Recommendation of professional tourism photographic equipment

As for photography, it seems that we should start with the equipment.

Generally speaking, if you are engaged in tourism photography, you should first consider traveling light. Unless there are special requirements, the fixed focus must give way to the zoom lens, and unnecessary things must not be brought.

Of course, for a photographer with a clear purpose, the first thing to consider is what the shooting plan includes. The equipment to be brought is completely determined by the subject matter to be filmed, and everything should be brought with him. The energy band must be brought; You can't bring it, but you should bring it when you overcome difficulties.

I'm not good at quoting other people's examples, so I may be more representative. I have been to Tibet for more than a dozen times. At most, I used six or seven sets of SLR cameras, a dozen lenses, flashlights and countless tripods at the same time. Sometimes, for months on end, only one HEXAR pocket computer is used.

The following is a list of photographic equipment when I am ready to leave:

1+2 1/2.8, 35/2, 90/2.8 side shaft machine heads

Side axle machine 2+35/2,75/1.5

SLR camera 1+28/ 1.4, 180/2.8 (because Shanshan and Majia take pictures with me, I often use their 50/ 1.4, 80-200/2.8 and 600/4.0, so that.

SLR 2+50/ 1.8

120 SLR 1 +80/2.8, 40/4, 150/4

Pocket PC 1: Hexar 35/2.0

Pocket machine 2: mju:-2

A part of Li Pai

I brought two side cameras, mainly because my pictures are mainly documentaries of local people. It is much more convenient to use paraxial machines. After all, the volume and sound of the paraxial machine are much smaller than that of the SLR. In places like Tibet, local people are quite resistant to cameras. So try to use an inconspicuous camera.

I brought two SLR cameras. The first one is for making normal films. After all, paraxial cameras have certain limitations, especially macro and telephoto.

My second SLR is a cheaper machine. The first purpose is to take some photos of local people in Lhasa, and then develop them locally and give them. Secondly, it can be used in some extremely harsh or dangerous environments.

For the same reason as the paraxial machine, I brought two PDA's, and now the quality of PDA's has reached a very high level, especially HEXAR's.

Zoom and fixed focus lenses. I really think zoom lenses are more convenient in Tibet. Because in Tibet, there are many times when it is not convenient to change lenses.

The key depends on what you think is more important, and the requirement for image quality is still the shot image.

In previous years, the imaging quality of zoom lens and fixed focus lens was quite different. However, I have to admit that the imaging quality of some new zoom lenses is "very close to fixed focus" as the lens manufacturer said. I don't need to enlarge myself, but my mind has been changing recently. The main disadvantage of zoom lens is that the divergence and glare at the wide-angle end are more serious than that at the fixed-focus end. In addition, of course, the closeness of the zoom head is also almost the same. Although theoretically, the zoom lens can't have very good optical performance at all focal lengths, whether the zoom lens can replace the fixed focus lens in practice depends on how much film you want to shoot or print. After all, if my film is only used in magazines, even if it is spread, the quality of the zoom lens is not as good as that of the fixed focus lens. Moreover, if the reversal film is used, the zoom head can also play an advantage considering the inconvenience of cutting. Of course, if you zoom in a little, for example, someone is playing artistic photography and wants to show or make a display board, that should be another matter.

My ideal lens combination is: paraxial camera +28, 35, 50 (or 75) lenses; SLR+20,85/1.2,300/4 is basically enough. Of course, it is also good to use a professional zoom lens for the telephoto part of the SLR.

Other small things I need are: hood, spare battery, lens water, lens paper, hair dryer, brush, flashlight and long cable, cable, dust-proof and rain-proof plastic bag, cleaner, maintenance tools, photographic vest, ND4, metal ladder, black bag, close-up leather cavity, polarizer, film guide, film, tripod, canvas tripod bag and photo box.

As for movies, here's the thing. I brought the following kinds of films:

1.KM25 and KR64:kodakchrome is a reverse film using the K- 14 process. Although it can't be developed in China, it is better than any other reverse film. In particular, its storage time is much longer than that of the reverse film of E6 process, and its fading or fading is much smaller. Think about it, what is the EPP or EPR you shot 10 years ago now? After all, everyone wants their photos to remain unchanged for a long time.

2 VELVIA: This is my standard film. I've used it for many years and I'm familiar with it. Indeed, the washing process of E-6 is more convenient.

3.prova 100:R DP is definitely not as good as RVP in color and texture, but on the one hand, it has higher sensitivity, and the film of R DP is easier to push. At the same time, RVP is difficult to express something that needs to be accurately restored. So, sometimes RDP is also useful.

High speed film: MS 100- 1000. I used to use PROVIA 400. Although the film has almost no color, it is better than Kodak's. Before I left, I took a casual look at what Fuji banned, and then I tried Kodak E200. It looks really thin, but I'm really not sure whether my photo editor will like the E200 color added by VELVIA. In addition, I just want to say that, generally speaking, for some places with high picture requirements, film grain higher than 200 is unacceptable, and it is better to be 25, 50 or 64. Even in dim light.

5. Optical film: FUJICHROME 64T, which aims to shoot murals and Buddha statues of Buddhist temples. However, this time I lost 64T. When shooting the main Buddha in Jokhang Temple, because the ground is full of ghee, even if I use the best Gitzo tripod, and there are three lamas and Shanshan in Jokhang Temple to help me, it is still difficult to keep the camera stable. 64T is too slow. At this time, I really want to change Kodak's 320T, which is really excellent in expressing warm colors, but 64T can keep more dark details.

6. Le Kai GBR color negative: Several. Le Kai is my favorite brand of exhibition shooting materials and films. The reason is simple: it has made an amazing contribution to price control while providing good enough picture quality. National industries must be supported!

7.Tri-x (used on 120): This is for my portrait. There are many black and white movies to choose from. The reason why 3-X is used is mainly because of its soft contrast and fine particles. Moreover, it is an old film and its performance is very stable. In Tibet, Gao Fancha has always been a big problem for many photographers because of the strong light. One solution is film; In addition, proper use of flash is also a good idea. But it seems that domestic photographers' flash equipment and flash technology are often not as good as their other standards. Of course, if exposure is used well, many problems will be solved a lot.

8. Take the film right away: it's for human feelings. After all, many ordinary people in Tibet have not seen their photos.

For the amount of film used, I determined it like this:

Because I am not familiar with Tibet, I can estimate the film in the way I think possible. I will arrange my photography time first, and determine what I shoot, which are unique, which are comprehensive topics, which are small topics, and which are reserved for information and my original experience, and then I will estimate more accurate figures. However, considering the exposure I often use and other unpredictable factors, I actually want to bring more film. I think I'll do this myself. If I shoot for someone else, the amount of film used will probably be multiplied several times.

The protection and dust prevention of equipment has always been my great concern.

I used to get dirty in Nikon's head every time I went to no man's land, especially the zoom lens. Later, I was forced to switch to German lenses and paraxial cameras.

In many parts of Tibet, sandstorms are more serious in the cold dry season and in the morning and evening. And sand is almost everywhere, standing in the gap between your camera and lens.

I suggest you:

1 A photographic bag or box with good dust resistance.

Clean all the equipment thoroughly every night, and clean the gap between the fuselage and the lens.

Don't always hang the camera around your neck.

The bellows effect of zoom head used for internal zoom is small.

In addition, I want to warn you in particular about the problem of local Tibetan children groping and spitting at your camera. It seems that Tibetan children have a special feeling for the first film of the camera. They always like to touch it, and it is fast and accurate. When you are unprepared, you often succeed. The lens of Shanshan and I is dirty every day. Once, a local child put his hand in front of a 600/4.0 vest (the hood of NIKON600/4.0 is about 40 cm long! ) With a touch of butter, the 600 pike is almost as thick as a washbasin, and it took me almost half a bottle of lens water to clean it.

In addition, I would like to remind users of Nikon90X that 90X is really a good camera, but due to unclear reasons, its failure rate in Tibet is very high. It turns out that when we were with the photography group in Tibet, we often heard people complain about the failure of 90X, and this time Shanshan's 90X machine didn't work for no reason.

I think tripod is a necessary photographic equipment in Tibet. But it is really hard to move a tripod that is too heavy in Tibet. It is impossible to balance the weight and stability of the tripod. Even with a car, photography in Tibet will take a while. I can't think of anything better than bringing two tripods, one big and one small. Or carrying a medium-sized carbon fiber rack like Gitzo 1228 like Cuizhu is also a barely acceptable compromise, if your machine is not too big.

Here are some suggestions for everyone:

Obviously, not all equipment can be used. Once you get to your destination, of course, you don't have to take everything with you.

I brought many kinds of camera bags, so that I can have the greatest flexibility when shooting; At the same time, I strongly recommend that you use a hard camera case to protect your equipment during long-term transportation if possible.