I have been wanting an automatic dive watch for years. When my Aquadive Bathysphere 100 GMT arrived from Austria this week I felt like a grade-schooler that had just been told summer vacation was going to last an extra month. The watch ticks all the boxes I have been considering, namely: automatic swiss movement, ceramic bezel, scratch resistant sapphire, a classic diver look and of course waterproof to some insane depth. This guy drips of industrial design that harks back to iconic dive watches of yore like the Doxa. Designed in America, milled in Germany and movement from Switzerland… if that doesn’t sound like a match made in heaven, I don’t know what is.
When I started my career in photography – like so many photographers before me – I began the search for the perfect photo bag. Sadly, after nearly 20 years in the field, I can definitively say that the perfect photo bag does not exist. The good news? Perfect bags do exist for specific tasks.
For many, many years my bag of choice for photojournalism and documentary work was the Domke F-2. It’s Zen-like minimalism allowed me to carry many lenses in an extremely compact space. It also looks cool – like a bag I could imagine Robert Capa hauling around the battlefields of World War II. I love the way the thick cotton canvas molds to my body over time. Sadly, my camera does not fit into the Domke with its 80-200mm f2.8 lens attached. This is the Domke’s Achilles heel.
The solution: A taller bag
Thank Tank Photo has solved this problem with Speed Racer V2.0. Contrary to what Think Tank advertises on their website — my camera fits in the V2.0 with either the 80-200mm f2.8, or the 80-400mm f4-5.6 attached! Throw in the luxury of a hip belt to take the weight off my shoulders, a top-access-zip for quick lens changes, a ingenious (optional) lens switch case, and it is no surprise that my Domke F-2 has been gathering dust.
A few moons ago I was riding in the bow of a small zodiac on my way to shore in the Galapagos when a wave of salt water washed over the bow – and over my bag. Thanks to the rain cover and the water repellent nylon on my Speed Racer, my camera stayed bone-dry. A feat my brave old Domke could not have accomplished.
The Domke F-2 will always hold a special place in my heart, but for photojournalism and documentary work that requires me to be quick on my feet, the Speed Racer V2.0 is my bag of choice.
When I began shooting video more regularly, it did not take me long to figure out that in order to get smooth shots I needed a fluid head for my tripod and a shoulder mount for ‘run ‘n’ gun’ situations. The fluid head I am currently using is the Manfrotto 502 (HERE) and my shoulder mount of choice is the Zacuto Marauder (HERE). Two things that slow me down when switching from video to stills (or vice versa) are changing the tripod heads (which I found a solution for HERE) and re-mounting the camera to the various base plates for every system. For still photography, I have been using Arca style base plates for over a decade, and figured there must be a way to adapt the Zacuto and Manfrotto camera mounts to the Arca-style plate on my camera.
I shoot both stills and video which often requires me too carry both a fluid head and a ballhead in the field. Not wanting to carry two tripods, I very quickly realized that it took far too much time and frustration to swap the fluid head for the ballhead under any sort of time pressure (as is often the case in the field) and guessed there had to be a better way.
I have always been a fan of Really Right Stuff’s products. They are the photographic gear equivalent of a high-end german car – engineered to perfection. As soon as I realized my problem swapping tripod heads in the field, I began combing their product lineup for some ideas. What I found is a solution so elegant, I wanted to share it. Continue reading How to use the same tripod for video and stills→
Just under a year ago, I received a call from my friend Dewitt Jones telling me I needed to check out this cool new camera bag he was using. “It was made for you!” he exclaimed. The bag Dewitt was referring to was the new MindShift rotation 180 Professional and anything that Dewitt takes the trouble to give me a call about, I take seriously.
I have been kicking the tires on my new rotation 180 pro for the last week and am thoroughly impressed. I would venture to say it is the greatest leap forward in camera bag technology since the Domke F2.
I am a huge fan of Peak Design’s CapturePro camera clip. After my first trip using it to carry my Nikon D4 in various Alaskan conditions, I knew I could never go back to a using standard camera strap during extended assignments. The CapturePro saved both my neck and my wrist while carrying my heavy rig for days on end. One of the things I appreciated most about the system was the ingenious Leash safety strap that rapidly adjusted to any length and doubled as a bracing /stabilizing strap when running and gunning video on the fly. The width of the leash strap never bothered me because it never carried the full weight of my camera for any extended period of time thanks to the CapturePro system.
Fortunately or unfortunately – not all my assignments are extended affairs. For short shoots and grab shots where I didn’t bother putting on the CapturePro camera clip – I found that the leash strap was somewhat lacking in the comfort department. Shortly after this realization, I contacted Peak Design to beg them to design a wider strap that used their pioneering Anchor system. As if I had rubbed the proverbial genie bottle, the next day a note appeared in my inbox from Peak Design letting me know that a wider strap – called Slide – was already under development and that they would send one my way when it was finished.
How I use the Garmin fēnix and Adobe Lightroom to automate the process of geotagging my images
When I decided to pursue photography as a profession, little did I know I was also signing up to become one part librarian and one part IT professional. Every day spent in the field, results in at least one obligatory day in front of the computer color correcting, cataloguing, and captioning photographs – all necessary evils that add value to the final image for my clients.
One of the key pieces of metadata clients request is the photographs location information. While easily added by hand to one or two images, the fun level quickly drops to zero trying to remember where a specific image was taken after a multi week assignment on another continent covering an assortment of locations and potentially thousands of frames. Compounding this frustration, $300 point and shoot cameras come with built in GPS that automate this process, but $6000 pro DSLR cameras do not!
Needless to say, when I found a way to automate the task of entering location information into my photographs, I jumped at the opportunity as it meant less time in front of the computer, and more time doing ANYTHING else.