Whichever business you decide to start, it will require an initial investment, and photography is no exception. Before you jump into the murky waters of being a professional photographer, there are some items that you must invest in. In this video, John Branch discusses seven essentials that you absolutely must buy before you start your own photography business.
Even if you don’t suffer from the so-called Gear Acquisition Syndrome, I’m sure that you’ve bought some gear that turned out to be a bad investment. Evan Ranft sure has. In this fun video, he lists all the gear that was a totally bad choice and that he now regrets buying. Are any of these items on your list as well?
If you only had one camera and lens you could bring on a desert island, what would they be? Have you ever thought about it? Andrew & Denae have, and they have also asked four other photographers what they think. It’s interesting to see how different their answers are, and we’d also love to hear yours.
Sometimes you just have a ton of gear to lug around, especially if you do commercial photography or filmmaking for a living. Grip trucks are common in Hollywood and for huge production companies, but they don’t come cheap. The team at video production company Threefold, though, has figured out a somewhat more economical solution – They converted a 1995 Ford Diesel E350 ambulance into a custom grip truck.
These days, most people know the name, Pete Souza. He’s been the official White House photographer twice – for Presidents Ronald Reagan and Barack Obama – as well as being a photographer for The Chicago Tribune for many years in between. He’s often asked what’s in his camera bags and what he uses to shoot his work.
He’s spoken about it a little in the past, but now Souza has posted an 11-and-a-half-minute video to Instagram going over the gear he used while following the president, how he used it and why he chose those specific items. He also walks us through some of the images he shot, the challenges he faced and how he overcame them.
For anybody who shoots videos, especially on their own, shooting b-roll can be a bit of a pain. You have to have it, though, really, to stop your video just becoming some kind of long monologue. It’s the supplemental footage that shows what you’re actually talking about, or just provides context for what’s going on or the topic at hand.
It’s something Sean Tucker knows all too well, having gone out in the past carrying far too much gear in order to shoot it and ultimately using very little of it. In this video, he talks about going back to the bare minimum to shoot his b-roll with just a Sony A7III and a Tamron 28-75mm f/2.8 lens.
In a previous blog post, I mentioned I was embarking on a Pelican 1550 repair project. I was looking to buy one, but someone offered the case for free, and I thought it was worth trying to refurbishment.
At worst, I could buy a new case later, and it would cost me nothing other than my time on the refurb. At best, I’d save a couple of hundred dollars on a new case and help recycle something that might have otherwise found its way to the dumps.
Each year, gear rental company Lensrentals likes to pool their data and see which was the most popular kit of the year. It’s quite an interesting list, showing some of the trends of the previous 12 months or so. They’ve just posted this year’s list, which covers from January 1st until December 12th, 2019, and there are one or two surprising products in there.
Over the past couple of decades, very high-quality video-capable cameras have down a lot in both price and size. So, why then, are the camera setups used for shooting broadcast TV content still so huge? and why are they so expensive?
In this video, Zebra Zone breaks down exactly what’s involved in these types of setups, exactly why they’re needed and why they cost as much as a house. He also busts a big myth that it’s the camera that’s huge. Much of the bulk and cost are the extras bolted onto it.