Professional Longings

Dear folks: As some of you know, I make my living writing. It is a precipitous profession and requires more marketing savvy than I have. Fortunately, I have an agent and a publicist.

However, I have come to love photography to the point that I want to combine poetry with writing. I'm thinking of Walker Evans and James Agee's collaboration; only I want to do everything myself. I'm putting together equipment, upgrading to CS4, and trying to learn more about photography generally.

Equipment question: I have a Nikon D300 and D90 (plus film cameras in Medium and 35mm formats), several good lenses, a tripod, etc. etc.; I have acquired two Nikon SB 600s and a variety of bounce options. I'm now shopping for a flash battery pack for those situations that require a lot of fast shooting, say in the middle of a political demonstration, a rodeo, a rock concert, etc. I would like to hear your suggestions for a pro kit generally, and flash battery packs in particular.

Thanks in advance.

Doug Anderson

Before talking about equipment you should tell us what will be your field of work. For what I see in your email you want to work as a editorial photographer.

Editorial is defined as doing images for to be printed as part of editorial articles, and commercial photography goes in the paid portion of, say, a magazine.

The difference in remuneration is substantial, editorial ends where commercial begins. When I was in the editorial market some years ago the day rate was $300- $400, a friend that shoots table top commercial in NY told me that his day rate is about $3500 and that this was not on the high end at all.

Editorial photographers need to promote and show their portfolios constantly to get assignments and after they ge one it is the same for the next since art directors like to use the newest and lattes kid in town, --but it is probably the same as for writers, no?--

Most photographers I know know that they want to do ether editorial or commercial since they do what their temperament tells them. Or, if they are "outdoors, or studio" people. But, as business, I would probably go for commercial.

The other thing that is affecting editorial is the rapid change in the way news are being transmitted now and in the near future. An important newspaper, the Christian Science Monitor just announced that they will no longer print the paper. It is going to be a paper less paper.

Photo Journalism had its golden years in the times of TIME and LIFE magazine, when there was no TV, or much less the internet.

So, on one side things are much easy from the time you had to shoot slides with e-6 with no possibility to chimping th LCD to see if you where overexposing, with a unforgetting latitude of e-6... color balance had to be accomplished by placing gels in front of the lens -and adjusting exposure- etc etc.

The other side is that there is a flood of images by most anybody that buys a digital camera and goes to shoot. Stock Photograph's prices are now at $1 Royalty Free... similar effect as what happens with graphic design programs that have made almost anybody with a computer in to a graphic designer...

The trend is going to continues with the advent of 24MP cameras like the SONY that no douth will be followed by a Nikon equivalent.

There will also be very compact -Leica size- high ISO, high IQ systems available for relatively low cost to masses of new photographers bringing the price of images even lower ....

leonardobarreto.com said:

Before talking about equipment you should tell us what will be your field of work. For what I see in your email you want to work as a editorial photographer.


....

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My intent is to write books and supply the photographs. For example, I would like to visit communities in this country that almost no one knows about. Walker Evans and James Agee teamed up during the depression and were awarded contracts to do something similar. Unlike them, I would want to do the writing AND photography. They did a great book called LET US NOW PRAISE FAMOUS MEN that is still a great read. This is the kind of thing I'd like to do, celebrate the unfamous, ordinary, and find the poetry in them. Given the state of the country, this is a serious idea. It is not necessarily a great commercial idea: but it may be. I am also interested in creative narrative sequences in the manner of Duane Michals, but from a heterosexual point of view. I don't know if you know his work, but these sequences are quite witty and brilliant. He combines text with them. I want to do something like that but increase the text component. I am interested in how the two media counterpoint each other, rather than the photo merely illustrating the writing, or the writing merely interpreting the photo. The relationship would be more poetic. I would prefer to use actual locations rather than a studio. In terms of the expense of cameras, depending on the amount of money I make, I would obviously upgrade; although I think I could do professional quality work with my D300 and high end lenses.

Thanks for your response.

Addendum: I have a track record as a writer. It may help me get book contracts for photos as well.

doug anderson said:

My intent is to write books and supply the photographs. For example, I would like to visit communities in this country that almost no one knows about. Walker Evans and James Agee teamed up during the depression and were awarded contracts to do something similar. Unlike them, I would want to do the writing AND photography. They did a great book called LET US NOW PRAISE FAMOUS MEN that is still a great read. This is the kind of thing I'd like to do, celebrate the unfamous, ordinary, and find the poetry in them............


Addendum: I have a track record as a writer. It may help me get book contracts for photos as well.

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Why don't you take one camera, one lens and make 8 pictures on one topic with a page of related writing. Post that! Then we could see what we are talking about. Also share writings, books we might look up.

You'll likely get more out of this one seemingly simple exercise that many replies.

Asher

Doug, It sounds like a good idea and publishers always prefer to see projects. D300 is a good camera, I am very happy with mine.

If you ever need super portable strobes I have used the Alien Bees, you can put one in a small back with one of those compact stands and do portraits mixing available light with strobe. I also have a 12v battery that can power a bunch of them on location...

Tokina lenses are good for the D300,

11-16mm (almost not a ZOOM but a prime) 2.8



this is the battery -- something different than the NIKON flashes, I know, but an enormous amount of fire power...

Asher Kelman said:

Why don't you take one camera, one lens and make 8 pictures on one topic with a page of related writing. Post that! Then we could see what we are talking about. Also share writings, books we might look up.

You'll likely get more out of this one seemingly simple exercise that many replies.

Asher

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Asher: I'm thinking down the road for this project. It will be a while before I'm posting anything.

D

leonardobarreto.com said:

Doug, It sounds like a good idea and publishers always prefer to see projects. D300 is a good camera, I am very happy with mine.

If you ever need super portable strobes I have used the Alien Bees, you can put one in a small back with one of those compact stands and do portraits mixing available light with strobe. I also have a 12v battery that can power a bunch of them on location...

Tokina lenses are good for the D300,

11-16mm (almost not a ZOOM but a prime) 2.8

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Leonardo: how durable is that Tokina lens? I've got the nikon 17-35, 16-85, and 85 1.8,

D

I don't know how durable, but they are very well made. I think that som time ago TOKINA decided to stop making all models except for this small family of DX PRO line. I wanted to buy this model but it was too new and nobody had it in New York (about 4 months ago) so I got the f 4 one that gives you a bit more ZOOM 12-24mm as opposed to 11-16mm.

So, yes, the way it is built is very robust and Image Quality wise most of what I found on my research was possitive or more...




Mount availability: Canon and Nikon Digital Only*
Recommended Sensor size: APS-C Sized (23.7 X15.6mm)
CCD or CMOS sensor
(w/1.5-1.6x magnification factor)
Zoom Range: 12-24mm
Maximum Aperture: F/4
Minimum Aperture: F/22
Optical Construction: 13 Elements / 11Groups
Coatings: Multi-layer Coatings
Zooming System: Rotary-type
Minimum Focus Distance: 11.8 in. (30cm)
Macro Ratio: 1:8
Number of Diaphragm Blades:
9
Filter Size: 77mm
Dimensions: 3.3 in. (84mm) X 3.5 in. (89.5mm)
Weight: 20.1 oz. (570g)
Included Accessories: BH-777 Dedicated Lens Hood
Optional Accessories: Fitted Case

leonardobarreto.com said:

I don't know how durable, but they are very well made. I think that som time ago TOKINA decided to stop making all models except for this small family of DX PRO line. I wanted to buy this model but it was too new and nobody had it in New York (about 4 months ago) so I got the f 4 one that gives you a bit more ZOOM 12-24mm as opposed to 11-16mm.

So, yes, the way it is built is very robust and Image Quality wise most of what I found on my research was possitive or more...

Mount availability: Canon and Nikon Digital Only*
Recommended Sensor size: APS-C Sized (23.7 X15.6mm)
CCD or CMOS sensor
(w/1.5-1.6x magnification factor)
Zoom Range: 12-24mm
Maximum Aperture: F/4
Minimum Aperture: F/22
Optical Construction: 13 Elements / 11Groups
Coatings: Multi-layer Coatings
Zooming System: Rotary-type
Minimum Focus Distance: 11.8 in. (30cm)
Macro Ratio: 1:8
Number of Diaphragm Blades:
9
Filter Size: 77mm
Dimensions: 3.3 in. (84mm) X 3.5 in. (89.5mm)
Weight: 20.1 oz. (570g)
Included Accessories: BH-777 Dedicated Lens Hood
Optional Accessories: Fitted Case

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I'm sticking to Nikon Lenses, and only SOME nikon lenses. I hated the 18-200 kit lens that came with the D300. The 16-85 however is terrific.

D

There is a really good review about the 12-25 zoom lenses here... but the thing is that NIKON does NOT make a lens like the 11 -- 16mm 2.8

This is the list of wide angle lenses that I copy/past here from the Nikon site

Wide-Angle Zoom

* AF-S DX Zoom-NIKKOR 12-24mm f/4G IF-ED
* AF-S NIKKOR 14-24mm f/2.8G ED
* AF-S Zoom-NIKKOR 17-35mm f/2.8D IF-ED
* AF Zoom-NIKKOR 18-35mm f/3.5-4.5D IF-ED

As you can see the one that is 2.8 and close to 11/16mm 2.8 is * AF-S Zoom-NIKKOR 17-35mm f/2.8D IF-ED and it is NOT a DX lens, so forget about it... if you have the money and don't really need it to be 2.8, then the way to go is * AF-S DX Zoom-NIKKOR 12-24mm f/4G IF-ED...

(Quote taken from kenrockwell.com link included)"Tokina

This is the easy choice among third party lenses. It's the only one that feels solid and professional. It has the fastest focus, the fastest aperture and has the best handling of all third party lenses. The Tokina is the heaviest lens of the four. It has no weak points.

Get the Tokina if cost is an issue. If I didn't already have the Nikon and didn't have $1,000 then I'd buy this Tokina. The only way you'll see any of the subtle optical superiority of the Nikon is if you're one of those people who worry more about snapping test charts than making great images. ..... http://www.kenrockwell.com/tech/digital-wide-zooms/comparison.htm

Hi Doug,
Here's my two cents worth. It comes from someone who is not a studio photographer. I'm a street shooter. I live on the street. I need to be mobile, agile, and ready at all times. I don't often get a chance at two frames, forget changing lenses. I usually carry 2 cameras (you'll probably carry one). My primary is a D3, the secondary is a D300 (which, to my checkbook's chagrin I tend to use more). I've got more glass than I know what to do with but...what hangs on my camera usually seems to be:
1. Nikon's 24-70 f/2.8 on the D3
2. Nikon's 70-200 f/2.8 on the D300

All my focal length needs are met with these 2 lenses. Don't short yourself on the speed of the lens. The amateur's versions of these in f/4-5.6 are much less expensive, yes, but you'll regret not having the speed.

You asked about battery packs - they're better left to the wedding photographers out there. Don't get me wrong, they serve a need. Just not yours.
The SB-600 has an average recycle time of 2.5 seconds. If you hang a Quantum Turbo or a Turbo 2x2 battery pack on your flash you'll gain a extra second on the recycle time. Get where I'm going? No camera mounted dedicated flash (battery pack powered or otherwise) is going to keep up with the burst speed of your camera. I don't see you in any situation you've described that would need strobe level flashes.
The batteries in the SB-600 will suit you fine. I'll give you an example - I just finished covering the Greenwich Village Halloween Parade in New York City. I shot over 600 images over a 3 hour period. I changed the batteries in the flash (SB-800) once. It took me 2 minutes, including the time to light a cigarette. Save the 500 bucks for a battery pack and buy something else at B&H.
With that said, I hope I gave you some insight.
Good luck on your artistic endeavour, it sounds fascinating.

John Angulat said:

Hi Doug,
Here's my two cents worth. It comes from someone who is not a studio photographer. I'm a street shooter. I live on the street. I need to be mobile, agile, and ready at all times. I don't often get a chance at two frames, forget changing lenses. I usually carry 2 cameras (you'll probably carry one). My primary is a D3, the secondary is a D300 (which, to my checkbook's chagrin I tend to use more). I've got more glass than I know what to do with but...what hangs on my camera usually seems to be:
1. Nikon's 24-70 f/2.8 on the D3
2. Nikon's 70-200 f/2.8 on the D300

All my focal length needs are met with these 2 lenses. Don't short yourself on the speed of the lens. The amateur's versions of these in f/4-5.6 are much less expensive, yes, but you'll regret not having the speed.

You asked about battery packs - they're better left to the wedding photographers out there. Don't get me wrong, they serve a need. Just not yours.
The SB-600 has an average recycle time of 2.5 seconds. If you hang a Quantum Turbo or a Turbo 2x2 battery pack on your flash you'll gain a extra second on the recycle time. Get where I'm going? No camera mounted dedicated flash (battery pack powered or otherwise) is going to keep up with the burst speed of your camera. I don't see you in any situation you've described that would need strobe level flashes.
The batteries in the SB-600 will suit you fine. I'll give you an example - I just finished covering the Greenwich Village Halloween Parade in New York City. I shot over 600 images over a 3 hour period. I changed the batteries in the flash (SB-800) once. It took me 2 minutes, including the time to light a cigarette. Save the 500 bucks for a battery pack and buy something else at B&H.
With that said, I hope I gave you some insight.
Good luck on your artistic endeavour, it sounds fascinating.

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Thanks, John. I've ordered a Sunpak that uses replaceable "battery" clusters which means I have the best of both worlds.

Ahhhh....a "speed loader"! Cool!