0% found this document useful (0 votes)

190 views70 pages

Module 8

Uploaded by

rowena.singh2017

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

0% found this document useful (0 votes)

190 views70 pages

Module 8

Uploaded by

rowena.singh2017

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 70

Module 8 Equipment

& Software

Image © alekseyliss – Adobe Stock | Professional Photography Course

Module 8 | Equipment & Software | Index

Index
Camera Choices 4
Format Size 5
The Small Format Camera System 7
Advantages 7
Disadvantages 7
The Medium Format Camera System 7
Advantages 7
Disadvantages 8
The Large Format Camera System 8
Advantages 8
Disadvantages 9
My Choice of Camera System 9
Small Format DSLR System 10
Small Format Compact Systems (CSCs) 12
Medium Format System 14
Large Format System 16
Questions & Considerations 21

Buying vs. Hiring 23

Buying Considerations 24
Hiring 24

Which Lenses Do I Need? 25

Where Is the Technology Going? 30

Lighting Equipment 32
Studio Flash Units 34
Monobloc Studio Lights 36
Using Multiple Speedlights 37
Which Brand Should I Buy? 38
Portability 38
Tungsten Lighting 40
LED & Fluorescent Lighting 40

Second-Hand Gear 41

Professional Photography Course | Version 3.0 | Copyright © Online Education All Rights Reserved
Module 8 | Equipment & Software | Index

Computers & Monitors 43

The Calibration Device 46

Data Storage 49
Digital Video Discs (DVDs) 50
Disc Dos & Don’ts 51
Disc Dos 52
Disc Don’ts 52
External Hard Drives 53
RAID Arrays 53
Solid State Drives (SSDs) 54
The Future of File Storage 55
Future Proofing Your Files 55
My Storage System 56

The Graphics Tablet 58

Image Capture Software 60

Capture One Software 61
Adobe Photoshop, Lightroom & Camera RAW 62
Specialty Software Apps 64

New Technology 66

Assignment 8 68
All Cameras 69
Part A 69
Part B 70

Professional Photography Course | Version 3.0 | Copyright © Online Education All Rights Reserved
Image © Christian Mackie

Camera Choices
Module 8 | Equipment & Software | Camera Choices

Many people are attracted to beautiful objects while others in particular to the camera. This is
how some get involved with photography, simply because they love these kinds of gadgets.
It’s a trap to be wary of in my opinion, although I must admit to having fallen prey myself.

Cameras, lenses and sundry equipment are photographers’ tools of the trade and should
ideally be purchased for the correct reasons. In the following section, I will explain the important
criteria that every photographer should consider when purchasing photographic equipment.

Image © Annie Spratt

Format Size
In the days of film, a larger film format yielded superior results. This was a hard-and-fast truth,
plain and simple. However, this is not necessarily always true with digital technology. When
considering purchasing a new camera system, it is always essential that you keep the end
product in mind.

Something to consider is if you work primarily for magazines, rarely use a tripod, shoot often on
location, or your work will only occasionally be enlarged beyond A3 size, you should think long
and hard before buying a large or medium format camera system. Personally, I have always
tried to use the smallest camera format that will get the job done. Cameras in this respect, are

a lot like cars in that it is generally easier and more fun to drive a small and powerful sports
car than a large 4WD or truck. The sports car is always easier to handle, more responsive and
intuitive to drive.

For me, it is much the same with cameras. I just seem to take better photos with small format
cameras than with large format cameras… they are simply just easier to drive.

Image © Braden Jarvis

The Small Format Camera System

Advantages
– Lower in cost than larger format cameras.

– Lighter in weight with smaller lenses.

– Greater range of lenses available.

– Faster lenses available (larger aperture).

– Lenses equipped with faster autofocus systems.

– Superior integrated metering and exposure compensation systems.

– Various shooting modes available.

– Easy to handhold.

– Can continuously and very rapidly shoot multiple frames per second.

– Brighter viewfinders due to the faster lenses.

– Available in DSLR, mirrorless and rangefinder formats.

– Available as full frame 35 mm sized sensor (24 x 36 mm).

– Smaller cameras are also available with APS-C (23 x 15 mm) sized sensor utilising shorter
focal length lenses.

– Available in CCD or CMOS chips.

– Large ISO range – from 50 up to and beyond 128,000.

Disadvantages
– Lower maximum pixel count available than medium format cameras.

– Smaller bit depth than medium format cameras.

– Enlargement size is restricted due to the above factors.

– Lesser image resolution if the light receptors are too densely packed on the sensor.

The Medium Format Camera System

Advantages
– Higher possible maximum pixel count than small format cameras.

– Greater bit depth than small format cameras.

– Bigger print enlargements possible due to greater pixel count and bit depth.

– Superior preview tools on digital back.

– Less noise in the shadows.

– Greater dynamic range.

– Digital backs are interchangeable.

– Some legacy systems can shoot both film and digital.

– Looks impressive to clients.

Disadvantages
– Very expensive, often 3-4 times more than a small format system.

– Big and heavy, both camera body and lenses.

– Lenses equipped with comparatively slow autofocus systems.

– Slow to use, generally requires a tripod for support.

– Limited and expensive lens range.

– Few zooms available.

– Slow lenses with larger maximum aperture.

– Slow shot rate.

– Shorter battery life.

– Relatively narrow ISO range.

– Dim viewfinder image due to the slower lenses.

The Large Format Camera System

Advantages
– Adjustable lens and sensor standards, enabling precise focus and perspective control.

– Precise depth of field control.

– High pixel count like the medium format.

– High bit depth like the medium format.

– Most systems can preview the image live on-screen prior to exposure.

– Bigger print enlargements possible due to greater pixel count and bit depth.

– Easily capable of extreme macro photography.

– Extensive range of lenses available.

– Superior preview tools on digital back or computer.

– Less noise in the shadows.

– Larger dynamic range.

– Digital backs are interchangeable.

– Most systems can shoot both film and digital.

– Looks very impressive.

Disadvantages
– Uses various medium format digital backs, so no format quality advantage exists.

– Very expensive, often 4-5 times more than a small format camera.

– Very big and heavy, both camera body and lenses.

– Very slow to use, requires a tripod for support.

– Very expensive lens range.

– No zooms available.

– Slow lenses.

– Slow shot rate.

– Shorter battery life.

– Relatively small ISO range.

– Dim viewfinder image due to slower lenses with inverted image.

– Can be affected by wind out of doors due to bellows.

My Choice of Camera System

There is a great British expression that I love, which is relevant with regard to choosing a
camera system and that is, “it’s horses for courses”. This essentially means that nothing is
always perfect and that circumstances should dictate one’s approach.

Technology changes so rapidly that as soon as I nominate make and model numbers, they are
sure to be superseded by newer and shinier things. Risking ridicule and instant obsolescence,
I will now venture where the wise fear to tread and will make some recommendations.

Small Format DSLR System

I have always used Canon cameras and lenses and have never been let down by them. My
first was purchased in 1971, a shiny new (black actually) F1 model film camera. I still have this
camera today for sentimental reasons, and it has always worked flawlessly.

I have put tens of thousands of rolls of film through it, and although the paint has worn off in
places and the brass is rounded and showing through, it still works like the day I bought it.
It has never undergone major surgery, and I could never ask more of a camera. It has always
been a trusted friend. Unfortunately, it uses film, which I no longer do…

My first camera, Canon F1 small format film SLR (1970’s)

Image © Hugo Rodríguez

I upgraded over the years to the autofocus ‘EOS-1’ film camera model, which also served me
well until the digital revolution occurred.

I now own and use a number of modern DSLR bodies of varying brands because as I stated
before, “it’s horses for courses”.

Canon 1Ds MkIII small format DSLR

Image © Craftvision – iStockphoto

When I first wrote this module, I believed that Canon had it all compared to the others, by
producing pro cameras that have retained the full 35 mm format and maximum pixel count.
Canon was the only manufacturer at the time to produce DSLRs in several models and offered
cameras using the full frame 35 mm sized sensor. Now, the field has widened, and there are
many excellent full frame cameras available by other manufacturers, like Nikon, Sony, Leica
and others. These brands all produce excellent cameras and associated lenses. Choice is
always good for competition and photographers alike.

Sony use excellent Zeiss lenses, which are available in their range. Both Sony and Nikon
produce full frame cameras with over 40 megapixels, and now Canon has countered with the
massive 50+ megapixel 5DS! Where will it end...?

The choice of camera systems is now not so easy, and anyone wishing to buy a new DSLR
system will have to do their homework first to decide which suits them best. It now seems like
there is less and less reason to own a medium format system, unless you are doing massive
prints or billboards for advertising or you heavily crop your images.

As I have previously stated, it is important to own a camera system that has great service and
hiring facilities in your town or city. You will undoubtedly, at some point, need to hire lenses
and perhaps another camera body, so you want to be able to get this gear when you need it.
If you break a lens or drop your camera, you also want speedy and professional repairs as well
as a loan facility to get you out of trouble.

If Nikon, Pentax, Sony, or some other professional quality camera system is strongly represented
in your city, I would recommend buying that system. In the end, all manufacturers build really
good systems, otherwise they wouldn’t be in business for forty or more years.

If you travel a lot on assignments, I suggest buying Nikon as I believe it has the strongest
worldwide representation, although I do believe that Canon has possibly caught up in recent

years. I would strongly recommend checking this out with other professionals in your field. It
is also worth considering if any of your friends have pro gear as well. It could be a good move
to buy the same brand as them if they are happy with the marque; that way you can support
each other in time of need.

As a word of warning, I would advise against buying a camera system on the strength of some
quoted, astronomically high, ISO capability. The reality is it is unlikely that anything over about
1600 ISO would be usable for professional purposes. The image library who sells my images
will not accept images shot over 800 ISO, and I suspect that many others will have similar
restrictions. At super high ISOs, the image quality simply isn’t adequate for commercial use.

Small Format Compact Systems (CSCs)

This category did not exist a few years ago but is now a valid alternative to the DSLR for some
photographers. It all began with Leica developing a digital version of its classic rangefinder
‘M’ system but has now been greatly expanded by the Japanese manufacturers in particular.

Initially, compact cameras were small, inexpensive shirt pocket cameras, which were equipped
with a small sensor and a fixed or slow zoom lens. When compared with a DSLR, they were
considered to be toys for amateurs. Recent advancements in digital sensor technology and
miniaturisation have, however, allowed manufacturers to design smaller and smaller cameras
with more and more features. Manufacturers also identified a ready market for pro quality
camera systems with interchangeable lenses, but at a price substantially below what Leica had
to offer.

At first, these compact system cameras (CSCs) came equipped with the small micro four thirds
sensors that lacked pro quality, but these were successful enough for manufacturers to take
this sector seriously enough to throw lots of money towards research and development. Once
compact system cameras became available with high-quality lenses and the larger APS-C
sensor, a viable alternative to the DSLR was born.

In the film days, Olympus found a niche market by producing a high-quality SLR camera and
associated lenses, which were considerably smaller and lighter than the well-established
competition had to offer. The ‘OM1’ as it was called, was a great success right from the start
and now Olympus has returned to form with its compact ‘OM-D’ system, which boasts a small
size and an almost astronomically high maximum frame rate of 60 fps.

Olympus OM-DE-M1X

Fujifilm X-T3 mirrorless CSC

Sony and Pentax have also entered the fray and produce a high-quality CSC range, but for my
money, the Fujifilm wins hands down with their amazing ‘X’ series, which uses its revolutionary
X-Trans sensor coupled with a range of new and spectacular lenses. I have found that the
quality of the Fuji ‘X’ cameras and lenses produces the kind of quality that seems much greater
than the sum of its parts.

When it first appeared, I bought the relatively diminutive Fuji ‘X-Pro 1’ camera and worried
that the APS-C, 16-megapixel sensor would be lacking, but I can assure you that it is not. I
quickly discovered that it produced images that were equal to or better than my 36-megapixel
Nikon ‘D800’ DSLR camera. The newest iteration of my camera is the Fujifilm ‘X-Pro 3’, which
sports a similar sensor to the ‘X-Pro 1’ but is outfitted with 26.1 megapixels and a host of
feature improvements.

One might now be wondering if we should all sell our DSLRs and hop onboard the CSC train.
Alas, the truth of it is that as good as CSC systems are, I have to admit that they do not suit
every photographic situation. I believe that they would be good for most street photography,
landscapes, travel, portraits, and perhaps weddings; areas where lugging around a big, heavy
DSLR system is a distinct disadvantage. What the DSLR has over the CSC systems so far is
advanced focus systems, which allows seemingly instantaneous autofocus and focus tracking.
The range of lenses and accessories available for DSLR systems also exceeds that of the CSC
competition... but this is changing rapidly! Fujifilm and Sony, in particular, appear to be putting
so much development capital into CSC camera and lens development, that I wouldn’t bet
against them succeeding in making these little beauties the cameras of the future.

Medium Format System

With medium format cameras, the choice of style, brand and model gets a bit trickier. As
mentioned above, for the small format system, the hire and service criteria would probably
be my primary justification for choosing a particular system. Price also plays a major role in
the decision-making process here, as there is quite a wide gap between the really expensive
European brands and the exceptionally high quality of the Japanese brands.

At the top of the heap would have to be Hasselblad and the collaboration between Mamiya,
Leaf and Phase One systems. Rollei was a major player when I first wrote this course. However,
they have since collapsed financially and have been bought out by Phase One, who have
continued to produce Leaf digital backs, although sadly, not the excellent AFI camera.

Manufacturing high-end digital camera equipment seems like it is only for the brave…

Over the years, I have owned Rollei, Hasselblad, Mamiya and Bronica systems. In truth, they
were all good, and they served me well. I sold the Hasselblad’s because the Rollei system was,
at the time, 1980s technology, while the Hasselblad remained 1950s technology. In recent
times, Hasselblad has re-established itself as the serious player in the medium format arena
and has released a corker of a digital camera system, called the ‘H6D-400C’, which sports an
amazing 100-megapixel sensor back. This USD$ 48,000 beast is also capable of ISO 64-12800,
a 15-stop dynamic range, and a 16-bit colour depth. I haven’t used one and have no need to
buy one, but it looks like it’s a real game changer.

Rolleiflex K4A TLR medium format camera (1950’s)

Image © Alexander Andrews

Mamiya is an excellent choice for those of you with a somewhat smaller budget or a preference
for Japanese lenses. They have always made very high-quality professional equipment that
represents excellent value for money. I have owned several Mamiya medium format film
cameras – the ‘RB67’, ‘RZ67’ and the twin lens ‘C330’. I enjoyed using them all, and they
proved to be excellent systems that were also trouble-free.

Mamiya, as stated previously, is now in partnership with Phase One, and their most recent
offerings are sold under the Phase One banner. The latest model is the Phase One ‘XF IQ4’
150 MP camera system with its massive 151-megapixel back. This incredible system also has
an impressive array of lenses to suit most, if not all photographic requirements.

Phase One XF IQ4 150MP Camera System

The Leica ‘S’ was the first medium format camera to dispense with interchangeable backs and
instead incorporated the sensor into a camera body that looked like an oversized DSLR. Leica’s
newest model is the ‘S3’. Other manufacturers, like Hasselblad, Fuji Film and Pentax, have
also entered into the medium format arena, and there are rumours that Sony may be joining
them with its own medium format system. Not all of these models are DSLR and some are in
fact medium format rangefinder cameras, but what they all have in common is that the sensor
is incorporated into the body. Most sensors are in the 50- to 60-megapixel range, with the
exception of the Fujifilm ‘GFX 100’ with an impressive 102 megapixels.

I predicted less than a decade ago that the digital back manufacturers would stop at 50
megapixels. I have easily been proven wrong, which shows the danger of making predictions.
Where will it stop?

Fujifilm GFX 50r

Leica S3

Large Format System

I am probably a bit biased, however, as far as I am concerned, there is only one real contender
for the large format crown and that is Sinar. For my money, it beats the others hands down with
quality, innovation, features, and ease of use. It costs a bomb, but if you are getting the type
of work that requires a large format camera, you can afford it.

Sinar is totally on top of the digital revolution and is continually producing new and phenomenal
equipment that still works with the old systems. I purchased a Sinar digital shutter for my Sinar
‘P1 5 x 4’ camera in 1983, and at the time, I paid what was then a small fortune for it.

This was astonishing technology when it was first released and still seemed special even after
ten years, which shows how advanced it was. It allowed the photographer (me) to work from
behind the camera and reliably set the aperture and shutter speed with a servo-driven control
unit mounted on the lens standard.

It also automatically shut the lens and stopped it down to the set aperture when the shutter
release was depressed, or a dark slide was inserted into the film holder. At the time, this was
ground-breaking stuff.

I used this piece of equipment for nearly twenty-five years. I have shot thousands of sheets of
film with it, and it is still working, although nearly a museum piece now. With Sinar, you pay
top money, but you always get good value for money.

A few years ago, I bit the bullet and purchased a Sinar ‘P3’ digital system with associated
lenses and a 33-megapixel multi-shot digital back. It is a misconception to still think of it as a
large format system since it accepts a standard medium format digital back. However, it does
have all the movements of the traditional large format view camera, just in a smaller package.
It cost a small fortune of course, but the cost was recouped within the first year of operation.
I am able to do things in-camera that would take endless hours of Photoshop retouching to
achieve. Call me old-fashioned, but when I think of photography, I still think of cameras and
not computers.

Sinar P3 - DF

Taken with a Fuji Velvia ISO 50 transparency film with a 6 second exposure, using a 300mm Nikkor lens,
near Sterzing/Vipiteno, South Tyrol, Italy
Image © rachel_thecat

J. Shimon & J. Lindemann self-portrait with 8x10 Deardorff view camera in their Manitowoc, Wisconsin studio, 2009
Image © J. Shimon & J. Lindemann

Taken with a Fuji Velvia ISO 50 transparency film, with an 8 second exposure,
using a 110mm lens Schneider Super Symmar XL lens
Image © rachel_thecat

“The Calutron Girls” Y-12 Oak Ridge 1944 Large Format

Image © United States Department of Energy

Questions & Considerations

Here are some things to keep in mind when contemplating purchasing a camera system, over
and above what we have already discussed:

– What am I actually going to use my camera for?

– Do I really need anything bigger than a high-quality small format system?

– Do I really need to have camera movements?

– If I can afford only one system, which format will I get the most use out of?

– How big will the image be enlarged 95% of the time?

– Can I get away with a couple of zoom lenses or should I buy prime lenses?

– The Canon ‘5DS’ creates a 50.6 MB file when shooting RAW in 16-bit (14-bit really).
Do I really need more? Could I use less?

– Is my computer equipment and storage system up to handling masses of huge image files?

– Smaller, lighter, cheaper, faster is usually better.

– Having tried a few medium format digital systems, they still feel slow and primitive compared
to my Canon, Nikon and Fuji small format cameras.

– Always keep in mind that you don’t need to swat a mosquito with a sledgehammer.

Joshua Tree California USA taken with a medium format camera with 6 x 6 cm Extar 100 ISO film
Image © Lawrence Freytag – iStockphoto

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 22
Image © Museums Victoria

Buying vs. Hiring

Module 8 | Equipment & Software | Buying vs. Hiring

Buying Considerations
– Leasing terms are often available to help ease the financial burden (or spread the
financial pain!).

– You will use equipment more if you own it.

– You can often buy cheaper second-hand equipment.

– You may need to have new equipment insured, the cost of which can be prohibitive.

– Your equipment is always at hand and in good working order.

– Buying is advisable for equipment that you will use regularly.

– A good second-hand market exists when you decide to move on.

– If you work often, it is much cheaper to buy in the long run.

– Digital technology is quickly superseded. You must buy cleverly.

Hiring
– You can usually hire the latest gear.

– Some hired gear is not always available when you need it.

– Maintenance is not your problem or expense.

– Hiring is advisable for gear used infrequently or for specialist purposes.

– Hiring equipment will increase your quotes on jobs, possibly losing you work, if based
solely on price.

– Gear for hire is not always in top condition.

– Hired gear will generally be quickly replaced if malfunctioning.

– Disposing of outdated equipment is not your problem.

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 24
Image © Anna Auza

Which Lenses Do I Need?

Module 8 | Equipment & Software | Which Lenses Do I Need

This is a tricky question as it really depends on the type of work you do. I shoot mostly food for
magazines and advertising, although about 10% of my work is shooting interiors and lifestyle,
mainly for magazines.

Here is a list of the major lenses that I own for my primary small format DSLR and a rough
guess as to their usage:

Lens Usage
20 mm 5%

24 mm TSL 5%

24-70 mm 10%

24-105 mm 5%

85 mm 20%

90 mm TSL 25%

135 mm 25%

200 mm 5%
The current lens usage for my small format SLR

As you can see from the above table, it appears that I have a few favourite lenses that I use the
majority of the time. I never owned a zoom lens until I bought the digital gear a few years ago
and as you can see, I clearly still rarely use them.

In case you are curious, the reason I own two zooms so close together (24-70 mm & 24-105
mm) is because I bought a Canon ‘5D’ and the cheaper 24-105 mm lens to carry around with
me and shoot snaps that I see in my travels. However, the reality is that I now use my Fuji
‘X-Series’ system for that purpose and the ‘5D’ sits in my camera bag as a backup camera.

We all have different needs, and one’s choice of lens will also depend upon the type of work
you do, your style, and what you shoot. I shoot food and work mainly in my studio these days,
mounting my camera on a camera stand. I love the results I get from using the 90 mm f/2.8 TSL
(tilt-shift lens), which works best when mounted on a stand or tripod. It focuses macro-close
and having the tilt allows me to precisely control my plane of focus. This allows me to use the
small format equipment for some images, where I would have previously had to use the Sinar.
As I said before, I always prefer the smallest camera that I can use to get the job done.

Canon 90 mm f/2.8 TSL

Image © Craftvision – iStockphoto

Taken with my 90 mm tilt-shift lens

Image © George Seper

Tilt-shift Lens
Image © Matt Benson

Tilt-shift lens
Image © Jamie Street

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 29
Image © Daniel Korpai

Where Is the Technology Going?

Module 8 | Equipment & Software | Where Is The Technology Going?

This is a great question, and I have already made some educated guesses, which history has
already proven wrong. Here, I really stuck my neck out when I first composed this list in 2007…

• My guess: Film will all but disappear, possibly within a decade, except for specialist uses,
art photographers and hobbyists.

In reality: Film disappeared from professional commercial photography after only five
years. Magazines, image libraries and advertising agencies will not accept film originals in
my experience.

• My guess: The ability of digital sensors to resolve detail will soon outstrip the lens resolution,
so unless there is a big breakthrough in lens technology, there seems little need for more
and more megapixels.

In reality: This seems to be true, although my original ceiling was 50 megapixels and the
maximum at this time is 150 megapixels.

• My guess: Connections to computers will all eventually become wireless and as far as I’m
concerned, the sooner, the better.

In reality: This has happened, and images can be wirelessly transmitted to computers,
iPads and phones.

• My guess: Instead of much higher pixel counts, I believe that future digital capture
devices will have much greater bit depth and dynamic range, giving much more colour and
tonal information.

In reality: This has now happened, but the megapixel juggernaut rolls on regardless...

• My guess: Improvements will constantly be made in sensor design to minimise design

flaws, which will reduce noise, colour fringing, moiré and blooming.

In reality: It seemed that it was the software that was improving rather than the sensor
manufacturing techniques. This is now changing as I write…

• My guess: The dynamic range of digital capture systems will continuously be extended.

In reality: A dynamic range of 9 stops was typical when I first wrote this module, and
now most pro DSLR cameras have 11-12 stops, and the Hasselblad ‘H6D’ boasts a
15-stop range.

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 31
Image © lapandr – Adobe Stock

Lighting Equipment
Module 8 | Equipment & Software | Lighting Equipment

When discussing a photographer’s lighting requirements, it is essential to define the

photographer’s needs with regard to the nature of the work they typically do. What it really
generally comes down to is answering the questions:

1. How much power do I need?

2. How much portability do I require?

3. Will mains-power always be available?

Powerpack studio lighting set up

Image © Hélène Vallée – iStockphoto

Modern studio flash equipment is remarkably portable, albeit a bit heavy. The reason for
the weight is a result of the nature of how modern flash units operate. All flash units are
able to function by storing an electric charge in a bank of capacitors, which are designed for
this purpose.

The capacitors, typically stacked in banks, in conjunction with a heavy transformer and some
electronic circuitry, have the ability to convert normal house power or even battery power from
a low voltage, high current environment, into an extremely high voltage and low current one.

This high voltage charge is stored in these large, often oil-filled capacitors and is made
available for extremely quick discharge through the connected flash tube or tubes. If you think
of the process as similar to storing lightning, you wouldn’t be far off. In order to store massive
amounts of electrical energy, the capacitors must, by necessity, be large and heavy.

There is normally additional circuitry in the units, depending on their complexity and features
that control flash duration as well as power splitting and other functions.

All flash units, from the humble flash in your happy snapper to the huge studio units on wheels,
operate with these same basic principles. The size and weight of the unit is nearly always
directly proportional to the power output of the unit. Therefore, high-power, feature-packed
studio flash units are larger and heavier than their simpler, lower power cousins.

Studio Flash Units

Generally, studio flash units are rated in ‘joules’, which is the measure of the power output.
In the old system (and still in America, I believe), they are rated in watt/seconds. Think of
the joules in the flash units the same way you think of cars and horsepower. In fact, each
measurement of power can be converted mathematically into the other, if you are so inclined.

Powerpack studio flash units start at around 1200 joules and typically peak at around 6400
joules, although specialist systems are available outside these limits. These are in effect, a
centralised control unit that stores the flash charge until the camera’s shutter is pressed. They
typically have connections for operating up to three or four separate flash heads from a single
power pack.

On simple units, the power is divided evenly between each head. On more expensive and
complex units, each head is operated more or less independently. Flash heads usually come
equipped with a high-power tungsten or quartz ‘modelling light’, which allows the photographer
to see what the lights are doing proportionally, without having to discharge the flash unit.

Again, the simpler units have a manual adjustment for the intensity of the modelling lights,
while the more expensive units have an electronic control circuit that directly controls the
modelling light proportionally to the power output. Really expensive units allow the operator
to adjust the flash duration as well as the colour temperature of the flash heads, within a
reasonable range. The more expensive units also have a metering system that can link with the
flash unit via an infrared connection for the purpose of further control.

The flash is fired via a thin cable on the cheaper units and via an infrared unit, mounted on the
camera on the expensive ones. Ultimately, you get what you pay for...

Over the years, I have owned units made by Bowens, Balcar, Elinchrom and Broncolor. All of
these units have been reliable. Although, I have to say that the current Broncolor units, which I
have owned for about twenty years or so, are by far the best. They are also the most expensive.

Broncolor Para 330 FB in use

Image © August Bradley

Choosing a brand and model will depend on your budget and I recommend buying the best
unit you can afford. If you buy wisely, you can stick to the same system for almost your entire
career, which in the long run, will save you heaps of dough. As far as how much power and
how many units you require, again it depends on the type of work you do. When I was doing
serious advertising on large format cameras five days a week, I had three Broncolor packs,
which I often used simultaneously. I had two 3200 joule and one 6400 joule packs. These gave
me the ability to run a maximum of ten flash heads, as well as shoot at f/45 on the 5 x 4 camera
using 100 ISO film. I do less lighting now than I used to. Currently, I have a 1600 joule, 3200
joule and a 6400 joule pack that are capable of running ten flash heads and I haven’t been left
wanting since I resumed working again over fifteen years ago.

If your budget only extends to one flash unit, I suggest getting one that allows for lots of
power variation between the individual heads. I would also recommend getting a unit that is
capable of running four flash heads with 1600 or 3200 joules of power, depending on your
photographic style. If you like shooting wide open with little depth of field, I would opt for less
power and increase the camera’s ISO if necessary when more DOF is needed. This will cover
you for most situations, especially if you learn to shoot using reflector boards. I usually only
use one or two units, occasionally I will use three. You will really learn to make do with what
you have on hand.

Photoshoot with reflectors

Image © Flaunter

Monobloc Studio Lights

Many manufacturers make standalone flash heads, with an inbuilt power supply, flash and
modelling tube all in a lightweight case. These have gained popularity in recent years due to
being lightweight, low cost and dispensing of the necessity for a flash cable connection to a
central pack.

Years ago, I thought that these units sounded like an excellent idea and bought a couple,
which I quickly regretted. I got tired of running around the studio to fine-tune the power knobs.

Having been burned, I have disliked these ‘mono lights’ ever since. However, I have now
tempered my disdain as a result of feedback from my many students who have had great
success with them.

Monoblocs do have their advantages in that they are very portable. The lack of the umbilical
cord to a central pack makes them ideal for using outside for weddings, for interior shoots and
architectural photography. They are also affordable and can be bought one at a time, instead
of having to fork out for an entire lighting system all at once. In recent times, the power output
and other features can now be controlled by a Wi-Fi or Bluetooth connection, precluding the
need to run around the studio adjusting knobs and dials. This is a huge advancement and
strengthens the case for those who favour this type of lighting.

For the mobile photographer especially, there does seem to be a strong case for these more
portable and cordless units, many of which can be powered by a battery. I guess that you can
teach an old dog some new tricks...

Monobloc studio lighting set up

Image © Aleksey Poprugin – iStockphoto

Using Multiple Speedlights

I have seen some web ‘experts’ who recommend using portable flash units for lighting, like
the type that attach to the hot shoe of your DSLR. All I can say is, all that matters in this game
is that you deliver the goods at the end of the day. There are no right or wrong methods, just
some that work better and more reliably than others.

Over the years I have tried many different types of lights, from handheld torches, car headlights,
to LEDs, and although they all work in their own way, I have found that it suited me best to
become an expert using one set of lighting tools. We photographers are all different, shoot
different things, under different conditions and have different needs and ideas. In the end, I
believe that it is best to sample broadly before committing to any expensive system. Always
remain open-minded.

If you are interested in exploring speedlights and using them to maximum effect, this is a good
place to start:

strobist.com/

Which Brand Should I Buy?

Here, again, I will strongly recommend buying a unit from the most professional retailer in your
area. Repairs, hire stock, as well as prompt and reliable service, is of utmost importance when
it comes to flash equipment. I rate these factors more highly than individual branding. As I
stated previously, I have found every brand of flash unit to be reliable over many years of use.
When I work in the UK, I used Bowens’ equipment, as it is a local brand and well supported.
When in France, I use Elinchrom for the same reasons.

At home, I prefer my Swiss-made Broncolor gear for the features, not because of lack of
reliability on the part of the other brands. Let’s face it, a flash unit is basically a high-tech plastic
box filled with huge capacitors and a few electronic circuit boards. It is a pretty simple thing
with no moving parts.

To make my point stronger, I used Balcar for about fifteen years and was a very happy customer.
I selected Balcar for the sales and service reasons and was always happy with my decision. The
supplier eventually replaced the Balcar agency with Broncolor, and I instantly traded the Balcar
equipment, (which I was very happy with) for Broncolor, due entirely to continuing my sales/
service relationship with the supplier.

Common studio lighting brands

Portability
Apart from the STROBE equipment brand, which I haven’t seen for years and which was heavy
and big enough to be used to anchor an ocean liner, most studio equipment is reasonably
portable. All of the gear, however, is still relatively bulky and heavy. You can cancel your gym

subscription if you travel a lot and I recommend that you get good travel cases to keep your
gear safe and to allow you to move around quite comfortably. If you travel internationally, be
sure to get a system that can operate with both 110-120 and 220-240 volts.

Broncolor Verso Studio Pack in use

Please Note: Do not do this! If a light tips over into the water you will all be electrocuted!
Image © Broncolor

I have tried portable lighting equipment or mono lights, which as we discussed, usually consists
of a single head with an inbuilt flash power supply but I had always been disappointed. At the
end of the day, I always found I got better results by packing up my studio gear and taking
it on location with me. It also saved me the expense of having to buy two separate lighting
systems – one for the studio and one for location work.

As I have said previously, this type of lighting has made huge advances in recent years, and I
am now more open-minded on the subject of these handy lights.

I read recently that Broncolor have a battery-operated mono light system known as the ‘Siros
800’, which would have to be the ultimate in portability. Other manufacturers may have similar
units so I will leave it to you to do the research if interested.

Tungsten Lighting
I have never bought tungsten lighting although I did inherit a couple of 5K Fresnels that were
left behind by the studio’s previous photographer. These are currently used for throwing extra
light into the kitchen area for the cooks and stylist.

I have yet to use them for photographic purposes, although I have been in their company for
over five years. Some people love tungsten lights, but I have never found that they can do
anything that my flash lighting can’t do. They also come with some serious disadvantages,
which is why flash lighting was developed over sixty years ago for stills imaging in the first
place. Heat and power requirements are one of the biggest drawbacks, and I recommend
referring back to Module 6, where I discussed these issues and safety concerns in great detail.

Tungsten Lighting

LED & Fluorescent Lighting

When compared with professional quality flash units, I’m afraid that I don’t regard these
new light sources very favourably… yet. They may have their uses for some specific stills
applications, and they appear to be popular with videographers, but this is where it ends for
me. Light quality seems to be quite nice on some units, but power output is too low to be
useful for general photographic imaging and some of the LED units are expensive, considering
their limited light output.

Rotolight AEOS

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 40
Image © Taras Zaluzhnyi

Second-Hand Gear
Module 8 | Equipment & Software | Second Hand Gear

Many people wonder if it is a good idea to buy second-hand gear. Over the years, I have saved
lots of money by buying second-hand stuff, and I have to say that I have never had a problem.

If you are the type of person who quite comfortably will buy a second-hand car, then I see no
reason why you shouldn’t buy a second-hand camera and flash gear. Here are some pointers
that may help you:

– Second-hand gear will often be half the new price or less.

– Try to buy from amateurs and not pros. An amateur’s gear is generally much less used and
much better treated.

– Consider spending a bit more money to buy from your favourite reliable reseller, rather
than online.

– Best to always try before you buy, whenever possible.

– Request some form of warranty, whenever possible.

– Flash equipment is quite simple and not much goes wrong if the equipment has been
well treated.

– Look for discolouring (usually yellowing or a milky deposit on flash tubes). This indicates
frequent use or age and should greatly reduce the price.

– In all the world, New York has particularly cheap new and second-hand photographic gear.

– If a flash unit’s casing has signs of stress, be wary and insist on a money-back guarantee. It
may have been dropped and damaged.

– Look closely for mould inside lens elements when buying lenses, especially in a humid city.
If found, don’t buy. A mouldy lens must be disassembled and professionally cleaned, which
is expensive.

– Make sure the autofocus servomotor works in newer model AF lenses.

– Closely inspect the multi-coatings on lenses for scratches and wear. If scratches are minor,
try reducing the price.

– Check a camera’s battery compartment for signs of corrosion caused by a leaking battery.
If found, don’t buy.

– Take a shot of clear blue sky or a grey card on a second-hand digital camera at f/22 and
enlarge the image and look for scratches or other damage to the sensor, which will be
apparent on-screen.

– Best of luck buying online, you may get lucky and then again, you may not. Be sure to email
the seller and ask for the equipment’s history, condition and usage, and cross fingers that
they are truthful.

– I personally have only bought second-hand gear from reputable shops locally or from New
York over the phone or in person. I have never been disappointed.

– Happy shopping!

Professional Photography Course | Version 3.1 | Copyright © Online Education All Rights Reserved | p. 42
Image © Daniel Korpai

Computers & Monitors

Module 8 | Equipment & Software | Computers & Monitors

People often wonder about the best computer system to buy. Can I buy a cheaper PC or do I
need to fork out for a Mac?

The Mac versus PC debate

My ex-wife and I owned retail shops together for ten years and at the time, the business owned
about fifteen PC computers. My first four computers were PCs, and I have also owned many
Macs. I currently own a PC notebook to run my navigation software on the yacht. I also have
a Mac Pro with a 24-inch screen, a 15-inch MacBook Pro and a MacBook Air (for travelling).

As background, I learned computer programming in 1969, and at one time could program in
Fortran IV and COBOL. I have been using personal computers since the late 1980s. As you can
see, I’ve been around the block a time or two...

I will now stick my neck out and recommend using a Mac for digital imaging. I believe it is
the superior operating system and the hardware just keeps working, year after year. Software
applications and hardware always loads and functions like they are supposed to, and I can
spend all my computer time in Photoshop instead of trying to get a recalcitrant computer or
OS to behave itself.

I also suggest you buy the latest and greatest model with as much memory as you can afford.
My old iMac had 4 GB of memory, and it worked okay but my file size outgrew it, and I had no
choice but to bite the bullet and upgrade to a massively more powerful Mac Pro desktop with
20 GB of memory. A faster Mac with more memory has made life a lot easier for most jobs, and
although expensive, the upgrade was worth it.

A Microsoft Surface Studio (PC)

There are those who might want to argue the merits of Mac vs. PC… each to their own.

As far as monitors are concerned, I recommend buying the biggest and the best widescreen
you can afford, especially if you do lots of retouching. There are some widescreen monitors
that are capable of transmitting the full Adobe RGB colour gamut, but you will pay the price
of a small family car for these. Most monitors transmit a percentage of the sRGB colour gamut
and getting one that is even 100% sRGB or greater is a much cheaper option than an Adobe
RGB monitor.

I had an expensive but old 20-inch Sony CRT that I used with an older Mac Power PC quite a
few years ago and tried to resurrect it for a job when I thought I should provide a third monitor
for clients. It was a sad realisation at how fast technology moves on. The old screen looked
soft and flat and warm no matter how I tweaked the knobs. It was cleared out that same day...

I think that a high-quality screen from 24 inches up is a joy to use. I love my 24-inch Eizo screen
and was happy with my previous iMac, although the light did fall off a bit in the corners. The
price of high-quality computer monitors has greatly reduced these days and even an excellent
offering like the massive 34-inch LG monitor can be bought for less than half the price I paid
for my Eizo 24-inch a few years ago.

Apple iMac
Image © Thomas Q

I bought an Eizo ‘Color Edge CG241W’ monitor over ten years ago for colour critical work and
paid a small fortune, which illustrates the importance I place on colour accuracy. Even with
daily use it is still colour accurate and still going strong, so the big spend was certainly worth
it on an hourly basis.

Digital photography is very different from film photography in that all one has to show for a
day’s work is a disk full of numbers. These numbers, which comprise the digital file, will look
different on every monitor they are viewed on. It, therefore, pays dividends to know that the
files you submit to your client have the correct colour values, and the best way to ensure this
is to have the best colour-correct computer monitor.

I even go so far as to box up my Eizo and connect it to my MacBook Pro laptop for advertising
jobs in the studio. Ideally, I should have two identical monitors, one for home and one for
the studio, but I have decided to only use one monitor so as to remove any chance of colour
inaccuracy from my workflow.

Eizos are still ridiculously expensive but Asus, for example, whose ‘Designo Curve MX38VC’
sports a massive monitor with a curved screen and somewhat less of a hefty price tag. The
‘BenQ SW2700PT’ boasts 99% Adobe RGB, is larger than my Eizo, and costs a fraction of the
price. There are lots of options in this space, so my advice is to do your homework before
buying so that you can be assured you’re getting the best value for money.

ASUS Designo Curve MX38VC Monitor

The Calibration Device

As we have come to learn, one of the curly problems inherent in digital photography is
colour accuracy.

Questions arise like, “Does the red I photographed match the red of the product?” or, “Is the
red I am looking at when I submit my retouched images the same as the red the art director
looks at when she opens them on her computer?”. Worse still, “Is this red I am looking at the
same red that the printer will ultimately print on the page?”.

As you can see, there are definitely colour issues in the digital world. In the film days, one only
needed a colour temperature meter, a bag of colour correction filters, and a lightbox balanced

for daylight. If you were really conscientious, you would have a Macbeth light source in your
workspace, which would be the same light that your client’s printer used, or any printer for
that matter. This was state-of-the-art colour management when film ruled supreme until early
this century.

In the digital world, there are many colour management considerations but first and foremost
is the fact that your scanner, camera, and computer monitor all use an RGB colour profile,
while the printer uses CMYK inks.

As I previously stated, the Adobe RGB (1998) colour space closely approximates the CMYK
colour profile, and the key word here is ‘approximates’.

Luckily, there are colour profile and colour management controls in Photoshop that help to get
the colours right, and these will be discussed in detail in Module 9.

An essential tool that I thoroughly recommend and that will help keep your colours on track
is a colour calibration device. I have used two different devices – one by Spyder and one by
our old friends, Macbeth, also known as Gretag Macbeth and now X-Rite. I have found both
to be excellent.

I have purchased my original Macbeth unit, known as the ‘Eye One Display 2’ because my
favourite supplier sells them and said they are the best. Gretag Macbeth is also the time-
honoured, industry standard for colour management and that, in the end, sold me.

Colour calibration is a real breeze once you have made your decision to purchase a calibration
device. Simply plug the gizmo into the USB port and hang/attach the calibrator in the middle
of your screen. Start the software and follow the instructions. It takes just a few seconds, and
it’s a total no-brainer.

I calibrate my laptop and Eizo monitor every two weeks or before any colour critical job. You
can let it do its thing while you go and make yourself a cup of tea. If you are working with a
bunch of people in a studio or photo club, you can buy one and share it if money is tight.

Eye One in action

It is extremely important that the illumination in your workspace is correctly balanced for
daylight. Avoid working in a room with strongly coloured walls, ceiling or carpeting, is my
further advice. Avoid tungsten and consumer fluorescent lighting like the plague. There are,
however, fluorescent tubes that are available and specially balanced for daylight. I suggest
that these are used in the space where you do your computer work. If this is not possible and
you have little control over your work environment, there are also special hoods made to fit
over the monitor to block out ambient light. This can be made out of black cardboard and
gaffer tape in a pinch.

Data Storage
Module 8 | Equipment & Software | Data Storage

It has now become the photographer’s responsibility to archive all images that they have
been commissioned to take. This is not so different from a photographer in the old days who
stored filing cabinets full of black-and-white negatives. In the film days, there were stories of
photographers, like Edward Weston, losing years of work in studio fires, and my old mate,
John Pearson, who lost all as a result of a darkroom flood in the studio above his.

Today, photographers must take care and protect their digital files because once they are
gone, so is the image. Forever!

Here are some solutions for storing digital image files.

Digital Video Discs (DVDs)

The DVD was first released to consumers in 1996 for the purpose of replacing VHS tapes,
primarily to store feature films for sale to the public. DVDs have a much larger storage capacity
than CDs, and a single-sided DVD can typically store about 4.3 gigabytes, which was enough
space to record and store most Hollywood films. This capacity is over five times greater than
the capacity of a CD-ROM, which was originally developed to replace vinyl record albums
about a decade earlier. Dual-sided and dual-layer DVDs are also available, having twice and
four times this capacity. However, I have never used these and, therefore, cannot recommend
their use.

Before the end of the last century, writable DVDs and DVD writers became available at an
affordable price, which made this technology a viable image storage option for photographers
and others.

Kodak Writable CD Media, when stored under the recommended dark storage condition of
25°C with 40% relative humidity, have a quoted life expectancy of 217 years. Kodak maintains
this lifetime will apply to 95% of the population with a 95% confidence level. I have read other
reports while researching this topic that give a shorter lifespan of between 30 and 200 years,
depending on the quality of manufacture and the CDs storage method used. I will discuss
more about this archival issue a bit later.

A few years ago, scientists at the National Institute of Standards and Technology (NIST)
conducted a study of CDs and DVDs to measure how long digital information recorded onto
them would survive. They concluded that most CDs and DVDs will last 30 years or more if
handled with care. However, many factors can shorten their lifespan.

As you can see, this 30-year prediction is nearly two centuries less than Kodak’s longevity
statement and is much less than we photographers require. It pays to be suspicious of
manufacturers’ claims and to exercise great vigilance where the archival storage of your image
les is concerned. It also pays to buy the best quality and most reliable DVDs rather than
the cheapest. One factor with digital image storage that generally works in a photographer’s
favour is that images are generally stored and only rarely removed from storage to retrieve
image files.

I believe that handling DVDs infrequently will yield a much better storage life than NIST
conservatively predicts. If you regularly retrieve files from certain DVDs, it would be in your

interest to have a multiple copy of these frequently used DVDs that sit quietly in the archive
unused.

If you store your images on DVDs as I still do, I believe that it is worth randomly checking your
DVDs every few years by making a close visual inspection, as well as attempting random data
retrieval. I also suggest cataloguing your DVDs or at least writing the date and job info on it.

Although now considered to be ‘outdated technology’, I still use DVDs as the hardcopy backup
component of my digital archiving system. I do this because I prefer having immediate access
and physical control of my images, since I have learned the hard way to be wary of third-party
solutions. I also like having physical hard copies of my images, just like I prefer having some
cash in my wallet (and yes, I realise how ‘old school’ this is…).

Currently I use writable DVD’s and 6 TB Lacie RAID drives for long term double backup with
redundancy. Note that RAID drives, Solid State Drives, and other data storage solutions will be
discussed further in a few pages.

The main benefit of DVD’s from my point of view is that they shouldn’t deteriorate if only
you are handling them, and so far for over 25 years, their longevity has been proven to be
extremely reliable. DVD’s also have the advantage of being immune to hacking, data corruption,
internet failure, EMP bursts from nuclear explosions, as well as Sunspots and solar flares. On
the downside they can be misplaced, and will suffer catastrophic failure from fire, but I can
personally confirm that they can survive a good flood…

It may seem odd that I still use DVD’s but I have several (many) hard drives full of images,
that go back over twenty years and I worry how long these drives will continue to function,
since I have experienced several hard drive failures over the years. It is important that we as
photographers appreciate the fragile and ephemeral nature of our digital image files and that
we protect them as best we can. There are no moving parts to fail in a DVD and this is their
main asset as far as I’m concerned. More modern SSD drives (more on these in a moment) also
have the benefit of having no moving parts and will hopefully prove to be a viable replacement
to DVD’s, as long as the memory remains intact long term...

One proviso that must be considered and reviewed regularly however, is the future availability
of writable DVD devices, as well as the availability of writable DVD disks themselves.
Unfortunately, the writing is already on the wall it seems to me, since DVD devices are no
longer incorporated into Apple and other manufacturer’s laptops and there may come a time
in the near future, where this technology goes the way of the dinosaur - and no longer exists.
At that point a new strategy for long term data storage will need to be found and I can foresee
that ultimately, as internet upload and download speeds increase and the cost of data storage
decreases, all images will be stored externally on remote servers, aka “The Cloud”.

Disc Dos & Don’ts

The National Institute of Standards and Technology (NIST) in the USA have compiled a list of
dos and don’ts to help users get the maximum life out of their digital discs.

Disc Dos
– Handle discs by the outer edge or the centre hole.

– Use a non-solvent based felt-tip permanent marker to mark the label side of the disc.

– Keep dirt or other foreign matter from the disc.

– Store discs upright (book style) in plastic cases specified for CDs and DVDs.

– Return discs to storage cases immediately after use.

– Leave discs in their packaging (or cases) to minimise the effects of environmental changes.

– Open a recordable disc package only when you are ready to record data on that disc.

– Store in a cool, dry, dark environment where the air is clean.

– Remove dirt, foreign material, fingerprints, smudges and liquids by wiping with a clean
cotton fabric in a straight line from the centre of the disc toward the outer edge.

– Use CD/DVD cleaning detergent, isopropyl alcohol or methanol to remove stubborn dirt
or material.

– Check the disc surface before recording.

Disc Don’ts
– Touch the surface of the disc.

– Bend the disc.

– Use adhesive labels.

– Store discs horizontally for a long time (years).

– Open a recordable optical disc package if you are not ready to record.

– Expose discs to extreme heat or high humidity.

– Expose discs to extreme, rapid temperature or humidity changes.

– Expose recordable discs to prolonged sunlight or sources of UV light.

– Write or mark in the data area of the disc.

– Clean in a circular direction around the disc.

NIST also recommend that relative humidity (RH) should be in the range 20% to 50% RH and
temperature should be in the range 4°C to 20°C.

External Hard Drives

There are many brands of reliable external hard drives available, which have enormous capacity,
are extremely fast, and are now relatively inexpensive. I currently have several 2000 GB, or
2 Terabyte (TB) external hard drives made by LaCie, which connect to my computer via a
USB connection.

I also don’t like having hard drives that are too large in the event that disaster strikes, and my
data is lost. Better to lose half the data rather than all of it, I believe. I also have a LaCie 1 TB
portable drive that travels pretty much everywhere with me. As soon as the job is completed,
I copy the image files to the portable drive, which automatically acts as a backup.

LaCie 1TB USB Portable Hard Drive

Having said that, I have used these drives for several years and found them to be totally
reliable. It has been my experience though, that eventually, all traditional rotating hard drives
will die. I am careful, I do burn my files stored on the portable drives to DVD on a monthly
basis. If very busy, perhaps weekly.

These drives function in a similar way to the hard drive in your computer, except that they
come in their own case and connect most frequently via a USB or Thunderbolt cable. If you are
using a Mac, most brands of drives show up on the desktop as an available hard drive as soon
as it is connected. It is a no-brainer to use and also makes transferring files from my laptop to
my desktop computer a breeze.

RAID Arrays
RAID - Redundant Array of Inexpensive (or sometimes ‘Independent’) Disks. A RAID array uses
an array or group of several disks linked together in a single unit with a common controller.

For our purposes, the benefit of a RAID array is the fact that one of the disks can fail and the
combination of central controller and multiple disks can ensure full data recovery. Since data
can be stored over multiple disks, the RAID array is a very fast hard drive system.

In my mind, this has to be the ultimate on-site data storage solution. I also use an 8 TB RAID
array and have set-up my RAID drive in such a way that I can have two of the four disks fail
and still recover my data. There are several levels of RAID from 0 to 5, and each comes with a
greater level of security at the expense of disk space. I established my 8 TB RAID array several
years ago, and I must say that I have slept much better ever since.

Drobo provides RAID arrays for many uses. These can have from 2 hard drives with limited redundancy, up to 12+ for
maximum storage and data safety. LaCie, Q-Nap and Synology are other good brands.

Solid State Drives (SSDs)

Solid state drives are similar to the flash memory cards we all use in our digital cameras, only
much larger. The main advantage of the SSD is that it has no moving parts, which will wear
out and eventually fail. This lack of moving parts also gives the SSD an enormous speed
advantage over traditional mechanical hard drives.

One might think then that they would be a fool-proof data storage system but when first
developed, there was a fear that the data on the SSD might ‘wear off’ over time. The current
thinking is that data integrity will remain intact for some 200 years or more. This is still relatively
new technology; therefore, these claims are just a guess, but no more of a guess than the
longevity claims for DVDs.

There is only one downside to SSDs as an alternative for long-term data storage at the moment,
and that is its expense. However, this will invariably change with time, as it always does, and
prices will gradually become more affordable.

Samsung Portable SSD – T7 Touch

The Future of File Storage

The main disadvantage of any file storage system is loss through breakdown or theft. Be it
flood, fire, lightning or someone helping themselves to your things while you sleep, the end
result is the same... your images are gone forever.

In the past, one was urged to keep a copy of important data offsite. However, I find that this
simply doesn’t get done regardless of all good intentions. Backing-up gigabytes of files to
multiple hard drives and/or DVDs and then transporting them to an off-site and more secure
location is something that is usually relegated to, “next week, when I’m not so busy”. In reality,
I would guess that more than 90% of all photographers face the risk of losing most of their
images forever by neglecting to have some sort of off-site secure storage system.

Fortunately, the corporate world has come to the rescue, and I believe that Apple got the
ball rolling with the ‘iDisk’ over a decade ago. Apple’s iDisk was a virtual hard drive, which
subscribers could use to store files on. It was targeted at the road warriors who bounced from
desk to airports all over the world.

The concept, which now seems simple, was that important files and ‘work-in-progress’ could
be saved to a disk on a remote server and easily accessed via mobile data networks wherever
you are.

Apple has since developed the concept into the modern iCloud service, which links data on
tablets, phones and computers together. Other companies like Symantec, Dropbox, Amazon
and Hightail have also developed this concept into data storage and retrieval services that are
becoming increasingly popular.

As 5G and similar telecommunications networks rollout and data transfer speeds get faster
and faster, this will certainly be the archiving method of choice for all security-conscious
photographers. And this should mean you!

iCloud, Dropbox & Google Drive

Future Proofing Your Files

Adobe DNG is an attempt by Adobe to standardise the disparate camera RAW formats used
by the many camera manufacturers. Sadly, there is every possibility that in ten, twenty, fifty
years, the RAW files you store today will be unreadable.

Like the floppy disk, technology marches on and is not always backward-compatible. I suggest
you convert and store your RAW files to DNG as Adobe has always shown itself to generally

be on top of all things digital. The DNG file format has also been made free public domain
by Adobe to promote its popular usage. Note that the DNG file format still retains all of the
features of the original RAW file. The Adobe page for explaining and downloading the free
DNG converter is:

helpx.adobe.com/photoshop/digital-negative

Note: All Adobe imaging software comes with the DNG converter as part of the software
package, even if it is hidden deep within.

My Storage System
Here is where you all get a good look into a paranoid and disturbed mind!

– Canon’s capture software gives me the opportunity to store my images on the camera
as well as the computer when tethered, and I do this for backup purposes at the time of
exposure. It is nice to know that the shot exists on two separate media immediately as it
is captured.

– I take my laptop home after a shoot and immediately transfer all images from the day’s
shoot to my external RAID drive. The files now exist in three places – the camera, the
laptop, and the external RAID drive.

– I then transfer the files from the external drive to the drive on my desktop where I will do
my editing and retouching. This makes four copies of the days’ images.

– I retouch the images after selecting the ‘heroes’ and store in two new folders on the hard
drive. One folder contains the final TIFF files, and the other folder contains low-resolution
JPEGs for layout purposes and for emailing to the client if necessary.

– I copy these two new folders with the final images to the RAID drive and burn two DVDs
with copies of these two final folders – one for the client and one for my archival storage.
My archival storage DVD contains only the TIFF files and not the low-resolution JPEGs.

– Upon acceptance of the job by the client, I make a copy of my RAW files converted to
Adobe DNG format on the desktop computer and burn a DVD with the DNG files on it for
archiving. The DNG files (along with the original RAW files) are then copied to the RAID
drive. I can now delete the original RAW files from the desktop.

– When I prepare to do my next job, I erase the files from my laptop as well as the camera’s
memory card to free up space. The DNG files still exist on the desktop as well as on the
external RAID drive, along with the original RAW files. On top, a DVD of the original files
converted to DNG has been archived, as well as the TIFF finals on a separate DVD.

– When my desktop computer gets hungry for disk space, I retrieve the DVDs from the
archive and test them by randomly downloading a few images. If all is well, I delete the
images from the desktop computer. When the RAID drive gets full, I delete the original
RAW files and still retain the DNG files and the final TIFFs.

– When the RAID drive gets full, I retest the archived DVD if more than a year has elapsed
and, if all is well again, I delete the DNG files, still retaining the final TIFFs.

– When the RAID drive gets full of TIFFs, I will buy a new RAID drive, so I transfer the final
TIFF files to the new drive and start all over again with an empty external RAID drive.

– DVDs and the RAID drive are my current long-term archiving solution. However, it will soon
be superseded by my virtual iCloud drive.

I hope you can follow the process outlined above. If it was too longwinded for you to follow,
just remember to always have more than one copy of your work on separate storage media.

Things can go wrong, so be prepared. Always keep two separate DVDs as well – one with the
DNG files and one with the final TIFF files. This should be as safe as houses.

The Graphics Tablet

Module 8 | Equipment & Software | The Graphics Tablet

Trying to do your retouching with a mouse is like trying to cut your fingernails with a hedge
trimmer – it is the wrong tool for the job. Wacom make the tablets that everyone uses, and
they come in different sizes to suit most needs. I have used one since the mid 90s, and I am in
love. The graphics tablet is a large, flat panel that sits on the desk where the keyboard usually
goes. All drawing and mouse functions are performed on it with a comfortable pen tool.

A Wacom graphics tablet and pen

Once you have had a bit of practice, you will be amazed at the level of accuracy you can
achieve with the tablet. I am right-handed, so I keep the keyboard to the left of the tablet to
use the keyboard shortcuts with my left hand and draw with my right. You can get very fast at
this, and you will spend fewer and fewer hours in the digital darkroom with each passing job.
This is a genuinely worthwhile investment for serious Photoshop work.

If the top-of-the-line Wacom ‘Intuos’ tablet stretches your budget beyond reasonable limits,
other cheaper models are available from their product range on their homepage. My whiz-
bang ‘Intuos’ tablet was money well spent in my opinion. Wacom tablets will suit Mac or PC
computers and can be purchased from many computer stores.

Image Capture Software

Module 8 | Equipment & Software | Capture Software

All new digital cameras come supplied with the manufacturer’s software, which enables
you to process and store your RAW images. Most DSLR cameras also come with software
that allows you to work tethered via USB cable or Wi-Fi to the computer as well as operate
most of the camera functions from the computer. This enables you to change things like the
colour temperature, metering mode, shutter speed, aperture, shooting mode and exposure
compensation, as well as firing the shutter by simply using the computer keyboard.

This sounds a bit extreme perhaps, but if you have a shot all set-up and focused, you can
make these changes while viewing the monitor rather than having to jump up and down like a
jack-in-the-box. This is especially handy if you are working above the subject and have to use
a ladder to look through the viewfinder, as I often seem to do.

The software also comes equipped with a suite of tools, which allows the photographer to
manipulate certain parameters of the RAW image, like colour temperature and hue, exposure,
contrast, shadow bias, midpoint and saturation.

Most software also lets you compensate for lens faults, aberrations, as well as colour shift and
perspective distortion. Remember that changes to RAW files do not alter the original data.
A data file called a ‘sidecar’ is attached to the RAW file, which retains the changes made to
the file.

It is extremely worthwhile to do as much retouching as possible in the RAW processor (with

the exception of sharpening) as the image suffers no degradation at all. This is not the case
for post-production in Photoshop or other applications, so this alone is a compelling enough
reason to shoot in-camera RAW format.

Capture One Software

The medium format digital back manufacturer, Phase One, has developed a capture software
known as ‘Capture One’. I believe it is compatible with most RAW compatible cameras, and
its current iteration is ‘Capture One Pro 20’.

I have used it on occasion and am quite impressed. I know lots of photographers who use it
as their primary capture software and swear by it. I do find, however, that if I am using it side
by side in a workflow with Adobe software, the images look disturbingly different. This is, I
suspect, due to the different algorithms used by the two companies. This unfortunate turn of
events has caused me to abandon the Capture One software in favour of the Adobe products,
which I have been using for decades. Both are good products, but sometimes in life, we must
make choices...

A trial version is free to download, and the software also comes in several versions, from
Capture One Pro, to a less expensive LE version.

Capture One Pro software

Adobe Photoshop, Lightroom & Camera RAW

I feel am not putting it too strongly here to say that Adobe really has invented the digital wheel.
Back in ancient times (the 1980s), Adobe was clever enough to consult and work closely with
pioneering American photographers, namely Stephen Johnson, and they developed a digital
darkroom called Photoshop. It is the industry standard, so much so that no pro I know even
bothers to try anyone else’s products, like Apple’s Aperture, which Apple has now discontinued.

I have been using Photoshop since Version 2 in the early 1990s. Every upgrade is a quantum
leap from the previous version. The current version, which was recently released, is called
‘Photoshop CC’ and the CC stands for ‘Creative Cloud’.

Adobe also has other imaging software that works seamlessly together, like Lightroom,
Illustrator, InDesign and Flash.

As an integral part of CS2, CS3, CS4, CS5, CS6 and CC, Adobe has bundled Adobe Camera
Raw (its RAW processor) with the software. I have been using Adobe Camera Raw for several
years now in place of the Canon software; it is that good. Adobe’s file management software,
Adobe Bridge, has always been an integral part of Photoshop but is no longer bundled with
the software and is now sold separately.

The tools in Camera Raw are exceptionally powerful, and the workflow is extremely quick.
Similarly, to Capture One and Lightroom, all retouching done in RAW exists in separate sidecar
files. Therefore, it retains all original image information in the RAW file. I do as much retouching
as possible in Camera Raw before I open Photoshop for specific localised retouching and
final sharpening.

In saying that, I have recently begun to use Adobe Lightroom as my RAW processor and am
coming to love it. It has all of the Camera Raw tools and several other powerful tools, which
allow for local editing. I review this new friend in Module 9 in greater depth.

Adobe Photoshop CC

Adobe Photoshop CC Interface

Adobe Camera Raw and Adobe Lightroom also have a host of other powerful tools like great
batch processing, DNG conversion, and a gateway to Photoshop, which allows very quick and

intuitive file conversion from RAW to TIFF and/or JPEG. I use this feature daily and would be
lost without it. I can’t recommend Adobe’s products highly enough.

Photoshop Elements is a good entry-level version of Photoshop and comes with many of the
same powerful tools, but not all. For years, Ps Elements didn’t support 16-bit files but now it
does, yet it limits the availability of some important retouching tools to 8-bit files only. Despite
this, it is a great way to cut your teeth on Photoshop if money is tight.

Digital darkroom work is all about speedy workflow because retouching and colour management
is now largely the responsibility of the photographer. This often amounts to tedious unpaid
hours of work after everyone else has gone home and is tucking into their red wine. When I
shot film, my day’s work ended when my assistant dropped the film off at the lab, but things
have now changed.

There is an unfortunate trend on the part of clients who try to avoid paying a reasonable fee
for the hours spent doing digital processing and archiving. This is not good for photographers,
and my advice is to make sure that you allocate this extra time into your workflow as well
as adding a fee to your quote, either directly or indirectly. If it is a red flag to your clients, I
suggest that you simply build it into your cost structure, rather than itemise it. More on the
business side of things in upcoming modules…

Specialty Software Apps

Over the years, niche software markets have developed for products that perform a single
function. Some of these are great distractions and the time spent learning them would be
better spent elsewhere. Some, however, can at times be extremely useful and depending on
individual needs, might be worth the investment in both time and money.

The list of these apps grows almost weekly and they are too abundant to review properly here,
but I have tried a few over the years and some have become part of my ‘bag of tricks’. Some
of these apps are standalone but many are what is known as Photoshop ‘Plug-Ins’ and after
installation will appear as a menu item, often in Photoshop’s ‘Filters’ menu. Most work for Macs
and PCs.

Alien Skin produce a terrific app called ‘Blow Up v3’, which I have used with great success over
the years. It does a brilliant job of enlarging images beyond the limits set by the camera’s pixel
count. I use it when my highest resolution camera back is still lacking enough megapixel grunt
to produce an image large enough to put on the side of a bus, for example.

Another great computer app is Photomatix HDR Pro, which is a relatively inexpensive standalone
app for producing HDR images from your camera’s image files. Photoshop has expanded its
HDR capabilities over the years and so I use the Photomatix app less and less, but some pros
still swear by it.

Helicon Focus is another interesting app, which allows the user to ‘focus-stack’. This involves
combining several images of the same subject to get a much greater DOF than would be
possible using any of the traditional photographic techniques. Most photographers would

never need such a thing but it could be invaluable for produce photographers and for those
who do lots of macro imaging, where focus always deteriorates very quickly. Again, like HDR,
focus-stacking can also be done in Photoshop, but some swear by this app and say that it is
even better than Photoshop for small objects.

Similar to Android and iPhone apps, the list of image enhancement apps for computers is very
long indeed, but I find that my time is better spent mastering Photoshop, which can normally
do everything that I need it to do and more. We are all different, so don’t take my word for
it since most software developers offer a free trial period, meaning that all you have to lose
is time...

New Technology
Module 8 | Equipment & Software | Capture Software

Since the beginning of the Industrial Revolution in the mid 18th century, the pace of change
has been rapidly accelerating. My great grandfather, whom I knew as a child, passed away in
1967 at age 95. He saw the creation of the telephone, electric street lighting, automobiles,
aeroplanes, two horrible world wars, nuclear weapons and energy, and lived long enough to
watch the USSR launch an unsuspecting dog and then a man into orbit around our planet. This
is nothing short of incredible, especially if you try to imagine the world without these things.

I was born before transistors, portable radios, colour TV, commercial jets, nuclear energy,
computers, mobile phones, heart and organ transplants, and the discovery of DNA. I could
keep listing amazing technological developments but I’m feeling very old suddenly. The point
that I’m trying to make is that nothing stays the same and that humans appear to have an
insatiable hunger for innovation, invention and change.

Film is dead and digital technology reigns... for now. What will be next, you might ask? I will
put the question back on to you because some of you will be better placed to answer this
question than I am. Photography has already changed more than I thought I would ever see
and believe me when I say that it won’t stop here.

Drones, for example, have only been around for a few years and now just about every TV
show, movie and real estate ad that I see has a few images taken from above, courtesy of a
device that didn’t exist a few years ago. As far as the future goes, I suggest that you hang on
to your hats because it’s going to be a wild ride.

Change is something we must all embrace, especially in a technology-intense field like visual
media, of which photography is still a part. Adapt or die may sound extreme, but it is a phrase
to remember if one is seeking anything more permanent than a fleeting career in photography.

Assignment 8
Module 8 | Equipment & Software | Assignment 8

All Cameras
Part A
Describe the type of photographic work you would ultimately like to be doing and write a list
of all the major equipment you currently own or would like to own.

Break it down into:

– Cameras

– Lenses

– Lighting equipment

– Computers

– Peripherals

– Software

Adjacent to each piece of equipment, write a short explanation justifying the purchase of this
piece of equipment to your wife, husband, partner or bank manager – whoever is the scariest.

This is an important exercise and lots of time and thought should go into researching it.
Here, you have an opportunity for me to really steer you onto the right path. Please make the
most of it. (500 words max.)

Deliverables Summary

– Your answers written in the text box provided

Part B
Describe your image cataloguing, storage and archiving methodology for both short-term
and long-term archiving of images and evaluate its sustainability to the best of your ability.
(250 words max.)

Deliverables Summary

– A written description in the text box provided

Digital Photographer 285 - 2024 UK
No ratings yet
Digital Photographer 285 - 2024 UK
116 pages
Start Making Movies
100% (6)
Start Making Movies
163 pages
Digital Photography, The Complete Guide
0% (2)
Digital Photography, The Complete Guide
162 pages
The Fujifilm X-T3: 120 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-T3: 120 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
No ratings yet
Intro To Digital Photography
No ratings yet
Intro To Digital Photography
20 pages
Clinical Photography Manual
100% (1)
Clinical Photography Manual
32 pages
Digital Photography Guidebook
67% (3)
Digital Photography Guidebook
58 pages
Digital Photography 101
No ratings yet
Digital Photography 101
109 pages
Advanced Photography Course Outline
75% (4)
Advanced Photography Course Outline
20 pages
Photography 101 v1
No ratings yet
Photography 101 v1
19 pages
Photography Assignment 2 Home1920
No ratings yet
Photography Assignment 2 Home1920
6 pages
Ultimate Field Guide To Photography
100% (1)
Ultimate Field Guide To Photography
23 pages
Fuji X Secrets: 142 Ways to Make the Most of Your Fujifilm X Series Camera
From Everand
Fuji X Secrets: 142 Ways to Make the Most of Your Fujifilm X Series Camera
Rico Pfirstinger
5/5 (1)
The Fujifilm X-T20: 125 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-T20: 125 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
5/5 (2)
Digital Photo Print
No ratings yet
Digital Photo Print
66 pages
Before You Buy A Camera
No ratings yet
Before You Buy A Camera
2 pages
Digital Photography Guidebook
100% (1)
Digital Photography Guidebook
58 pages
Comp.8 - Week 2
No ratings yet
Comp.8 - Week 2
7 pages
LO 2 Video Installation
No ratings yet
LO 2 Video Installation
8 pages
Fundamentals of Photography
100% (3)
Fundamentals of Photography
29 pages
XH2S Set Up Guide Horizontal
No ratings yet
XH2S Set Up Guide Horizontal
60 pages
A Guide To Choose Digital Camera and Camcorder: Significance of The Topic
No ratings yet
A Guide To Choose Digital Camera and Camcorder: Significance of The Topic
15 pages
XH2S Set Up Guide Vertical
No ratings yet
XH2S Set Up Guide Vertical
110 pages
Digital Photography Basics PDF
No ratings yet
Digital Photography Basics PDF
42 pages
Digital Photography Basics: Kent Messamore 9/5/2011
No ratings yet
Digital Photography Basics: Kent Messamore 9/5/2011
42 pages
Camera Buying Guide PDF
No ratings yet
Camera Buying Guide PDF
4 pages
Digital Photography - 1165 - Week 1
No ratings yet
Digital Photography - 1165 - Week 1
9 pages
How To Use A Digital Camera
No ratings yet
How To Use A Digital Camera
4 pages
Types of Cameras For Photography
No ratings yet
Types of Cameras For Photography
12 pages
Digital Camera
No ratings yet
Digital Camera
7 pages
Photography - Lighting Booklet 1
No ratings yet
Photography - Lighting Booklet 1
22 pages
Photo Chapter
No ratings yet
Photo Chapter
13 pages
10 Different Types of Cameras
No ratings yet
10 Different Types of Cameras
24 pages
Comp.8 - Week 3
No ratings yet
Comp.8 - Week 3
7 pages
PHOTOGRAPHY
No ratings yet
PHOTOGRAPHY
5 pages
The Canon Rebel t7 2000d Guide
0% (1)
The Canon Rebel t7 2000d Guide
17 pages
Digital Arts
No ratings yet
Digital Arts
15 pages
Presentation On Photography: Prepared By: Ibrahim Bharaniya Keyur Pandya Jaydev Trivedi
100% (2)
Presentation On Photography: Prepared By: Ibrahim Bharaniya Keyur Pandya Jaydev Trivedi
17 pages
Modulo E Reading List
No ratings yet
Modulo E Reading List
13 pages
What Digital Camera Uk 161 2010 05
100% (1)
What Digital Camera Uk 161 2010 05
132 pages
2022-02-01 Digital Photography Guidebook
100% (1)
2022-02-01 Digital Photography Guidebook
164 pages
E Ultimate Photo Guide PDF
No ratings yet
E Ultimate Photo Guide PDF
23 pages
Dad 250 Sem2 L1-2
No ratings yet
Dad 250 Sem2 L1-2
114 pages
How To Do Digital Photography - by Gemini2
No ratings yet
How To Do Digital Photography - by Gemini2
5 pages
Digital Cameras Presentation Shortened
No ratings yet
Digital Cameras Presentation Shortened
8 pages
Digital Photography
No ratings yet
Digital Photography
5 pages
CINEMA 4D R15 Fundamentals: For Teachers and Students
From Everand
CINEMA 4D R15 Fundamentals: For Teachers and Students
Anson Call
5/5 (1)
Set it Up, Light It, Capture It: Create Stunning Digital Photography
From Everand
Set it Up, Light It, Capture It: Create Stunning Digital Photography
Mateo Stewart
2.5/5 (2)
The Fujifilm X-T2: 120 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-T2: 120 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
No ratings yet
The official Raspberry Pi Camera Module guide
From Everand
The official Raspberry Pi Camera Module guide
David Plowman
No ratings yet
The Photography Bible: A Complete Guide for the 21st Century Photographer
From Everand
The Photography Bible: A Complete Guide for the 21st Century Photographer
Daniel Lezano
4/5 (7)
How to Use The Snap-On MODIS
From Everand
How to Use The Snap-On MODIS
Mandy Concepcion
No ratings yet
The Fujifilm X-T1: 111 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-T1: 111 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
No ratings yet
The Fujifilm X-T10: 115 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-T10: 115 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
4.5/5 (2)
The Fujifilm X100VI: 130 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X100VI: 130 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
2/5 (1)
How to Use the Snap-On SOLUS
From Everand
How to Use the Snap-On SOLUS
Mandy Concepcion
No ratings yet
Digital Photography Essentials
From Everand
Digital Photography Essentials
Duncan Evans
4/5 (2)
Take your Best Shot: The Illustrated Beginner's Guide to Digital Photography
From Everand
Take your Best Shot: The Illustrated Beginner's Guide to Digital Photography
Kevin Wilson
No ratings yet
Maxon Cinema 4D 2023: A Detailed Guide to Shading, Lighting, and Rendering
From Everand
Maxon Cinema 4D 2023: A Detailed Guide to Shading, Lighting, and Rendering
Pradeep Mamgain
No ratings yet
The Fujifilm X-Pro2: 115 X-Pert Tips to Get the Most Out of Your Camera
From Everand
The Fujifilm X-Pro2: 115 X-Pert Tips to Get the Most Out of Your Camera
Rico Pfirstinger
No ratings yet
Photography For Beginners
From Everand
Photography For Beginners
Andrea Roffe
No ratings yet
Smart Camera: Revolutionizing Visual Perception with Computer Vision
From Everand
Smart Camera: Revolutionizing Visual Perception with Computer Vision
Fouad Sabry
No ratings yet
Photography Pocket Guide: Camera Settings with Sample Photos for Specific Scenarios
From Everand
Photography Pocket Guide: Camera Settings with Sample Photos for Specific Scenarios
Aaron Smith
3/5 (2)
MAXON CINEMA 4D R16 Studio: A Tutorial Approach, 3rd Edition
From Everand
MAXON CINEMA 4D R16 Studio: A Tutorial Approach, 3rd Edition
Prof. Sham Tickoo
No ratings yet
#Lesson 2 - The Camera and Camera Types
No ratings yet
#Lesson 2 - The Camera and Camera Types
37 pages
Untitled
No ratings yet
Untitled
44 pages
A7C Ebook August 2021 v2
No ratings yet
A7C Ebook August 2021 v2
509 pages
Concert and Live Music Photography - J. Dennis Thomas
No ratings yet
Concert and Live Music Photography - J. Dennis Thomas
597 pages
Preview EG Birds in Flight
No ratings yet
Preview EG Birds in Flight
21 pages
Manitoba
No ratings yet
Manitoba
88 pages
Nikon D7500: Class Camera Controls Menu Functions Camera Operation Photo Basics
100% (1)
Nikon D7500: Class Camera Controls Menu Functions Camera Operation Photo Basics
104 pages
NSG Z Brochure en
No ratings yet
NSG Z Brochure en
19 pages
Weekend Escapes: Antarctica
100% (3)
Weekend Escapes: Antarctica
134 pages
Nikkor Z Lenses Comparison Chart
67% (3)
Nikkor Z Lenses Comparison Chart
2 pages
MPCC Mark III Instruction Manual
No ratings yet
MPCC Mark III Instruction Manual
7 pages
How To Photography The Milky Way - Astrophotography Tips
No ratings yet
How To Photography The Milky Way - Astrophotography Tips
13 pages
Sony Venice 2 Manual
No ratings yet
Sony Venice 2 Manual
179 pages
System Brochure: Medium Format Mirrorless Digital Camera
No ratings yet
System Brochure: Medium Format Mirrorless Digital Camera
20 pages
AF-S NIKKOR 200-500MM F - 5.6E ED VR - Nikon India
No ratings yet
AF-S NIKKOR 200-500MM F - 5.6E ED VR - Nikon India
3 pages
Lesson 2 Operate A Camera and Compose A Subject
No ratings yet
Lesson 2 Operate A Camera and Compose A Subject
35 pages
Nikon D3X Brochure (November 2008)
No ratings yet
Nikon D3X Brochure (November 2008)
14 pages
Close-Up and Macro Photography Its Art and Fieldcraft Techniques (Thompson, Robert S)
No ratings yet
Close-Up and Macro Photography Its Art and Fieldcraft Techniques (Thompson, Robert S)
321 pages
Extract 20481 Chmielewski Dental-Photography
No ratings yet
Extract 20481 Chmielewski Dental-Photography
16 pages
Fabulous Flowers
No ratings yet
Fabulous Flowers
156 pages
Zeiss Otus: ZEISS Lenses For SLR Cameras
No ratings yet
Zeiss Otus: ZEISS Lenses For SLR Cameras
39 pages
Compatibility With Nikon Cameras
No ratings yet
Compatibility With Nikon Cameras
12 pages
Astrophotography For Beginners
No ratings yet
Astrophotography For Beginners
39 pages
The DPS Ultimate Guide To Nature and Outdoor Photography
No ratings yet
The DPS Ultimate Guide To Nature and Outdoor Photography
50 pages
Bvcls Notes
No ratings yet
Bvcls Notes
12 pages