives faster.

Frames per second. This is an important one for sports shooters or shutter button happy parents.  While most entry level cameras shoot about 3 frames per second, that’s hardly fast enough to keep up with running kids in the back yard, or professional level sports.  Most high end cameras are 9-10 seconds, but just as important is the buffer size, or the number of photos you can capture before the camera needs some time to finish writing the data to the card.  If you’re often finding yourself in a need to shoot bursts of photos and not getting the frames you need, an upgrade might be due.  On the other hand, if you’re a more methodical shooter, say of landscapes or still life and work on a tripod, a fast frames per second camera has no real value to you.

ISO sensitivity. Perhaps one of the greatest improvements over the last few years in DSLR bodies is the ISO sensitivity and noise reduction.  Not only do new cameras go insanely high in the ISO range allowing you to shoot in darker situations without the use of a flash than ever before, the quality of lower ISO ranges and near total reduction in noise is amazing.  If your camera is more than three years old and you shoot at 400ISO or higher on a regular basis, consider an upgrade.  The detail and quality in the shadows from newer camera’s equipped with better sensors is amazing.

Photo by Infomatique

Cropped / full frame sensors. This really only applies to Canon and Nikon shooters, but there is something to be said about each one of these types of cameras.  If you’re currently on a cropped sensor body, that means there is a magnification factor for each of your lenses.  On Canon, depending on the model you will have either a 1.3x or 1.6x crop, Nikon has a 1.5x crop on many of their models.  That means a 100mm lens is either 130 or 160mm of actual focal distance, as a direct relation to the sensor size.  If you’re a wildlife or sports shooter on telephoto lenses, shooting a cropped sensor is like extending your existing lenses a little longer, for free.  On the other hand, if you’re a portrait shooter or doing indoor architecture, it will mean you’ll need to buy specially designed lenses to get you wide enough to fit within the confines of your working space.  Upgrading bodies from cropped to full frame, or visa verse both have options that need to be weighed.

Physical size. The size of your DSLR and how you use it can make a huge difference.  For example, pro level bodies like the Canon 1Ds series or the Nikon D3 series have integrated vertical grips, they are great for most kinds of photography that require a vertical composition but horrible for someone who does panoramas on a tripod.  Likewise, Olympus offers the Pen, a super sub-compact DSLR body that was designed to be taken everywhere without looking or feeling overly cumbersome.  Having a body that fits in your hands properly and fits the needs and style of your photography is key.

Photo by Geir W.

A few other factors come into play when considering an upgrade, but these are the majority of them.  Obviously price, amount of use, wear and tear and what your intentions are for the camera are all considerations too.  Since we’ve already covered how you shouldn’t get hung up on your gear, make sure you’ve exhausted all possibilities with your current setup and reached its limits before investing in more gear.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Photography can be an expensive hobby, gone for most of us are the days of spending money on film and processing but it seems accessories and core components are always on our wish lists.  Photography is really one of those hobbies where you don’t need to spend a lot to get great results, but you do get what you pay for.  Here are some tips to help budget your photography so you don’t end up in the deep end.

Photo by Mynameisharsha

Don’t buy on release day. When new DSLR bodies are released, there is always a huge hype that goes around with them and everyone is scampering to buy one.  If you can wait as little as 90-120 days after the release you could save as much as 15%.

Buy used. This is one you really need to be careful of and can be a whole article on its own.  When new bodies are released, a lot of photographers sell their previous generation bodies at deep discounts.  For example, when the 5dmkII was released, the first generation 5d’s started to show up used on forums for as little as $1500.  30 days after release the price slid to $1300 with a grip included.  Keep in mind the original 5d was $3300 new and the grip was an additional $250.

Chances are good it will be out of warranty though and buying used always means you take a risk, but you could be saving 50-70% off.  Likewise, lenses are usually OK to buy used, either from reputable companies or local camera shops, and some Internet forums.  A good, quality lens should last you for years and years, provided it’s well maintained.

Be realistic. Just because something is the most expensive doesn’t mean it’s the best, for you. If, for example, you’re shooting your kids soccer games and you want a camera body that fires a decent frame per second with a high burst rate, you’ll need to weigh in the costs factor.  Sure, the EOS 1d mkIV does 10 frames per second, but do you need that?  for almost 1/4 the cost an EOS 50d will do 6.3 frames per second.

Rent first. Local camera shops, national chains and several online specialty retailers now offer a large range of rental gear.  Photographer Andrea Gingerich recently reviewed an $1800 Zeiss macro lens that she had rented.  While she mentions that she owns, and is very happy with a Tamron lens, she’s heard nothing but wonderful things about the new Zeiss lens and wanted to give it a whirl.  In her words, what’s spending $250 to rent the lens for a month before plunking down $1800?  Her wise thinking before a serious investment helped her determine whether or not the lens was worth it.

Likewise, renting can give you an option to cheaply use very expensive gear that might only serve one purpose for you.  Items like tilt-shift or perspective control lenses and fisheye lenses are expensive and aren’t used often.  Why invest in one if you’ll only use it once a year?

Buy the best you can afford.  This may seem contrary to what’s mentioned earlier, but applies to everything but camera bodies.  After you’ve tried things out, buy the best lenses and accessories you can buy.  They will last you a long time, and if you stick with the hobby you’ll get your monies worth out of them.  For example, you don’t want to put all your camera gear in your old high school backpack.  Buy a quality bag to help protect your investment.  Sure they can be expensive, but so does replacing an expensive lens that got damaged due to poor protection in a bargain basement camera case you got at a yard sale for $2.

Learn. The most important part of photography is how you use your gear, so spend time learning as much and as often as you can.  Local camera stores and community colleges, coupled with this site can provide you free or cheap information that will make you a better photographer and use your gear smarter.

Photo by Claudio Matsuoka

Don’t get sucked into the upgrade-itis or if it costs more clearly it’s better part of photography.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Shooting landscapes is obviously all about the location, however another major factor that plays into the overall photo is the light, time of day and what you choose to do with the available light.

To complicate matters, many landscape scenes can be hard to shoot because of the stark contrast between the sky and ground (or ocean) below.  One is direct light, the other is reflected light, and usually they require separate metering.  Of all the tools available to photographers today, including HDR, it seems that yesterdays technology is often skipped over in favor of fixing it in post-production later. There is a lot that can be done in post, however you’ll get better results by starting with great images.  One way to do this is utilizing filters.  Here are three filters every landscape photographer should always carry with them.

Circular Polarizer.

Photo by Gustaffo89

A circular polarizer will do a few things for you. Most noticeably it will help bring rich, deep colors to the sky and make foreground colors snap and become more vibrant.  In this great comparison photo done by Gustaffo89, you can see the circular polarizer rotated to the most effective position on the left and how the clouds really pop and the roof color is more intense.  In the least effective position, on the right, you can see the blue haze that is so common in the sky, and how it is eliminated on the right.  One filter, rotated in different ways, provides different effects.  This is one of the most effective and versatile filters to have in your bag.  It also will help cut the reflection on glass and water.  To learn how a circular polarizer actually works, read the technical specs on it here.

Neutral Density Filter

Photo by © Salim Photography/ www.salimphoto.com

Neutral Density filters help to reduce the amount of light that passes through the lens into the camera.  Why would you want to reduce light?  In order to achieve the beautiful photo taken by Salim Photography, a long exposure was needed.  By reducing the amount of light, an aperture capable of allowing the desired shutter speed, around 30 seconds, is feasible.  It should be noted that Neutral Density filters, called ND for short, do not affect color in any way, their primary function is restriction of light.  ND filters come in varying degrees of light transparencies, commonly noted at ND+1, ND+2 and so on and can be stacked to further decrease light transmission.  A complete, technical explanation of how they work can be found here.

Graduated Filters

Photo by Chris Gin

Graduated filters are those which contain a 50/50 mix of one type of filter with another.  Essentially, it’s like leaving about half of the filter clear while treating the other half, and a smooth transition between the two.  Graduated filters come in near endless combination for many different effects and are perfect for difficult lighting situations.  The above photo by Chris Gin didn’t need to be a long exposure shot for any particular reason, but he wanted to give the sky a more rich, almost vignette look to it, as if it were burned a little bit.  By utilizing a Graduated ND filter he prevented light from entering the top half of the frame while the bottom was left perfectly exposed.  Sure, you can kind of replicate this in Photoshop, but doing it right will almost always end with better results.

Photo by NapaneeGal

This great photo shows a more creative use of graduated filters, a tobacco colored filter was used to give the sky a nice reddish-brown color.  It gives a warming tone to an otherwise cold and ominous landscape.  Because the application and combination of these graduated filters is near endless, keeping them in your bag is a great way to change, alter or correct a landscape photo.

Filters are not a thing of the past, regardless how far advancements have come in post-production.  Keep these three types of filters in your bag when you head out for your next landscape shoot and reap the benefits.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Making the move into a DSLR camera system is an investment, both in money and in results.  The two main components of a camera system are the body and the lens.  Many new buyers often make the mistake of not budgeting enough for lenses and undervalue their role in photography.

It’s not hard to do, what with all the talk about bigger and better megapixels, higher ISO with lower noise and increasingly fast frames per second.  Add to the mix HD video as an option to several models of DSLR bodies and there are enough options to make your head spin.  The result is less focus on the lens and most of the focus on the features and functions of the camera body.  Lenses haven’t changed much over the last few years, so what’s the big deal about?

The big deal is everything.  Yes, added noise reduction in the camera’s sensor and the ability for the camera to process photos at higher resolutions with insane ISOs is important, but the quality of the final image produced by your cameras sensor is a direct result of your camera lenses. Much like a dirty window is hard to see through, a lesser quality lens will provide photos that may not appear as sharp or as color correct as your camera is capable of producing.

Camera bodies come and go these days and most hobby and weekend warrior photographers are upgrading every 18-24 months, while professionals are upgrading nearly every year.  Lenses on the other hand can provide decades of service, so what should you be looking for?

Quality, which usually comes in the highest form from the camera body manufacturer.  For example, if you shoot Olympus, their line of Zuiko lenses is where you should start. Canon makes Canon lenses and Nikon makes Nikkor lenses.  It’s true that some of the third party lens manufactures make really nice glass – Tamron and Sigma are two that come to mind, but generally speaking, only a few lenses here and there are at the same quality as OEM lenses.

Other features that are important are:

• Build quality
• Number of elements
• F/stop range
• Glass quality

Determining what you will be shooting will shift your lens selection in the right direction.  Portrait photographers for example often prefer shooting prime lenses – those which do not zoom.  Commonly they fall within the 85-200mm range, have very fast f/stops (Canon makes an 85mm f/1.2), focus relatively fast and are of the sharpest lenses available.

This fixed focal length lens doesn’t work so well for someone who does candid photography though – shooting at wedding receptions for example.  Both Canon and Nikon offer 24-70mm models at f/2.8, true work horses for those who use them.  The important thing in zoom lenses is that the f/stop range is consistent.  Many kit lenses included with DSLR bodies have a variable f/stop range which produces far inferior quality photographs.  An example would be an 18-55 f/3.5-f/5.6 lens.  That means at 18mm the lens has a maximum aperture of f/3.5, while at 55mm it is f/5.6.  Not only can it be frustrating to shoot zoomed at 55mm because not as much light gets through, the total quality of the lens is just less.

For many new buyers, the costs of lenses can be off-putting – they can cost as much or even more than the cost of the body.  Like the old saying, you get what you pay for – it honestly holds true here.  There are many ways to save money with photography, but lenses are where you want to spend the money you save.  They will out-last most DSLR bodies and quality lenses last decades.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Utilizing flash in photography allows you to create unique photographs in ways that would otherwise be impossible.  There are a few downsides to utilizing flash photography though.

• Harsh shadows
• Over-exposed subject matter
• Inability to illuminate larger subjects or groups of people properly

Using reflectors and other light modifiers with your flash photography will create more pleasing and fun photos.  Here are 6 tips on using a flash reflector to take your flash photography to the next level. Note that all of these tips are intended for use in conjunction with a hotshoe mounted flash, not a pop-up on camera flash or built in point & shoot camera flash.

Reflectors can be bought or made.  One of the oldest methods is to utilize a simple note card and rubber band on your flash.

Angle your flash at 45 degrees when using it with a reflector aimed at a specific subject.  This is needed to help project the light onto the subject

Point your flash straight up when you need to illuminate a large space without harsh shadows and keep a reflector on the back of the flash unit to help throw the light forward.  Especially effective for the soft, near shadowless look.

Use the wall next to you as a reflector.  Reflectors don’t need to just be on the flash unit itself, if you can point your flash at a white or light colored wall and bounce light off it, it’s one another way to light your subject matter.

When you’re using off camera flash, that is your flash mounted to a light stand. rather than firing directly at your subject, use a reflector board to fire the flash into, broadening the light and softening it greatly.  Also effective for reducing harsh shadows.

Photo by Chun Wu

Homemade reflectors on the flash are 100% OK, but avoid tinted colored materials as it will throw a color cast onto your subject.  Stick to white or semi-translucent materials and utilize gels on your flash if you wish to change or correct for color.

Using your flash isn’t just about pointing it at your subject, there is so much more that can be done!  Hopefully these 6 tips will help you be more creative and solve some of your flash photography problems.

Getting More Help

If you want more guidance on using flash reflectors, Mitchell Kanashkavich’s book, Seeing the Light devotes an entire section to the topic and is well worth owning.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Equipment is expensive, even entry level photography gear adds up quickly, so many new and seasoned shooters choose to buy used.  There is nothing wrong with this!  With lenses, it’s often possible to save upwards of 50% of the original cost, but there are a few key things you want to look out for when buying used.  These 10 tips will ensure you have the best possible buying experience while getting a great deal.

Photo by Photos8.com

1. Check your source. There are many ways to buy used gear, from local camera stores, online retailers that sell used, eBay, Craigslist and photography message boards.  Know who you’re buying from and how reputable they are, especially with eBay and message boards.

2. Physical damage. It’s not uncommon for there to be minor wear from hands, sweat and the elements on a lens’s body, but dings are no good.  Likewise, check for scratches in the glass on both ends.

3. Shine some light through it. Hold a small flashlight at one end and look through the other end.  Not all lenses are made the same and it’s possible for dust to get inside.  While minor dust usually doesn’t affect picture quality, larger specks or clumps will and require an expensive cleaning process.

4. Aperture blades. Change the aperture setting to make sure the blades inside the lens move smoothly and have no damage or oil on them.  For most modern lenses you’ll need to mount the lens to a body to check them.

5. Filter threads. The threads at the end of a lens to accept a filter can often become damaged from not mounting filters correctly, most commonly they get cross-threaded.  This kind of damage you’ll want to avoid.

6. Light damage. If the seller discloses there is light damage and it’s a cheap and easy fix, skip the deal.  There is no such thing as a cheap and easy fix with lenses, they are almost always expensive.

7. Contact points and mount rings. On most all modern lenses there are contact points on the back of the lens that pass the electronic information from the body to the lens for auto focus and aperture control.  They are typically gold and if the previous owner didn’t keep the lens on a body or a rear lens cap on when not mounted to a body dirt, dust and grime can build up.  While back there, take a look at the mounting ring and make sure it’s not damaged.

8. Zoom. On lenses that zoom, make sure it does this smoothly.  You don’t need to mount it to a body to check for this, but it’s a good idea if you can anyway.  The lens should zoom smoothly, no matter if it’s a spin type or push / pull.

9. Focus. Check the focus of the camera mounted to a camera, the auto focus should happen smoothly and crisply.  It’s also a good idea to flick the switch on the barrel to manual focus and make sure that it too spins smoothly.

10. Why? Ask the seller why they are selling the lens.  There are plenty of legitimate reasons, such as switching from one platform to another, or they bought it and simply aren’t using it anymore, or they’ve upgraded.  Sometimes the lack of reason for the sale can often indicate a hidden problem, so you’ll want to avoid it.

I’m a big fan of buying used lenses, simply because when you buy the higher end ones, there is some significant money to be saved and unlike camera bodies, you don’t need to worry about more megapixels or faster frames per second coming out.  Like most photographers, I started with entry level gear and worked my way up to the higher end lenses.  My workhorse of a lens, the Canon 24-70 f/2.8L is a cherished piece in my arsenal and one I’ve now owned for over five years.  Good glass stays good with a little care and maintenance, and should last for many more years to come.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Colored filters used to be a necessity for film shooters.  It was a way to correct for lighting and get specific effects.  Digital has enabled us to set a custom white balance, eliminating a lot of correction filters and Photoshop / Lightroom / Aperture have taken over the creative aspect of filters, but digital SLR shooters still need some specific color filters.

Photo by S. Diddy

UV Filters

Also commonly called as Sky or Skylight filters, these have nearly no color to them and are most commonly used to protect the end of the lens against scratches and dust.  Their real purpose is to help cut through the haze and ultra-violet particles in the sky.  Some purists frown upon using such filters to protect the end element of their lenses and say they decrease the quality and sharpness of the glass.  Personally, I’ve always used them on all my lenses and encourage you to buy the best quality ones possible.  No sense in being cheap on a filter after you’ve already spent a hefty sum on a lens.

Neutral Density Filters

The neutral density filters, called ND for short, are like sunglasses for your camera.  They are gray in color and come in a variety of shades and can be stacked one on another.  ND filters are used to control the amount of light coming into your camera and are most often used in very bright situations when you need long exposures or big depth of field.  Additionally, ND graduated filters, called ND grad for short, is a filter that starts off as a graduated filter that fades to clear.  These are particularly helpful for shooting photos of the horizon where the sky is very bright and the foreground is dark.  The ND grad filter will allow you to restrict the amount of light coming in the top half of the framed image while allowing all the light in the bottom.

Circular Polarizing Filters

Perhaps the most common filter used on camera by photographers is a circular polarizing filter.  The filter will rotate on the end of your lens and give you different results. It’s meant to be used to cut glare and reflection from glass and water and increase vibrancy in colors.  While it’s possible to increase saturation during post processing you’ll still almost always have a better image when you do it in camera first.  Additionally, there is no easy way to remove reflections in post processing, so a circular polarizing filter is a must-have for everything from architecture, water sports, automotive and anywhere else a reflection or glare is not desired.

Post Processing

In digital photography, post processing is where you will start to use digital color filters that would have been traditionally used with film.  A large number of third party filter, plugin and preset companies are out there to help you replicate and tweak your images.  Nik, Kubota and OnOne are some of the more well known, but there are hundreds of smaller companies cranking out quality filters.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

The three spots you see in the photograph below are sensor dust.  Small pieces of dust, fiber or hair that are sitting on the sensor of your digital camera.  The most common reason dust shows up on your sensor is from changing your lens.  It’s nearly impossible to stop dust from getting in, so at one point or another you’re bound to see these little demons.

Photo by Peter Baker

Cleaning your sensor has always been something most people are afraid of as they don’t want to ruin the sensor.  Being afraid isn’t a bad thing, you can do some serious damage if you aren’t careful.

Photo by infomatique

There are a few different techniques to cleaning your sensor, each has a fan base over the other.  The most popular methods are:

• Air blower
• Dry swabs
• Wet swabs
• Dust picker

When you are ready to clean your sensor, choose the method you feel most comfortable with, I personally prefer wet swabs.  Clean an area of a table that you can sit at and ensure no nearby windows are open.  Also make sure you are not on carpet so you don’t accidentally discharge static electricity.  Before you remove the lens, clean the body and lens of your camera of all dust and debris as to not allow any to fall in while working on it.  Set your camera in sensor cleaning mode – if you are unsure how, refer to your owners manual.  Remove the lens and lay the camera on its back.

Looking inside you will see the sensor.  What you may not see is the dust on the sensor, this is normal. Even the smallest amount of dust partials can create sensor spots, don’t be alarmed if you can’t visually see them!  As mentioned, I prefer the pre-wet swabs, it means you don’t need to drop oil onto a swab and risk over or under moistening it.

Each method has very specific instructions on how to use them, so I strongly suggest reading them prior to starting.  With that said, I generally don’t like the air / dust blower method.  My reasoning is that the device, which looks like a turkey baster, often blows new dust into the camera.  The rubber bulb end often has particles inside from when the rubber was molded and can blow onto your sensor.

Likewise, the dust pickers, which look like a pen with a very small rubber disc on the end just plain scare me. The idea is that you visually see the dust on the sensor and then apply a small amount of pressure to the device and when you remove it, the dust will stick to the rubber disc.  The problem with this method is that it’s far too easy to apply too much pressure and cause damage.

Most all swabs suggest one or two soft swipes from left to right on the sensor.  That is all that is needed.  When you are done, take your camera out of sensor clean mode and mount the lens.  To test the camera, go outside on a sunny day and set the camera to f/22 in aperture priority mode and take a photo of the sky.  Load the photo onto your computer and view at 100%, looking for sensor dust.  If you still see dust, simply repeat the steps to clean.

Cleaning your sensor is somewhat risky!  You can cause severe damage to your camera’s sensor if you are not careful or don’t have steady hands.  If you are at all uncomfortable attempting to clean  your sensor, see a local camera store.  Most offer a while you wait sensor cleaning service for a nominal fee.

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.

Travelling is all about the experience, but for us photographers it’s also about capturing the experience and being able to show others and relive the trip ourselves.  Here are 10 tips to to get great photography while you are traveling.

Gear

Photo by KhE 龙

• Less is more, so for DSLR shooters look for a wide zoom lens that covers at least 28-135.  There is no perfect lens for all situations but keep in mind you will be carrying your gear the entire trip, so my suggestion is to take no more then two lenses at most.
• Pick the right bag.  I’m a bag junkie, having four dedicated photography bags but always looking for another.  Your travel destination will help you choose what kind of bag you want, but here’s a quick primer from my experience.  Photo backpacks are great for transporting gear from point A to B but are terrible to work out of.  Sling bags are easier to get gear in and out of but are usually smaller.  I’ve never found hip bags comfortable to wear but some people swear they are the best to work out of.  The last type of bag is the overly popular messenger bag.  This is my preferred type of bag to work out of, however it took me a while to find one I really liked.  When I travel, I put all my gear in a photo backpack and pack my photo messenger bag in my checked luggage.  When I get to the location, I’ll put my gear into the messenger bag to work out of.
• Leave the kitchen sink at home.  Sure, a small, packable tripod is OK to take if it fits in your luggage and you plan on getting sunrise / sunset photos and need the stability, but you probably don’t need everything else in your camera arsenal.  Really think about where you will be going, what you will be photographing and how much stuff you want to lug around.
• Batteries, chargers and power converters are essentials!  Fully charge all your batteries before going and make sure they are in your camera and other devices.  Some airport security will ask you to turn on your camera or laptop to ensure it’s a real, working device.  If you are going to another country they may not have readily available AA batteries for your flash, take spares and/or a charger.  Likewise, look to see what power options are available where you are going and if you need an inverter or converter for your gear.  I always suggest taking a small power strip with surge protector as an added layer of protection if you are uncertain of voltage where you are charging your devices.
• Take a few microfiber cloths to keep your lenses and gear clean.  Dirt and debris can ruin equipment, so can getting caught in the rain for even a few minutes.  These cheap, very handy microfiber cloths will ensure you get clear and sharp photos and your gear is in tip-top shape.
• Take lots of memory cards! Memory cards are cheap compared to even a few years ago, take double the amount you think you could use.

Shooting

Photo by Muffet

• The details are what make trips memorable.  For example, Miami is well known for the art deco hotels, but it’s the small details about them that make the difference.
• Get up before the sun rises one morning.  Scout a location the day or two before and plan to be there before the sun rises.  Morning light with the sun breaking the horizon can be one of the most beautiful things for any city or landscape shot.
• Be courteous of the locals.  Just because you are in a different city or country doesn’t mean everyone immediately wants to have their photo taken and pose for you.  When you shoot people, always be courteous and show them respect.  If you are in a country where you don’t speak the language of the locals, show them the photo on the LCD of your camera so they understand what it is you are doing.

Lastly

• Have fun! Enjoy the vacation.  Don’t spend the entire time looking through the view finder and post processing photos at night in your hotel room.  Don’t forget to soak up as much of your travel adventure with your own eyes as possible.

As a bonus tip, take zip-top bags with you, a few in different sizes.  They take up no space and are worth their weight in gold (probably more) if you are out and about and get caught in a rainstorm.  Every photographer should have a few of them in their bag anyway all the time, if you don’t put them in!  Also worth taking along are business cards and model release forms.  If you are blurring the line between hobby photographer and professional, or you shoot stock photographs, having both business cards and release forms with you is a great way to ensure you have legal rights to use and sell the photos.  It’s also a great way to boost your business and meet potential clients while traveling.

Photo by Prabhu B

I’ve traveled a lot and over the years I’ve read my fair share of what to take and not to take when traveling.  Most sites suggest taking one or two of everything but I often find I don’t want to carry all that extra gear and I rarely use it.   Shooting while traveling for me is like a location shoot in many ways.  I take only what I need and if I don’t have something, I make due the best I can with what I have.  I strongly believe that being a versatile photographer will get you further compared to a photographer who has a gadget or adapter for every possible situation.  Take the essentials, leave the fluff at home, enjoy the trip and bring home wonderful memories!

Photography Tutorials, Case Studies and Discounts - LightStalking Photography Newsletter.