With technology rapidly changing and becoming better every year, many people are asking the age-old question “which camera is better?” You now have an array of options including DSLR Cameras, Mirrorless Cameras, Phone Cameras and Point and Shoot Cameras. Having so many options can become overwhelming and make you wonder, where should I invest my money? But the truth is Continue Reading
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Posts Tagged ‘Point’
DSLR vs Mirrorless vs Smartphone vs Point and Shoot: Best Camera?
26
Mar
Vanishing Point in Photoshop: The Essential Guide
27
Jan
The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
Have you ever used Vanishing Point in Photoshop? If you’re only using the Transform tools to give perspective to image elements, you’re missing out on a fantastic opportunity.
The Vanishing Point filter is often overlooked; most photographers believe it’s only useful in a 3D workspace.
But here’s the truth:
Vanishing Point is actually a hugely useful tool, one that I absolutely recommend you learn how to use.
In this article, I’ll explain what the Vanishing Point filter is – and how you can use it to simplify and improve your photography.
Let’s get started!
What is Vanishing Point in Photoshop?
Vanishing Point is a Photoshop filter that allows objects and edits in your image to be scaled and oriented according to the image’s perspective.
You can find Vanishing Point under the Filter menu (simply click Filter, then Vanishing Point).
Once you’ve selected the Vanishing Point filter, Photoshop opens a special workspace for all your in-perspective edits.
Why is Vanishing Point important?
A vanishing point is what gives depth to an image.
For example, if you photograph a wall parallel to your camera’s sensor, the wall (and the overall image) should look flat.
But if you instead photograph the wall at an angle and you capture the way it vanishes toward a point in the distance, the wall – and the scene – appears three-dimensional.
Take a look at the arrows in the image above.
The wall is flat, with no depth.
But the railing moves toward the horizon, where (if it continued to stretch onward) it would vanish.
The Vanishing Point filter allows you to make adjustments to your photos in perspective, so that you achieve a realistic final result that perfectly mirrors the scene’s perspective.
(Do you see how the arrow stretching along the railing appears to fade into the scene? That’s because I added it with Vanishing Point!)
Working with Vanishing Point: The basics
When you launch the Vanishing Point filter, you might be wondering what to do and how to use it.
It looks similar to the normal Photoshop interface, but where do you start?
Here are the answers to some of the most common Vanishing Point questions:
How do you create a perspective plane?
Click the Create Plane Tool at the top of the toolbar on the left.
Then click on the corners of the plane you want to create.
(Here, you need to carefully follow in-perspective elements.)
Photoshop will immediately add your plane to the image, like this:
Now, when the lines that form the plane are blue, it means everything is working well. Yellow or red lines mean that Photoshop doesn’t accept the plane you’re tracing.
Once you’ve created a plane, try moving the corner points until you get it right. You can zoom in if you need to be more precise.
Everything you paste and everything you edit inside that plane (while you’re in the Vanishing Point workspace) will be put into that perspective.
How do you save a perspective plane?
When you’re done working inside Vanishing Point, click OK (in the top right) to accept the changes. This will add the perspective plane as part of your file.
If you save and close your image, the perspective plane will be saved, too. When you open your file again, you can launch the Vanishing Point filter, and the perspective plane(s) that you created will be present and editable.
How do you delete a perspective plane?
To delete a plane, simply select it, then press the Backspace key.
To select your plane, just click on it using the Edit Plane Tool. You’ll know your plane is selected if you can see the edge nodes around it.
Can you create more than one plane?
Yes, you can create multiple planes. And these can be separate or connected.
If you want to create a separate second plane, just finish working on your first plane, then click another part of the image and start afresh.
If you want to have your two planes connected, you need to tear the second plane off from the first. To do this, press the Ctrl/Cmd key and drag one of the edge nodes to create the next plane.
By default, the second plane will be at a 90-degree angle from the first. If this is not the way you want it, you can use the Angle controller you’ll find in the toolbar at the top of the Vanishing Point window:
How do you use Vanishing Point in Photoshop to paste objects in perspective?
First, make sure the object you want to add in perspective is present on a layer. Select the object (you can use Ctrl/Cmd + A to select all), then hit Ctrl/Cmd + C to copy it to your clipboard.
Once you have the object on your clipboard, add a new blank layer above the background image. This is because anything you do inside the Vanishing Point workspace will be applied to the layer that is selected when you actually open the filter.
Next, open the Vanishing Point filter and create a perspective plane that follows the perspective you want to give to the new element.
Once this is done, paste the new element into the Vanishing Point workspace by pressing Ctrl/Cmd + V. It will be pasted as a floating selection without perspective, but that’s okay.
Feel free to scale or modify the object. Then, once you’re satisfied with its shape and size, click on it and drag it inside the plane.
You’ll notice that the object will change shape and size according to its position in the plane. It will get smaller as it gets farther away from the camera, and bigger as it gets closer to the camera.
That’s it – now you can click OK to get back to the normal workspace. You’ll find the pasted element (in perspective) on the new layer. You can then use the Layer Style options to add shadows and create more realistic composites.
You can use this paste-in-perspective technique to showcase your photos on a billboard, create graffiti on a wall, or apply logos to product packaging photographs.
Advanced tips and techniques for working with Vanishing Point
Pasting elements in perspective is one of the most common uses for the Vanishing Point filter in Photoshop.
However, there are some other cool things you can do with the feature, including:
Painting in Vanishing Point
Inside the Vanishing Point workspace, you’ll find a Brush tool. With it, you can paint, write, or draw in perspective.
Therefore, the brushstrokes will get smaller as they move farther away from the viewer (to simulate depth).
You can choose the size of the brush, the hardness, and the color. Unfortunately, you can’t use brushes you’ve loaded into the normal workspace.
Cloning in Vanishing Point
You can also clone with the Vanishing Point filter. This is very useful, because the Clone Stamp tool will follow the angle and the size of the perspective plane.
Choose the size and hardness of your Stamp Tool in the top toolbar. Make sure that Heal is turned off.
Then source the pixels that you want to clone. To do this, hold the Alt/Option key and click on the target pixels (note that you must click somewhere inside the perspective plane).
Finally, clone the pixels onto a different part of the perspective plane.
You can clone the same way you’d use the regular Clone Stamp tool. However, the results will be very different.
Look at the composite below, which shows an original image, the image modified with standard Clone Stamp methods, and the image modified with the Stamp Tool in Vanishing Point.
When I sourced the pixels from the top of the brick wall using the regular Clone Stamp tool, the bricks had a different angle; when I cloned them from the side, they had a different size.
However, when I used the Vanishing Point Stamp Tool, I was able to add pixels in-perspective.
You can also use the Vanishing Point Stamp Tool as a Healing Brush by turning on the Heal option in the top toolbar.
Using the Marquee Tool in Vanishing Point
The Marquee Tool is the only selection instrument available inside the Vanishing Point workspace.
It’s very straightforward to use; just click and drag around the area that you want to select.
If you have two connected planes, the selection will “bend” to follow the perspective in both planes.
This is extremely useful if you want to duplicate elements that run through two planes. Look at the example above – I just selected an area, copied it, and pasted it again. It behaved according to the perspective of the plane, which allowed me to keep any depth and make the entire duplication job look more natural.
For better blending, you can feather the selection, just as you would in the regular workspace.
How to use Vanishing Point in Photoshop: Conclusion
Vanishing Point in Photoshop can make your work easier and faster when you’re dealing with perspective.
So make sure to give it a try!
Now it’s your turn:
What do you think of Vanishing Point? Is it a tool you plan to use in the future? Share your thoughts, questions, and tips in the comments below!
The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
Video: Caffenol film development from a coffee connoisseur’s point of view
25
Jun
There’s no shortage of videos on YouTube showing how to develop film using Caffenol, a broad name used to describe a homemade film development chemical that uses coffee, vitamin C, sodium carbonate and other ingredients to process film. Usually, it’s film photographers or analog aficionados making and sharing these videos, but in his latest video, coffee genius and 2007 World Barista Champion James Hoffmann shares his take on Caffenol development, sharing the experience from a coffee expert’s point of view.
As you might expect from someone so knowledgeable about coffee and its attributes, Hoffmann doesn’t settle for the instant coffee Caffenol. No, he goes all out with fresh-roasted beans and an elaborate recipe that requires him to pull nine double-shots of espresso that’s then filtered multiple times to replicate the instant coffee recipes you often find online.
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| A screenshot from the video showing an exposure captured on Ilford HP5 120 film with a Mamiya RB67 Pro S medium format camera and developed in Hoffmann’s custom Caffenol recipe. |
After going through the recipe and development process, Hoffmann shares behind-the-scenes video of him capturing the photos on Ilford HP5 120 film in a Mamiya RB67 Pro S at a local roastery with the developed and scanned images overlaid on the footage.
Although the scans he shares aren’t high-resolution, they look about how you’d expect from Caffenol development of Ilford HP5 120 film. Overall, the 13-minute video is a wonderful watch with a unique look at the process we don’t often see in the photo world. If you’re a coffee fan yourself, do yourself a favor and subscribe to Hoffmann’s YouTube channel. He’s a wealth of knowledge and his calm-but-insightful videos have an almost meditative flow to them.
Articles: Digital Photography Review (dpreview.com)
Film Fridays: pushing the functional limits of a cheap point and shoot
03
Apr
 |
| Photo: 35mmc.com |
The Olympus AF-10 Super is by all stretches of the imagination, a very basic film point and shoot. Features are limited to a flash (with three settings) and a self-timer… and that’s about it. But limitations can inspire creative workarounds, and creative workarounds can lead to really satisfying photos, something 35mmc.com’s Hamish Gill found to be true. Read about his experience with the Olympus AF-10 Super, below.
Read: Olympus AF-10 Super – Pushing the functional limits of a
cheap point and shoot
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.
Articles: Digital Photography Review (dpreview.com)
Can you Point a Mirrorless Camera at the Sun?
31
Mar
A mirrorless camera’s sensor is always exposed to the image you’re trying to capture, which has its advantages and disadvantages. A major disadvantage is the risk of sensor damage when changing lenses, or when capturing extremely bright environments. Which begs the question, can you point a mirrorless camera at the sun? The quick and simple answer to the question—No, you Continue Reading
The post Can you Point a Mirrorless Camera at the Sun? appeared first on Photodoto.
Security firm Check Point shows how ransomware can be installed on Canon cameras
13
Aug
Security researchers with Check Point Research have demonstrated that it is possible to incapacitate a DSLR camera using wirelessly transmitted ransomware, a type of malware that forces victims to pay in order to decrypt their data. Though the demonstration involved using Wi-Fi, the researchers say it is also possible to hijack a DSLR camera using USB.
Modern cameras feature an unauthenticated protocol called Picture Transfer Protocol (PTP) that comes in two varieties: PTP/USB for wired connections and PTP/IP for wireless connections. Whereas USB requires the hacker to compromise the camera owner’s computer, Wi-Fi makes it possible to target the camera directly by simply being located near the device.
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The DSLR malware demonstration involved a Canon EOS 80D camera, with the researchers explaining that they chose this model due to Canon’s popularity combined with the 80D’s support for USB, Wi-Fi and open-source software called Magic Lantern.
The researchers detailed the technical aspects of developing this malware in a blog post, ultimately explaining:
‘The ransomware uses the same cryptographic functions as the firmware update process, and calls the same AES functions in the firmware. After encrypting all of the files on the SD Card, the ransomware displays the ransom message to the user.’
It’s possible for hackers to set up a rogue Wi-Fi access point that causes these Wi-Fi-enabled cameras to automatically connect to the network, after which point the ransomware can be deployed. In a real-world scenario, this malware would demand payment from the victim — usually a few hundred dollars — in order to decrypt the images on the camera.
According to Check Point Research, Canon was contacted about these vulnerabilities in March and worked with the company to patch the security issues. Canon released the first security patch on August 6 alongside an advisory, shared below, detailing the PTP vulnerability and the cameras affected by by it.
Product advisory:
Regarding the security advisory for Canon digital cameras related to PTP (Picture Transfer Protocol) communication functions and firmware update functions
August 6, 2019 — Thank you very much for using Canon products.
An international team of security researchers has drawn our attention to a vulnerability related to communications via the Picture Transfer Protocol (PTP), which is used by Canon digital cameras, as well as a vulnerability related to firmware updates. (CVE-ID: CVE-2019-5994, CVE-2019-5995, CVE-2019-5998, CVE-2019-5999, CVE-2019-6000, CVE-2019-6001?
Due to these vulnerabilities, the potential exists for third-party attack on the camera if the camera is connected to a PC or mobile device that has been hijacked through an unsecured network.
At this point, there have been no confirmed cases of these vulnerabilities being exploited to cause harm, but in order to ensure that our customers can use our products securely, we would like to inform you of the following workarounds for this issue.
- Ensure the suitability of security-related settings of the devices connected to the camera, such as the PC, mobile device, and router being used.
- Do not connect the camera to a PC or mobile device that is being used in an unsecure network, such as in a free Wi-Fi environment.
- Do not connect the camera to a PC or mobile device that is potentially exposed to virus infections.
- Disable the camera’s network functions when they are not being used.
- Download the official firmware from Canon’s website when performing a camera firmware update.
Please check the Web site of the Canon sales company in your region for the latest information regarding firmware designed to address this issue.
Articles: Digital Photography Review (dpreview.com)
Redmi 7 smartphone offers Sony 48MP Quad-Bayer sensor at budget price point
10
Jan
 |
We’ve seen Sony’s IMX586 1/2-inch 48MP sensor appear in several higher-end devices in recent months but the Redmi 7 is now the first budget device to offer the chip. The sensor isn’t really meant for outputting medium-format image resolution image files. Instead a quad-Bayer filter array allows for high-quality 12MP images with low noise levels and real-time HDR processing. The main chip is accompanied by a 5MP depth sensor for bokeh and similar effects.
Redmi, which used to be the budget line within the Xiaomi smartphone portfolio, has now been promoted to a proper sub-brand, similar to what Honor is to Xiaomi competitor Huawei. The 7 is the first device launched under this new sub-brand and does not only offer impressively looking main camera specs for the money.
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You also get a 13 MP front camera, 6.3-inch Full-HD+ LCD display, Snapdragon 660 chipset a massive 4,000 mAh battery with quick charge support and a microSD slot.
In terms of RAM and storage you can choose between 3/32 GB, 4/64 GB, and 6/64 GB combinations. and there is a microSD slot as well.
The cheapest option will set you back $ 150 (CNY999) and even the largest memory version is only $ 210 (CNY1,399). Pre-orders have already started in China and shipments are scheduled for January 15. We’d expect the Redmi 7 to make the jump into the US and other regions in the nearer future. We’ll have to wait for the first samples but it looks like the Redmi 7 should be high up the list of those who want good smartphone image quality at budget pricing in 2019.
Articles: Digital Photography Review (dpreview.com)
Rumored 8K multi-aspect sensor could point to 4K super camera (Sony a7S III?)
28
Nov
 |
| There’s been a lot of speculation about what an a7S III would look like, perhaps this rumored sensor from Sony Semiconductor provides some clues. |
We’ve been speculating for a while about what a Sony a7S III would need to offer to filmmakers to offer a compelling advantage over the a7R III and a7 III. Rumors of a new sensor from Sony Semiconductor could make even our wildest speculation look rather unambitious.
With the $ 2000 a7 III able to shoot 4K footage from a 6K region of its sensor (capturing more detail than the a7S II can), Sony would have to do something clever to make an a7S III look attractive. The office was split down the middle between ‘more resolution,’ perhaps using an a9-style stacked chip to give a7 III-esque resolution but perhaps at 60p and with minimal rolling shutter, or possibly a move to 10-bit recording, to give more flexible files, particularly for anyone shooting Log or HDR video.
In a recent interview, Sony’s Kenji Tanaka told us the a7S II successor would be “more than [a7S II users] expect.”
| Rumored specification of sensor capable of 36MP stills and 8K Ultra HD capture | |
|---|---|
| Pixel Size (µm) | 4.88 |
| Aspect ratios |
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| Pixel Resolutions |
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| Active sensor area |
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| Rumored readout rates |
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*Although the 16:9 region is wider than the 3:2 area, its diagonal length is smaller, so would be guaranteed to fit within the standard image circle of full frame lenses.
**10-bit capture would limit the camera to around 10EV of dynamic range. Video is more likely to be made from 12 or 14-bit capture, the rates for which are unspecified.
However, Sony Alpha Rumors is reporting a fairly plausible chip spec that would blow such cameras out of the water: an oversized Full Frame sensor that could shoot 36MP stills or 8K video while maintaining the same diagonal field of view (so the scope of wide-angle lenses isn’t reduced by cropping a 16:9 image out of the middle of a 3:2 sensor).
This could give a camera that makes no apparent compromise between stills shooting and video capture.
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| It’s possible to use a 16:9 crop (yellow) that’s wider than the standard 36 x 24mm dimensions of a full frame sensor (pink), so long as the diagonal is the same. This maintains the same diagonal angle of view: a trick Panasonic and Canon have made use of in the past. |
This sensor could form the basis of one hell of a stills/video camera. Details of the chip are hazy to the point where they could be downright inaccurate, but a camera that can shoot both high-res stills and high-res video would make sense as an a7S III, since it would cost more than an a7 III but offer a lot more to videographers than the a7R III can.
Don’t get side-tracked by talk of the a7S cameras being great for low light stills: it’s no better than the a7R III
And let’s not get side-tracked by talk of the a7S cameras being great for low light stills. I’d happily put money on that being a marketing angle decided as the camera was being launched: the a7S II is no better in low light than the a7R III if you scale files down to the same size. The only reason it ever looked good in low light was that it’s the first time we’d seen ‘Dual Gain’ technology appear in a Sony sensor, and didn’t initially recognize its significance.
Does 8K capture mean 8K output?
Just because a sensor can capture 8K doesn’t mean that it would necessarily output 8K footage. Every manufacturer we’ve spoken to has told us how difficult it is to process and compress 4K footage in a camera with a small, stills-style body with no fans, because too much heat builds up. It seems unlikely that Sony could go straight from 4K stills/video cameras that have some heat buildup limitations straight to one that can process and compress four times as much data.
And that’s before you question how many people have computers or software that can edit the footage.
Could we be looking at perfectly oversampled 4K output, rather than 8K
But the question is: would it have to? There’s very little call for 8K footage yet, given that 4K is only starting to find its way into people’s homes. Sony’s current cameras can downsample 6K capture into 4K output, so could we be looking at perfectly oversampled 4K output, rather than 8K? After all, the math is likely to be easier.
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| The Sony a7S used 3840 x 2160 capture to produce 1920 x 1080 video with no aliasing, since this 2x oversampling let it perfectly capture all the frequencies that can be included in 1080 footage. |
There’s a precedent for this, of course. The original Sony a7S captured 3840 x 2160 pixels, not to create 4K footage but as the basis for excellent 1080 video. This has a number of advantages: 2160 is the fewest pixels you need to capture to accurately represent all the frequencies you can include in an image 1080 pixels tall (This article explains why). So the a7S captured 4K, filtered-out (blurred) everything that couldn’t be conveyed in a 1920 x 1080 video, and then downsampled to produce some of the best 1080 footage we’ve ever seen.
An ‘8K’ camera could output cleaner, more detailed 4K footage than anything we’ve yet seen
A camera sampling 8K could output cleaner, more detailed 4K footage than anything we’ve yet seen. Better still, creating one output pixel from four capture pixels means you’re capturing all three primary colors at every location, so you could potentially output a 4:4:4 color signal over HDMI if you wanted. Though it’s noticeable that the a7S didn’t do this with its oversampled 1080, and most consumer recorders will only cope with 4:2:2 signals.
Does 10-bit capture mean 10-bit output?
And, just as 8K capture shouldn’t be taken to mean 8K output, 60 frame-per-second readout shouldn’t be assumed to mean 60p recording. The specs of the chip are rumored and hence hazy but if it’s true that it can only shoot 60FPS with 10-bit readout, then I’d expect a camera that records 30p (or whatever rate the sensor can maintain in 12-bit mode). This is down to the difference between capture bit-depth (which is linear and can limit the system’s dynamic range), and output bit-depth (which can contain any amount of DR). 10-bit output is pretty flexible, but 10-bit capture (with a maximum of around 10 EV of DR) is pretty limiting. So I’d expect video to come from 12-bit capture and then, ideally, be recorded and output as 10-bit files.
Venice-series/anamorphic
Of course this could all be wrong. The rumors might be completely incorrect or the idea of an a7S III (or a9S if componentry or the desire not to overshadow the a7R III saw it sold at a higher price point) could be wide-of-the-mark.
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| Maybe this chip could be destined for something in Sony’s CineAlta range, with the 3:2 region used for anamorphic shooting. We doubt it, though. |
For instance, the expensive, Stacked CMOS sensor used in the Sony a9 (or one very closely related to it) is almost certainly the one also used in Sony’s pro-video Venice camera that costs tens of thousands of dollars. This new chip could be for a sister model for that range, with the 3:2 aspect ratio used to capture footage with anamorphic lenses, for instance.
Or maybe it’ll be a different camera maker than ends up making use of the chip.
But, whether this 36MP still/8K video sensor turns up in a Sony a7/a9 series camera or not, it seems fair to say it could be the basis of one hell of a stills/video camera.
Articles: Digital Photography Review (dpreview.com)
Rumors point to imminent Canon full-frame mirrorless system launch
01
Sep
 |
Over the past few days, rumor sites seem to have come to a consensus that Canon will launch a full-frame mirrorless camera in the very near future. Canon Rumors and Canon Watch point to a full-frame body called the EOS R, alongside a list of lenses published today by Japanese news and rumor site Nokishita. A list of ‘RF’ lenses rumored to be launched with the system include:
- Canon RF 35mm F1.8 M IS
- Canon RF 50mm F1.2L USM
- Canon RF 28-70mm F2L USM
- Canon RF 24-105mm F4L USM
Also rumored to be announced soon:
- Canon EF-M 32mm F1.4 STM
- Canon EF 400mm F2.8L IS III
- Canon EF 600mm F4L IS III
Nokishita also suggests that a battery-grip, radio-wave receiver and an adapter (M to R, or “mount” – they say it’s unclear which) will also be announced.
Obviously, nothing is confirmed at this point and rumors are rumors. But we’d be surprised if Canon wasn’t prepping a full-frame mirrorless system amid competition from Sony and now Nikon. What’s your take on this list of lenses supposedly launching with the system? Let us know in the comments.
Articles: Digital Photography Review (dpreview.com)
5 Camera Bags That Every Travel Photographer Needs At Some Point
18
Jul
One of the great things about being a travel photographer is that you are almost always working outside. Sometimes this might be in a city and sometimes in the wilderness. Either way, one of the main attributes you will need is to be organized. This involves everything from research and planning, to your shot list and efficiency. It also includes being organized with your equipment and what you will need on a day to day basis.
There is a fine balance between carrying too much unnecessary equipment and what you actually will need. A vital part of carrying your equipment is choosing the right bag for the scenario you are going to be photographing. Not only are camera bags important in keeping your equipment safe and dry, but a good bag will also make it easier to carry equipment.
Especially when you will potentially be walking around all day. There are so many bags to choose from, so here are the five types of bags that you may need at some point.
#1 – Day Bag
A day bag is usually the first bag that most people would purchase. It will also be the bag that gets the most usage. So it’s vital that you take into account the different options available to fit your needs. Before you rush out and buy one, consider the following factors:
- Size – What will you generally be carrying day to day? Most travel photographers will carry a telephoto lens and possibly a couple of smaller lenses. You may also carry a flash as well as memory cards, batteries and possibly a second camera.
- Tripod – The first day bag that I ever purchased, didn’t have a way to attach and carry my tripod. I quickly realized how frustrating and tiring that was. Carrying a tripod means you are constantly having to put it down every time you want to take a photo. So when fleeting moments arrive you are not ready to snap away.
- Non-photography space – Another big consideration when purchasing a day bag is how much additional space you will have to carry non-photographic items. For example, can you carry a bottle of water? Or a rain jacket? Is there somewhere safe and hidden away that you can keep your keys, mobile phone or even cash?
- Accessibility – Would you really want to take everything out of your bag to get to those plasters right at the bottom? How quickly and easily you can access the various compartments of your bag is very important. For example, some bags will allow you to get your camera out from a side zipper without having to open the whole thing up.
- Comfort – As a travel photographer you will often be out walking for hours. Being able to carry your equipment comfortably can mean the difference between going back to the hotel because you’re uncomfortable and in pain or carrying on.
- Airline carry-on – Another consideration is whether your bag complies with the carry-on regulations of airlines. I always carry my camera equipment on the plane (I put my tripod in my suitcase) rather than check it in so have to make sure that my bag isn’t too big.
All of these are factors that need to be considered before purchasing a day bag. It’s taken me a few attempts to find the perfect day bag but my choice is the Lowepro ProTactic 450 camera bag.
It has plenty of storage for two cameras as well as a couple of other lenses and things like memory cards and batteries. It has a top zip, as shown below, that makes it easy to access my camera without needing to open the whole bag. I can also carry a large tripod attached to the bag as well.
#2 – Hiking Bag
While a day bag is great for everyday use, sometimes it’s simply not big enough. For those photographers who like to hike or camp overnight, then a day bag won’t be able to hold all of your camera equipment and additional things needed like a tent, food, and water.
So the next bag up from a day bag is a hiking bag. But again it’s important to consider the factors below before purchasing your hiking bag.
- Size – The first criteria for your hiking bag is the size that you will need. This will come down to what you are planning to photograph and the duration of your hike/trek. For example, if you are planning to camp overnight you will need space for a tent and sleeping bag. But if your hikes are one day ones then you could get away with something smaller. Factor in all the items you will need such as spare clothes, a first aid kit and even cooking utensils as well as your camera gear. Then find a bag to fit what you will be carrying.
- Water reservoir – This might seem like a trivial point when considering a bag, but being able to have a drink without having to take your bag off is incredibly useful. So one thing that I would always recommend is buying a bag that either comes with a water reservoir or one that you can fit one into. You don’t want to have to constantly stop and take your bag off every time you want to have a drink.
- Waterproof – Most outdoor bags these days will be somewhat shower proof, but some bags also come with a rain cover that you can place over the bag. These sometimes sit under the bag and can easily be accessed when you need them.
- Adjustable – On any long walk or hike, comfort is vital. So look for a bag that allows you to be able to adjust the straps to fit your posture. The best thing to do is to try out your given bag for a few hours with your equipment locally before setting out on your trip.
My personal choice for a hiking bag is the Lowepro Pro Trekker 650 AW camera backpack. As I rarely camp overnight, this bag is big enough to carry my camera equipment and any additional daily items. There is also a side pocket for a water reservoir (not included) and you can strap a large tripod to it as well.
Lowepro Pro Trekker 650 AW camera backpack
#3 – Sling Bag
There are times that even a day bag is too big and cumbersome to carry around. Sometimes all you need is a small bag to carry your camera and a few additional accessories. Sling bags are useful for this purpose and also because you can get things in and out without having to take your bag off.
There may also be occasions (i.e. in busy events) where you can keep your bag in front of you thus making it less inviting to pickpockets and thieves. You won’t be able to carry a lot of equipment or strap your tripod to it, but a good sling bag should still have plenty of room for what you need.
I pack my sling bag into my suitcase (it folds flat) and will use it on occasions when I don’t need to take a lot of equipment. For example, some museums or viewing platforms don’t allow backpacks whereas you’ll be okay with a sling bag.
My sling bag of choice is an older version of the Lowepro Passport Sling III camera bag. It’s surprisingly spacious for its size and I can fit my DSLR as well as a wide-angle lens and a telephoto lens inside. It also has space for memory cards and batteries as well as outside pockets which are useful for things like a water bottle.
#4 – Toploader
These small camera bags are only big enough for one camera and one lens (if you want it for a telephoto lens make sure you purchase the bigger size). The real benefit of these bags are that you can keep your camera on your hip for easy access. So rather than having to take your bag off to pack or unpack your camera you can simply place in this bag as and when you need to.
I find that this is especially beneficial on long hikes or treks when I sometimes may not take a photo for long periods of time but I still have it on hand when a moment presents itself.
The less obvious benefit of these bags, which I realized recently, is when traveling by air. Airlines can be very picky about the weight of your checked-in luggage. So if you find that you are over the limit you can place some items from your luggage into this bag and take it onboard. For example, on a recent trip I was able to place the head from my tripod and few other small but heavy items into this bag and avoid paying the excess weight charge.
I take my Lowepro Toploader Pro 70 AW II camera case with me on every trip. If I can, I pack it in my suitcase and use it where necessary. If my suitcase is full, I put my camera in it and carry it onto the plane in addition to my day bag.
#5 – Hard Case
Another option to consider for traveling are hard cases. These are suitcases which are made of a tough material which is waterproof and dustproof. They are especially designed for transporting camera equipment.
The benefit of these cases is that your equipment will be safe inside from damage. But they are generally only useful for transportation rather than day to day use. Some of the latest models are designed with a camera backpack inside which allows you to wear it like a traditional day bag. But having tested one a while ago, they are not as comfortable as the traditional day bags.
Personally I have never found a need for one to date as I carry all my equipment in my backpack. But if you are going to be traveling to harsh conditions or face the likelihood of your equipment getting wet than it would be worth investing in a hard case.
Summary
Camera bags might not be the first accessory that comes to mind when building your photography equipment inventory, but they are incredibly important. Not only will they keep your equipment safe, but they might stop you from being uncomfortable or even in pain because of the weight you are carrying.
The important thing is to not rush out and buy all of the above at once. Over the years as the need arises, you can invest in a new bag. So, think carefully about what you need and do some research into the different types of bags available.
What camera bags do you have or find useful? Please share your recommendations below.
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