How Much Gear Do You Need?
Nikon gear
I’m a professional photographer and over the years, I’ve collected quite a fair bit of equipment. I’ve been using Nikon gear for many years; beginning with the Nikon F Photomic FTN I pinched from my dad to the D3s that I’m using now. In between, there were the Horseman 4×5 View and Mamiya RZ67 film cameras, punctuated by the Bronica SQ-A system. When I was shooting film, there was never such an urgent need to upgrade my equipment if viewed from the standpoint of quality of images. After all, the technology was mostly in the film and you only had to buy the latest film to shoot at lower light levels or improved color saturation.
Nikon FTN camera, ca 1973
It’s very much different now with digital sensors determining your choice of firepower but the question still stands; just how much equipment do you need? Can I deliver what my clients want with just a few basic lenses or do I still need that 24mm f/1.4 that will allow me to shoot fully open indoors or the perspective control wide-angle. So now that you’ve bought the expensive f/1.4 lens, do you need to mate it to a camera body that allows you to shoot at ISO 54,000! How about the a medium format digital camera system like the Leica S2 or Hasselblad HD. We are talking about serious money here. How much of your decision to buy a medium format digital camera system or the latest DSLR is swayed by wanting to have the latest gear? Perhaps your competitor is using it already or a client dropped a hint about how Joe Photo, your competitor, has the latest gear. I’ve certainly come across it myself but in my case, it was actually some kid walking past me and mentioning to his dad that “he’s only using a D700!”
Moving on, what equipment you own is very much dependent upon what you shoot. Whether you’re a professional, an enthusiast, weekend photographer or if you’re just into buying photographic equipment will pretty much determine how you spend your money. What you own should allow you to achieve your goals in photography. That’s an easy enough proposition but life is rarely that simple.
Recently, I began to think about choice of equipment when I started work on an upcoming exhibition of environmental portraits. The assignment would involve some serious travel time on the road and in conditions not exactly suited to carrying cases of photographic equipment. For once, the client would be myself although at some point, my work would be judged by my peers and the public. However, during the actual photography sessions, I would essentially be by myself and would be able to use any camera that I felt could help me achieve my goals for the project.
Charles Nathaniel | Nikon D700 + 5 units of SB-900 Speedlight
I’m used to working with an assistant but for this project, I’d be going back to basics. I would not have the time to set-up lighting. Well, maybe just 1 or 2 lights but certainly not in the way I’ve been working.
So what would I really need to execute this project? Apart from carrying less equipment, I wanted to reduce the weight of my gear by at least 50% since most of that weight would be on my shoulders. I started to look at the gear I had to work with and it dawned on me that since I shoot most of my portraits at between f/4 –f/8, the f/2.8 zoom lenses I owned were probably overkill.
In recent years, zoom lenses have become so good that for most of us, prime lenses will never feature in our arsenal of equipment. Of all the lenses I own, only two are primes lenses and there is a very good reason for it. I have a Nikon 105mm f/2.8G Micro-Nikkor which I love for portrait work and a 50mm f/1.4G for full length shots. One reason why I love these prime lenses is weight. I am not one for being bogged down with equipment when I’m trying to work fast. It’s different when I’m on assignment as I will work with an assistant but when I’m working on my fine art work (without an assistant), I like to travel light.
Large aperture lenses are expensive and heavy. A 1-stop increase in aperture size usually results in a lens that is double the weight of a lens of similar focal length. I have the Nikon 14-24mm f/2.8G ED, 24-70mm f/2.8G ED, 70-200mm f/2.8G ED VR II but it’s due to necessity. For my particular needs, Nikon didn’t really have any viable lens choices (f/4 or smaller) for me in the focal lengths I needed.
Since I bought my lenses, Nikon has released a 16-35mm f/4G ED VR lens that is a viable alternative in place of the 14-24mm f/2.8G ED for me. For those who shoot fast moving subjects, the VR function on the 16-35mm is not going to be of much help as they really need a large aperture to ensure shorter shutter speeds. The 16-35 f/4G weighs 680g (24 oz) as opposed to 969g (34.2 oz) for the 14-24mm f/2.8G.
*I will be pitting the Nikon 16-35mm f/4G ED VR lens on a Nikon D3s body against a Canon EOS-1D Mk IV equipped with a Canon 17-40mm f/4L lens in a future article.
In my work with photographing people in their environment, wide-angle lenses tend to be my lens of choice. I usually work with portable lighting so the bigger 1-stop in aperture on premium zoom lenses is not going to make a big difference for me. Besides, when photographing a group of people, one can’t really be shooting wide open
But what would I do about the short to medium telephoto range. My 70-200mm f/2.8G weighs 1,540g (54.3 oz). The only other option if I stayed loyal to Nikon would be the 70-300mm f/4.5-5.6G IF-ED VR which weighs a mere 745g (26.3 oz). I’d certainly be comfortable using the 70-300mm f/4.5-5.6G over the 70-200mm f/2.8G shoulder zapping monster!
By carrying the 16-35mm f/4G and 70-300mm f/4.5-5.6G over the 14-24mm f/2.8G and 70-200mm f/2.8G, I am able to reduce the weight of the lenses I carry by 1kg. This may not sound like much but when you’re walking around all day with that extra 1kg (2.2 lb) in the sweltering sun, you will feel it.
The one area I will not compromise is the digital camera. When shooting film before digital sensors took over the market, the solution would have been to add lighting to bring the exposure level up. Cinematographers who shoot film still have to do that but not still photographers. With cameras like the Nikon D3s and Canon EOS-1D Mark IV out in the market, shooting at high ISO with just a hint of fill lighting from Nikon flashes like the SB-900 Speedlight is entirely possible. Depending on subject matter, I would be quite comfortable to take on an assignment with just 2 units of portable battery powered flashes.
In my quest to reduce the amount of gear I carry on location, it does not mean that the final image will be compromised. Photographers tend to carry too much on location but you can also catch yourself out if you’re unprepared. Know what you’re trying to achieve on that day with your photography. This will help you settle on the correct gear to carry for the day. Being unhindered by tons of gear on your back and shoulders will mean that you’re able to move around freely to scout for the best angles.
I’m now all set for my project. The lenses I will carry are the Nikon 16-35mm f/4G ED VR, Nikon 50mm f/1.4G and either the Nikon 105mm f/2.8G Micro-Nikkor or Nikon 70-300mm f/4.5-5.6G IF-ED VR. As for the camera body, it will be the Nikon D3s. I did consider using the Nikon D700 instead but the superior low light performance of the D3s cemented my decison. My sole source of lighting will be the Nikon SB-900 with a Lastolite EZYBOX and a mix of reflectors from Honl Photo & Speedlight Pro Kit.
This decision is not written in stone though. Lately, I’ve been thinking about the Canon system, particularly their highly regarded Canon EOS 5D Mk II and L lenses. Canon has the superb EF 24-105mm f/4L IS USM lens. I’d only need one lens as I believe 24mm on a full frame body should be sufficient for what I’m trying to achieve. I’ve owned the Nikon 24-120mm f/3.5-5.6G IF_ED VR lens but it’s not one of Nikon’s pro level lenses. I am also not a big fan of variable aperture lenses so staying with Nikon would mean carrying 3 lenses.
More to come….
hey kenny,
this is rather out of the context, however i need your help on my little project.. My dad just recently gave me his Nikon FTN rangefinder whis is the same as yours. I was just wondering, where exactly can I go to repair this classsic. I really hope you wouldn’t mind sharing your insights
YL Photo at Pudu Plaza in KL has someone who repairs and maintains camera. You’re very fortunate to receive such a great camera. It’s the Nikon FTN SLR, right and not the rangefinder? http://www.ylcamera.com.my/