Small Format

Camera Bodies

Camera bodies are advanced technology, but automation is a big question mark. At what point is camera over-engineered? Autofocus allows rapid responses, but photographers can also anticipate action and prefocus. Automatic exposure is highly accurate, but so are the exposure estimates of many photographers.

With a motor drive, we can shoot 4 frames of film per second. This is delightful automation, but artists are more than statisticians, who review stacks of contact sheets with a magic marker. We could also use the Cartier-Bresson approach, of melding with subject, and releasing the shutter at the instant of maximum visual impact. We sometimes meet photographers who shoot a roll of 36, and get 36 excellent shots.

I can forgive Canon automation, because the bodies are still a class act. Film is held very flat against the pressure plate, an important concern if we want sharp images. The EOS-1N is ideal for sports and wildlife. It's very rugged, and also weather-proof. My EOS-3 is almost as good; a spare body is useful for shooting particular subjects with different film types. EOS-3 and Elan 7E film bodies use EX series flash, so this pair of bodies is good for location shooting. The 10D is a digital SLR (see digital capture)

Small Format

35mm is by far the most popular format. Cameras are small and light, typically incorporating advanced automation, and microprocessor-controlled functions. A common strategy for photographers is to select cameras and optics that amplify the advantages of small format. I've been using Canon for many years. The bodies are rugged and reliable, optics are quite good, and Canon EX Series strobes are electronically advanced.

35mm Lenses are the greatest advantage of small format. "Fast" lenses (large maximum apertures) are readily available. This means a brighter image in the viewfinder, better performance in low-light, and pleasing effects with selective focus. Fixed focal length lenses are faster than zooms, and also of higher optical quality. I have five Canon lenses:

EF 28mm f/1.8 Wide Angle
EF 50mm f/1.4 Normal
EF 85mm f/1.8 Short Telephoto
EF 100mm f/2.8 Macro
Ef 200mm f/2.8L Telephoto

Notice the lenses have hoods. This is to prevent flare, or light entering the lens from the side. Flare significantly degrades image quality. The macro lens has it's own flash unit (not shown), an ML-3 "ring flash" that fits on the front of the lens. Canon lenses are well-corrected for distortion, and have excellent color fidelity and contrast.

Zoom Lenses

Zooms are very useful. With a zoom, focal length is quickly changed. With a fixed focal length changing lenses requires more time, and you also carry more lenses. I also improve my "coverage" with zooms. The 17mm length is "super" wide angle, and a 400mm length is good telephoto reach. With zoom lenses, maximum apertures will be smaller, and image-quality is slightly reduced.

17-35mm f/2.8-4 "di"
28-75mm f/2.8 "di"
200-400mm f/5.6 UD

Tamron zooms have exceeded my expectations in every way, especially "di" series, which deliver excellent performance. Tamron uses very complex optical designs; the lenses are lighter and more compact than Canon lenses with equivalent range. The longer lens is the previous Tamron generation, with UD glass, still a pretty good lens, but heavy. The tripod mount is not a decoration. At longer focal lengths a tripod is essential. Many photographers will use a tripod whenever they can, because camera shake can easily ruin an otherwise beautiful shot.

Canon Strobes provide precise control of artificial light. The 550 EX is mounted on the camera, and controls two 420 EX slave units, typically mounted on light stands, sometimes with umbrellas and reflectors. No cords to trip over; it's a wireless setup. Canon's flash units balance flash with existing light, and exposures are usually perfect. I prefer to get the most from natural or available light, but used creatively, strobe can assume the appearence of natural light. This lighting kit is also designed for Canon digital SRL bodies. Digital has short dynamic range and exposure is critical.

Canon makes good equipment (though costly). So does Nikon, Minolta, Pentax, Olympus, and Contax. Single-Lens-Reflex (SLR) designs are the most popular, but rangefinder also cameras appeal to many photographers. The famous photojournalist, Henri Cartier-Bresson did most his work using a Leica rangefinder and one 50mm lens. Using this simple camera, he stunned the world of photography with deep insight and perfectly timed shots. In photography, it is always content that wins the day.

35mm is very practical and fast, fast, fast. The world around us is continuously in motion, so this is not a small virtue! A camera is just a tool, something to remember when we hear those overblown sales pitches. Our hands, eyes, and brain do the real work. Photography, and the entire landscape of art and music, is anyone's game. There's plenty to learn, but we shouldn't be discouraged by advertising yip-yap about "professionalism". The pros are just people who sell their photographs, an action that does nothing whatsoever to improve a photo.

Photography is all about feeling. Novices will buy a camera just because it makes them feel good. There is no better reason to buy a camera! The situation is like buying shoes for children. As people mature in the photographer's craft, they outgrow earlier choices. Most photography courses in the US teach the technical side of the craft using cameras with manual controls. Artists need technical and creative control, and automation can slow down or circumvent the learning process.