I just started to learn photography. Who can tell me what basic matters should be paid attention to?

Related matters that photographers should pay attention to.

tripod

Tripod is a necessary photographic equipment in Tibet. However, moving a tripod that is too heavy in Tibet is very hard. Even if you have a car, there will still be some times when you need to walk in Tibet. Generally speaking, it is impossible to have the weight and stability of a tripod at the same time, so I strongly recommend using a carbon fiber tripod when financial resources permit. If your machine is not too big, lightweight carbon fiber shelves like Gitzo 2 series should be the best choice. If shooting in windy places, hanging your camera bag under the shelf is enough to ensure high stability. If you bring a heavy-duty 120 camera or large-format equipment, Gitzo also has a 3-series or 5-series carbon fiber tripod to choose from. Need to be reminded that the tripod with short carbon fiber can't resist excessive lateral shear force, so don't press too heavy things on it during transportation. If you use a spherical pan/tilt, be sure to clean it frequently.

Other equipment

By the way, wide-format cameras are really helpful in Tibet, especially when shooting landscapes and documentary subjects.

Although many photographers have rich experience in long-distance travel photography, I would like to remind you that you must check whether you have the following equipment in your camera bag before going on the road: hood, spare battery, lens paper, hair dryer, brush, flash lamp and long cable, cable, dust-proof and rain-proof plastic bag, cleaner, maintenance tools, photographic vest, black pocket, close-up leather cavity, polarizer, film guide, film and so on.

Determination of framework and model

The debate about what camera to use in Tibet mainly depends on the starting point of your shooting. As in other places, the bigger the camera, the greater your physical and financial requirements. The former is particularly difficult in Tibet. Because some local people have some resistance to photography, if you are shooting people-oriented subjects, I personally admire the 35 mm paraxial camera, which is relatively small in volume and sound and easy to be accepted by the subjects. Of course, the paraxial machine cannot meet the needs of telephoto lens users. If it's a long shot, 300 mm is enough if it's not a Tibetan antelope or something.

I also use an autofocus camera of 120, because it is not much bigger and heavier than a professional camera of 35mm, but the picture quality is much better. There are no special suggestions for photographers who use 120 cameras, but the following points:

1. Prepare a bigger photographic backpack and shoulders, otherwise it will be too hard, except, of course, photographers who use RF 120 cameras:

2. Prepare at least one back (or film holder), because it is more troublesome to change films in a dusty environment;

3.220 film is better than 120 film.

For large-format photographers, in addition to relatively large physical expenditure, the main difficulty of shooting at high altitude will come from harsh natural conditions, and the most important one may be sandstorm. Try to avoid moving expensive and heavy monorail cameras to the plateau. A foldable flat external camera may be more convenient.

After nearly 10 years of plateau photography experience, I feel that no drama is more suitable for photography in Tibet than a manual camera on the premise of solving the damage caused by cold and dust. Moreover, the quality of professional AF cameras can fully undertake tasks such as climbing Mount Everest, and there is no reason to insist on not using manual cameras. Most photographic works are the display of instantaneous images. After all, automatic cameras are much more convenient.

blush

The reverse film of E-6 process cannot be developed locally in Tibet. There are many photo agencies in Lhasa, large and small, which can develop the negatives of ordinary C-4 1 technology, but I'm really not sure which one is stable and safe enough. I hope that when this book comes out, there will already be a local photo agency that can reach your expected level. Otherwise, take your film back to your familiar photo agency for development.

Equipment protection

In many parts of Tibet, sandstorms are more serious, especially in the cold dry season and in the morning and evening. Sand almost seeps into the gap between your camera and lens. So I suggest you take the following measures to maintain your camera:

1. Use a photo bag or photo box with the best dust resistance, and wrap the camera when not in use;

2. Be sure to thoroughly clean all the equipment every night, take the film out of the machine, and carefully clean the gap between the inside of the fuselage and the lens, especially the automatic camera;

I don't always hang the machine around my neck. Some photographers never cover the lens for the convenience of taking a snapshot, which will definitely increase your trouble of cleaning the camera (however, I always do this myself in order to get the desired picture);

4. The bellows effect of the zoom head with internal zoom is smaller, and it is not easy to suck things into the head-on lens, which is especially important in the weather with floating sand and the place where the temple is full of cigarettes;

Blow with a good quality balloon, the kind with a one-way dust filter, or you will find that you will never blow the lens clean. If the same happens to the photo body, you may be in danger of scratching the film. Of course, the best way is to use a dedicated high-pressure gas tank;

6. If there is no oil stain, it is best not to wipe the lens (or UV mirror), especially to use suede. Otherwise, even a little dust on the lens will have an effect similar to sandpaper. At the same time, if possible, it is strongly recommended that you use a hard camera case to protect your equipment during long-term transportation.

There are also the following suggestions about equipment:

1. The ultraviolet rays on the plateau are very strong. You must install an ultraviolet filter in front of the camera. If you change it, you can use the foreground in the photo to be clearer, or you can avoid the blue-purple color photo. Of course, more importantly, you can protect the lens. When the strong sunlight shines directly on the lens, a hood to prevent glare interference is also essential.

2. The temperature difference between day and night on the plateau is large. If it is not summer, it will be very cold sooner or later. Ordinary No.5 acid, alkali and nickel-cadmium batteries are not resistant to low temperature, and ordinary button cell is not resistant to low temperature. To use this kind of battery, you should have a spare one and put it in your close-fitting shirt pocket to keep warm. Just use lithium battery, which has large capacity, low temperature resistance and reliable performance. Therefore, it is best to avoid using ordinary button cell, especially in winter or high mountains. If you can't press the shutter, it may be a solution to put the camera in your clothes and preheat it before shooting. Of course, it is best to use an external battery box or replace it with a new lithium battery.

If you plan to take pictures at high altitude or in very cold areas outside the snow line, generally speaking, it is an effective way to protect your photographic equipment outside the tent at night, because it is easier to be damaged when it is cold and hot. At the same time, it is also important to avoid using high-speed automatic film pasting in the above areas, otherwise the motor will be unfair, consume a lot of power, and it is easy to break the film that has become fragile due to cold, or leave electrostatic traces on it.

Other preventive measures

Most single lens reflex cameras use lubricating oil between diaphragm plates, which is not resistant to low temperature. Because of the full aperture metering method, shooting in a cold place for a long time is likely to cause the lubricating oil to condense, which will lead to the abnormal contraction of the aperture. To this end, many professional lens manufacturers can provide you with special services to remove this kind of lubricating oil. If you don't have a chance to do this, at least pay attention when shooting, otherwise your photos are likely to be overexposed.

No matter how professional and advanced your camera is, don't just bring one camera to the plateau, at least bring one more camera for business use. When I am in Tibet, I usually consider taking an extra fuselage. When I am in Tibet, I usually consider bringing a simple hand-held SLR. The first purpose is to take some negative films for local people, then develop them locally and give them. Secondly, it can be used in some extremely harsh or dangerous environments.

Many photographers who have worked in Tibet mentioned that they should pay special attention to local children. Some of them have special feelings for the front film of the camera, and even have developed the habit of touching the camera. Some even develop into problems of spitting at your camera, which are fast and accurate, and always succeed when you are unprepared. My most painful experience was that a child accidentally put a handful of ghee on the lens of a 600/4.0 long gun (the hood of Nikon 600/4.0 is about 40 cm long)! The 600 cannon is as thick as a washbasin. It took me half a bottle of specially degreased lens liquid and a whole bag of collodion to clean it.

Shooting people in Tibet is the most common, but also the most difficult. I have faced the same problem myself. If you want to take natural photos, the most important factor is "communication". Here are some experiences of shooting people in Tibet:

1. It is true that in some areas, local people know very little about photography, and customs think it is bad to be photographed. If the interviewee insists on this idea and you are unable to change their mind, it is best not to insist on filming to avoid angering them;

2. Again, the premise and method of taking the most natural photos is "communication". You don't need words, just a smile and eyes. If you don't engage in breaking news photography, you can only shoot some superficial images by stealing or robbing Tibet. The best way is to sneak into the local area from the middle, let them press you, and then shoot. I insist that it would be better to take pictures aboveboard;

3. You can bring a disposable imaging camera and leave some souvenirs for the subject when shooting. In Tibet, especially in pastoral areas, many ordinary people have never seen their own photos, so you can easily win their favor.

Tourists often go to temples, and there is no limit to taking pictures in the open air. In general, cats and tigers are not allowed in the main hall of a temple, especially the ancestor idols. Some temples have to pay an extra membership fee to be allowed to take pictures after the photographer makes a request. Generally, it ranges from five yuan to dozens of yuan, and the more famous the place, the higher the cost.

Regarding the best photography season, I think it depends on your starting point. If you care about the folk activities of Tibetan festivals, you can refer to the chapters on festivals in this book; If you are particularly keen on landscape photography, you should pay attention to the climate in a specific area. Some experiences are very important, for example, Linzhi is the most beautiful in the spring and autumn, and if you go to shoot Mount Everest in the rainy season, you are likely to return empty-handed.