Digital Equipment
Cameras
Equipment selection is often a battle between efficiency and
necessity. A natural inclination towards a lightweight, simple
gear selection can be overshadowed by a need for the precise
tool for the job.
However, the rapidly advancing digital age has greatly simplified
our choices. With the introduction of the 11 megapixel Canon
1Ds digital SLR camera, we were able to abandon film early in
2003.
We haven’t looked back.
Since then, we have upgraded to a pair of 21.1 megapixel Canon
1Ds MarkIII cameras, which offer superior image quality
to 35mm film images by every measure.
Ignoring the plethora of scientific tests and opinions comparing
film to digital, we have gained this opinion based on our own
experience and subjective observations comparing thousands of
fine art prints and press-published images from both sources.
There are many other benefits of digital. We no longer require
color correction filters for unusual lighting situations. We
can meter based on the cameras histogram readout, which is often
more accurate than using a light meter. We no longer need to
scan new images.
Lenses
To compliment the cameras we use a variety of common and special
purpose lenses, including:
Canon 16-35mm F/2.8L II
This photographer’s staple has many uses. Its wide angle
of coverage is perfect for many scenic and landscape photos.
Outstanding optical performance, even wide open, makes it a
favorite lens for aurora photography, where any optical defects
will be made more obvious.
Canon 24-70mm F/2.8L
This lens provides a range similar to what the human eye sees,
and is often used when photographing people and environmental
portraits.
Canon 70-200mm F/2.8L Image Stabilized
Speed and great handling make this a wonderful lens for large
wildlife that is approachable. It’s large aperture and
image stabilization make low light photography possible without
a tripod.
Canon 24mm F/2.8
The third 24mm lens in the arsenal makes a great landscape lens
that takes virtually no bag space. Being a prime lens (not a
zoom) it suppresses flare and gives light sources a very pleasing
“star” appearance. This is perfect for photographs
with the sun in the frame.
Canon 24mm F/3.5 Tilt-Shift
Yet another lens covering the 24mm range, this lens mimics the
tilt and shift functions found on large format view cameras
and some medium format cameras. When you tilt a camera up, lines
bend inwards creating a distorted look. This lens allows for
correction of this problem without doing post production.
Canon 100-400mm F/4.0L lens
Very versatile zoom range
Canon 100mm F/2.8 Macro lens
Allows subjects as small as one inch tall to fill the frame.
The 100mm focal length provides longer working distance to avoid
shadowing (or scaring!) the subject
Canon 300mm F/2.8 Image Stabilized
One of the sharpest lenses available, this provides extra reach
while maintaining a fast aperture of F/2.8
Canon 400mm F/5.6L
Extremely sharp and lightweight
Canon 500mm F/4 Image Stabilized
Another optical marvel, this massive lens is often used for
Arctic wildlife, sometimes even with a 1.4x or 2x extender.
Zenitar 16mm Fisheye lens
This little-known lens is made in Russia. It provides a unique
distorted perspective and is sometimes useful when unusual effects
are desired.
Sigma 14mm F/2.8 rectilinear
After being dropped in a river, the electronics were fried in
this lens, but it still works when super wide angle is desired.
This perspective renders some wild skies! Rectilinear means
that lines remain straight, unlike a fisheye lens which distorts
the image.
Tripods and Mounts
All of this gear must be securely anchored to prevent vibration
and soft photos.
To achieve this we use a Gitzo G1348 Mark II Carbon fiber tripod
with a Really Right Stuff BH-55 ballhead. Our cameras and lenses
mount with Really Right Stuff quick release plates.
For lighter weight gear, we also use a smaller Gitzo G1227
carbon fiber tripod with a Kirk BH-3 ballhead.
Lighting
For our assignment work or the occasional stock image requiring
lighting, we use a Dynalite m1000wi power pack triggered wirelessly
by a pocket wizard transmitter. This is complimented by a Dynalite
Uni400Jr monolight used either plugged in or powered by a Jackrabbit
battery source.
We support the light heads with Calumet air-cushioned light
stands, and soften the light with Chimera and Calumet soft boxes.
When we don’t need so much light, we often use with three
Canon 580EX strobes, either using E-TTL auto metering or in manual
mode. These are much more portable than full sized strobes, and
a pleasure to use.
Portable Storage Devices: Getting your flash card data onto
another device
PD70X Portable
Storage Device (PSD)
~$150 without hard drive
~$270 with 80GB hard drive
The CompactDrive is a hard disk based device that backups data
(photos, video, documents etc.) from a memory card to the internal
hard disk without the need for a computer or external power source.
It is extremely useful for people like photographers who shoot
a lot of digital photos but do not wish to buy multiple cards.
With the CompactDrive, you can simply download the memory card
data into the device and free up the card for more shots. At
the end of the day, just connect the CompactDrive via USB to
your computer to access the photos. A CompactDrive cost less
than a tenth of the cheapest memory card of similar capacity,
so why buy multiple memory cards when a CompactDrive is all you
ever need.
Epson
P2000: ~$500 USD
The multimedia storage viewer that delivers every detail.
Enjoy the freedom of multimedia portability with the Epson® P-2000,
featuring a 40GB | 
