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Nobody likes a grainy photo, right? The majority of the time we want less graininess. In the digital world, we see grain as the enemy. But is it really? I’ll tell you now that grain isn’t always bad. I’ll go even further than that and say that grain can actually be something that adds to the strength of your photographs.
Film grain gets a bad rap because it’s often confused with digital noise. The two are, in fact, entirely different. In this article, I’ll talk about the difference between noise and grain. Then I am going to show you how to use Lightroom to purposefully ADD grain to a photo. Get ready. Be bold. Embrace the grain.
The difference between digital noise (sensor noise) and grain comes down to the light sensing properties of each. Digital sensors convert light into an electronic signal using an array of photosensitive diodes. These are the “pixels” or “picture elements” of the sensor. Digital sensors carry “noise” based on a number of things such as the size of the sensor, its temperature, and the ISO setting.
Digital noise at ISO 5000
Film, on the other hand, uses light sensitive silver crystals which are embedded in the emulsion of the film. The physical manifestation of these crystals is what we perceive as film grain. The higher the film’s ISO, the more crystals are present, hence more grain.
Agfa Vista Plus 200 ISO 800. A cropped section of an image by Akio Takemoto
Grain is an organic characteristic of the analog film process. It’s almost like a fingerprint exclusive to the type of film you’re using. Perhaps that’s why film grain is gaining a growing acceptance among new photographers in this digital age of imaging.
This notion hasn’t been lost on the developers at Adobe and they have given us a way to simulate the grain patterns present in film with our digital images. Depending on your photo, adding some creative film grain can impart a vintage feel of earthiness to your digital image. And you’re about to learn how to do it in Lightroom in…3…2…1….
I hope you enjoyed the dramatic countdown.
You can find Grain in the Effects panel of the Develop module in Lightroom CC. It’s where you can do a number of things but for this occasion, we are going to focus on the grain section. You’ll notice there are three adjustment sliders; amount, size, and roughness.
This is how you will essentially replicate those light sensitive crystals found in film emulsion I mentioned earlier.
**Note, it’s wise to apply grain (like most effects) as the last part of your final steps in post-processing.
The amount of grain is controlled by, you guessed it, the “Amount” slider. Think of this as the number of crystals you are adding to your image. The higher the amount, generally the higher ISO look the effect. Here’s a +40 grain amount on an image shot at ISO 640.
It is a good idea to use a large increase in the amount of grain while adjusting the next two sliders and then back it off from there until you reach the desired amount.
The size of the grain plays a big part in how apparent it will be in your final image. Larger crystals will be more noticeable even at low amounts. It’s virtually the same concept as high and low “grit” sandpaper. Now here’s a +40 boost in grain size from the last image.
Keep in mind that the further to the right you move the slider the larger each grain will become. This can diminish small details in your photo so use with caution.
Grain roughness is closely related to grain size. The difference is that the roughness slider controls how raised the grains appear to be from the image. Essentially how rough or smooth their surface appears. The next image shows the same +40 amount of grain with the size set back to the +25 default. This time I increased the roughness to +70.
Think back to the sandpaper analogy. The more raised the grain the rougher the overall texture and thus the texture of the final grain effect.
Here are a few more examples of using simulated grain in Lightroom. Black and white images have always loved grain.
Black and white image with Grain set to +50 Amount, +71 Size, +50 Roughness
Grain set to +30 Amount, +66 Size, 0 Roughness
Grain set to +60 Amount, +18 Size, 80 Roughness
Never forget that grain is completely different than noise. Grain is, in some ways, the signature of film. Adding it to your digital images can sometimes, not always, give your photos a non-mechanized flavor that hints back to the organic appeal of analog film.
You can control this effect easily in Lightroom by adjusting the amount, size, and roughness of the grain. The combinations are virtually limitless. Just remember, as with all processing effects, use them up to, but never past the point they were intended. That being said, never be afraid to experiment and “go against the grain”…sorry, I had to say it.
The post Tips for the Creative Use of Grain in Lightroom by Adam Welch appeared first on Digital Photography School.
This article is about how I think you can use social media network sites for your best benefit. I am suggesting there is one single thing which you should concentrate on that you can get there with just five steps.
As I have already suggested, I do recommend photography-centric social media networking sites. The one I have used most is Flickr, but I am not endorsing that particular site. Search “social media networks photography” (or similar), and almost any of the sites found will do the job, in largely similar ways. Play around, you might find one which better suits your style, your way of thinking.
And much more!
This photograph has over 14,000 views and has been added as a favorite 600 times. It is my most viewed and most faved photograph on Flickr. How can that be? Really? What are its merits which cause it to be so lauded?
Girls of Bahrain.
The truth is that its photographic merits are VERY limited. I could give you an explanation of why this image has been such a success, but that is not important. What matters is that it helps make the point that “views” and “faves” and even casual comments such as “Great capture, cool shot” mostly mean very little whatsoever.
That is an extreme way of putting it but I’ll stick with it and avoid drawing it out and giving a long justification. However, I think those numbers below mean very little. Though it might have some interest, it is not what you would call a good photograph.
I have never properly thanked the person concerned, maybe the mention in this article will make up for that.
King of the souq.
I shared this photograph. The comment I received was:
“Another very “Richard Messenger”ish shot. Do all your subjects coincidentally make the same expression, or do you somehow force it out of them? Haha. His somewhat-there-but-still-flat-sort-of-smile looks very familiar to previous portraits you’ve taken.”
I think I knew the truth pretty much straight away, but it took a little while longer to fully accept it. At some point I linked the comment with Rick Sammon’s adage that “The camera points both ways” and realized why too many of my subjects did, indeed, have that same expression. They were simply reflecting my expression.
It is very difficult to make that sort of realization on your own. People pay thousands of dollars to gain such insights. I had received the comment, and great insight, from an honest person, with clearly good intentions, who expressed themselves kindly AND who happened to be right. What more can you ask? Good comments are priceless.
Comments please.
What I want, and what I think will move your photography forward too, is comments. Receiving AND making comments has certainly helped me. Unfortunately, it is very unlikely that you can simply post your photographs, however stunning they may be, and expect people to start commenting. You will need to do a little work.
Do unto others.
The Golden Rule is among the values espoused by most religions and philosophies. Of the various versions, this seemed a good, simple way of expressing how to approach making comments.
“Try to treat others as you would want them to treat you.”
Or, on a perfect day, we could turn to Lou Reed.
“You’re going to reap just what you sow.”
However, you want to put it, in terms of religion, philosophy, or pop culture, it is a good principle to hold in mind when you are making comments.
Just look … think …
You might want to start on the nursery slopes for the first day or two, week or two even. There is a lot to be learned by looking at photographs and keeping the following in mind.
Here’s the thing. I am not going to burden you with long paragraphs of explanation, give real world examples, or quote academic research. I am just going to tell you that the person making a comment often learns more than the one receiving the comment.
Will she? Won’t she?
When you are ready to abandon all buoyancy aids, this is where you jump into the swimming pool. You now begin to sow, so try to treat others as you would want them to treat you. Keeping in mind Kipling’s six mates, you now start to comment.
Just taking the example of Flickr, there are a massive number of groups, with all sorts of specialized interests. You will probably find it productive to browse around, join them, and start making comments within the different rules of each group. Nothing ventured, nothing gained!
My personal rule is that I do not hang around. If a thought does not start to form very quickly in respect of a photograph, I move on. It is, of course, totally up to you, but I suggest that you do not spend too much time scratching your head.
What can I say?
As many a politician would testify, “no comment” is better than a rubbish comment.
Then, as a guideline, you might follow a Rule of Threes. Start off by simply trying to say three things (even just two) which you like about the photograph. Three positive comments stating what you think of the scene, how it makes you feel, what you think the story might be, and what compositional aspects you like. You may find it best to stick to only positive comments for a week or two. It is possible that you will start to get reciprocal responses, but you cannot guarantee it.
(To avoid all sorts of complications, but not without some mild embarrassment, I am commenting on my own photographs).
River bed scavenger.
Then the next step is to start making a comment or two on technical aspects that you think are good, and which you think contribute to the photograph.
Innocence captured.
Finally, you might tentatively start to suggest things that you might change, or which you think might be helpful. Remember – do unto others!
Hey, did you happen to see…?
You can always hint, or just ask directly, “Can you please comment on my photos?”. However, my experience is that once you have commented on their photographs, people tend to feel inclined to comment back. Again, this is my personal rule, but I would strongly argue that it is a good one. I try to always respond, or at least acknowledge any comment.
Admittedly, I have not always taken criticism well, but I think I’ve learned to give it more credence, to encourage it. One example of this is if the person commenting suggests something that I can change … a crop, a processing adjustment, changing to black and white … whatever, just do it and post the result. If there is a way of tagging the person, that is likely to help sustain the conversation.
Without being religious or philosophical, can I just give the same advice again, in a different, rather parental way, PLAY NICELY! and remember to say Please and Thank You.
There are a quite a lot of places which are specifically aimed at giving a critique of photographs. As you might have spotted, these include the Digital Photography School Facebook group.
The single thing you should concentrate on is making and receiving comments. Getting worthwhile comments is your aim. Take some gentle steps, apply The Golden Rule, and you might just develop a good community. You really can benefit hugely from making and receiving worthwhile comments when it comes to social media networks.
The post Five Steps to Benefiting From Social Media Networks for Your Photography by Richard Messsenger appeared first on Digital Photography School.
Teaching photography workshops has made me aware of four mistakes people make which hinder their development as photographers. If you can learn to avoid doing these four photography mistakes you will become a much more creative photographer and find more enjoyment in using your camera.
Most people who join our workshops come with DSLR or mirrorless cameras and have made a reasonable financial investment in this equipment. They have researched what to buy, carefully chosen and purchased a camera they decided will be right for them.
But many people still are stuck on the idea that if they upgrade their equipment their photography will improve dramatically. This can be true in some cases, but generally, it’s a mistake to be easily avoided. It’s most often a mistake to think like this because you are telling yourself you cannot improve unless you get new gear.
Changing your thinking about wanting new camera equipment is the best way to avoid getting stuck in a photographic rut. Sticking with the camera you have, getting to know it and love it will enable you to become a far better and more creative photographer. I’ve had my main camera now, (a Nikon D800,) for over five years – a long time for any digital hardware, and I am more than satisfied with it. I have come to know it well and therefore, use it easily. I’ve been using Nikon cameras for over 30 years so am pretty familiar with the way they work.
Sticking with the camera you have, and getting to know it well will enable you to concentrate more on composition, lighting, and timing. You will not be distracted trying to figure out which dials and buttons to use to set the camera the way you want. Making these settings will become second nature once you are intimate with your camera. By upgrading your camera too often you are not as likely to get to become truly familiar with it.
Another mistake I find people often make is not learning how to use their camera. We had a customer recently who had studied photography in high school and also taken courses in photography at university, but they did not really know much about using their camera. I was shocked!
One of the easiest ways to avoid frustration and undoubtedly help improve your photography is to study your camera before you study anything else about photography. Learning how your camera functions and how to control it should be the first step you take in your photographic journey. Unless you are confident with your camera and can use it with ease, you will be distracted from the more creative aspects of photography.
Picking up most camera manuals it’s not difficult to understand why people so often do little more than skim a few pages before putting it down again, as they are notoriously challenging to make much sense of. There are other ways to learn about your camera settings.
Getting online and using Google and Youtube will typically result in an incredible amount of good information about most camera models. Many top brands have authors who write independently about their cameras and the information in those books is often far easier to digest.
By deciding to enjoy the camera you have and learning how to use it, you will be avoiding two of the biggest mistakes I find people make that hinder their growth as photographers.
Hopefully, if you are committed to avoiding the first two mistakes you will naturally avoid this third one I find many people make – not using your camera frequently enough.
If you only use your camera when you go on vacation, or for family gatherings or to photograph your kid’s soccer game, you are not using it enough to become a really proficient photographer. This is an easy mistake to avoid if you build a healthy habit of taking your camera everywhere, (and you don’t just leave it in your camera bag).
Using your camera frequently, every day preferably is the best way to integrate what you have learned about your camera into practical experience. Taking up what’s known as the 365-day challenge is a great way to help form a creative habit which will do more for your development as a photographer than any other method I know. Choosing to pick up your camera and take at least one photo a day, every day of the year, is a commitment destined to shape and speed your development as a photographer.
Most people who join our photography workshops have their camera’s set to one of the auto modes, typically aperture priority, at the start of the day. Before we are through the first hour, most have their cameras set to manual mode. I am very good at convincing people to make the switch to manual because I passionately believe it is a big mistake to allow your camera to make the creative choice of setting the exposure. Your camera is smart, the artificial intelligence in modern cameras is incredible, but your camera is not creative.
By taking control of your exposure using manual mode you are avoiding one of the biggest mistakes people make. Knowing how to use manual mode on your camera will empower you to become so much more creative, but you must first overcome the mindset that tells you it’s too difficult. It really isn’t, especially if you are avoiding the first three mistakes I’ve written about in this article.
Camera manufacturers love to promote all the new technology in their cameras and you never see much encouragement from them to use manual mode. I believe learning to use your camera in manual mode is a lot less complicated than learning all the auto settings. Learning to set your exposure manually you have control over the way your photographs will look and you will truly be able to develop your own unique photographic style.
By making the mistake of relying on the camera’s AI and using your camera on auto you are relinquishing creative control to a piece of equipment manufactured to return standardized results. If you want to avoid all your photos looking like most other people’s I would encourage you to switch to manual mode and take creative control of your photography.
This is a big step for many people and does require practice to learn the principles of exposure. We have had so many people leave us lovely reviews and thank us for encouraging them to make the switch to manual mode.
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Even if you can avoid making one or two of these mistakes you will notice an improvement in your photography. Managing to avoid all of these photography mistakes will take some time and commitment, but to excel in any creative expression does not happen easily for most people.
The post How To Avoid 4 Photography Mistakes That Will Hinder Your Development by Kevin Landwer-Johan appeared first on Digital Photography School.
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[ By Steve in Art & Street Art & Graffiti. ]
Urban street artist Invader has installed tile mosaics modeled after Space Invaders 8-bit video game characters in over 30 countries over the past 20 years.
Although he prefers to remain incognito like Banksy and many other street artists, Invader has a known personal history aside from his art. Born in France in 1969, he graduated from the prestigious École des Beaux-Arts in Paris though one wonders what his instructors think of his trademark works.
Classical training aside, Invader’s main artistic focus relates to the 8-bit graphic style of visual displays common to the first wave of electronic video games from the late 1970s. His choice of “Invader” as an artistic nom de plume reflects the influence of Space Invaders, one of the first shooter-style video games, released in 1978. The images above, captured by Flickr member Philosofia in Rome in June of 2011, are typical of the artist’s style and preferred placement in public urban settings easily visible but less than accessible.
Invader is not your typical tag & go, fly-by-night graffiti artist though many of his works ARE installed in the dead of night so as to avoid traffic and police. Instead, Invader typically plots his so-called “Invasions” of a chosen city far in advance, scouting out locations for his mosaics and semi-completing the works before he goes out to install them.
The artist’s earliest mosaics began appearing in Paris about 25 years ago. The examples above come courtesy of Flickr members Wally Gobetz (wallyg), Nelson Minar, and Ferdinand Feys.
As time went by and word of Invader’s distinctive works spread, a black market for his pieces sprang up. Naturally, the artist disapproved of this – his works were and are designed to be not-for-profit installations.
In response to a rash of thefts and subsequent resales, Invader has made efforts to make his work more complex (and therefore more difficult to remove) and he’s also been placing them in higher, less accessible locations. The above images were snapped by Flickr members Allison Meier (allisonmeier), KnitSpirit, and victorillen in 2009, 2011 and 2009, respectively.
In June of 2011, Invader celebrated the installation of his 1,000th work in Paris alone. Over his “career” to that point, he had created 2,692 space invader style mosaics in 77 cities using approximately 1.5 million ceramic tiles. The mosaic above dates from February of 2013 and was snapped by Flickr member sinkdd in Tokyo, Japan’s famously trendy Harajuku shopping district.
[ By Steve in Art & Street Art & Graffiti. ]
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Imagine being a concert photographer and getting the chance to cover loads of concerts. Imagine standing just feet away from your favourite artists as you capture so many shots of them. Doesn’t that just sound like the best thing? As opposed to other genres of photography like portraiture, fashion, etc., we have little to no control over lighting, the artists, and tons of other factors in concert photography.
So what are some of the best settings and tricks to capture those perfect shots at concerts? Images which will make you proud, make the artists and the viewers sat “Wow that is indeed one brilliant capture.”?
Using a fast lens is highly important and is a basic requirement for concert photography. Almost all concerts happen during evenings or night, or indoors under low lighting, which is why your camera sensor requires more light to enter through the lens opening. Moreover, the performers keep moving around the stage so you need to use faster shutter speeds to freeze their motion.
A fast lens is one which allows shooting at wider apertures such as f/2.8, f/1.8, etc. By using lenses like the 50mm f/1.8 or 135mm f/1.8 at the smallest aperture value, you can capture a well exposed shot by keeping the shutter speed fast enough. Another reason for using a fast lens is because usually the distance between the backdrop and the subject is minimal, so to create a shallow depth of field with a bokeh effect, a smaller aperture value would have to be used.
Using Aperture Priority Mode to shoot concerts allows for more stress-free shooting. You simply tell your camera the aperture you want to use and it automatically sets the corresponding shutter speed. For many newbies shooting their first few concerts and even for many pros, using aperture priority allows for hassle free shooting.
Also, since the your mind is not all occupied by technical settings, you have freedom to look around at the artists, the crowd, etc., and end up shooting something really creative.
Shoot in aperture priority, with your f-number set to the smallest available on your lens, usually f/1.8 or f/2.8.
Concerts usually take place in low light settings and for many reasons, using a tripod is not possible. So you can resort to the one setting which you have control over and can easily use, the ISO.
Before the concert really gets going, fire off a series of test shots at different ISO values to judge after what point the noise becomes unacceptable. (Usually ISO 3200 or 6400). Some noise is actually okay and is far better than having a totally underexposed or blurry shot simply because you didn’t increase your ISO value.
The noise generated by the high ISO values can be used creatively to capture something unique. A monochrome shot with some noise would lend a really cool film grain effect to your shot. High noise can be fixed later on in post-processing too. So don’t think twice before cranking up that ISO, it’s far better than having no photo to show.
MOST important- Avoid using your flash at concerts. It is looked down on and frowned upon a lot. Imagine that you are firing your flash towards the performer(s), and there are 10 others doing the very same. That is surely going to annoy the artists, not to mention almost blind them.
Another important aspect of concert photography is photographing the audience, and no photographer would like to distract the audience from the artist who is performing for them. Repeatedly firing the flash at their faces while capturing their photos can easily annoy audience members.
Also, if we are aiming to capture candid photos of either the artists or the crowd, then firing a flash at them surely is not the right way to do that. And yes, a majority of photos using the built-in pop-up flash simply aren’t worth it. They look flat and uninspiring.
You are not there to stand at one place and shoot the same picture 10 times. As a concert photographer it goes without saying that you will have to move around. Move with the artists, move as the lighting changes, etc., to capture those standout moments. (Note: unless, of course, the venue or artist has put restrictions on photographers moving around.)
If you find people blocking your view, you have to move. After all, they have paid to watch their favourite artists perform. If the lead singer moves to one side of the stage, then you have to follow him over there.
The lights too will change from time to time, and it is important to know when which area of the stage will be illuminated to capture the performers properly with adequate lighting.
Moving around will always get you some really creative shots. You could capture a shot of the lead guitarist under the spotlight, a shot of the lead singer standing isolated from everyone else, etc. The possibilities are endless.
Waiting for that perfect moment is as important as learning to anticipate it. This is a habit which can be developed easily, and is only fine tuned over time. Observe the artists and you will notice certain habits of theirs.
Moments such as a guitarist bending backwards during a particularly intense moment, a DJ waving his arms in the air, a singer grabbing the mic in a particular manner, etc., are all moments which would make for a perfect shot. It is important to know when these moments are around the corner so that you are ready to fire your camera when they come.
These are just a few tips to help you do better concert photography. Please share any others you’ve learned as well as your concert photos, in the comments below.
The post Tips for Doing Concert Photography like a Pro by Kunal Malhotra appeared first on Digital Photography School.
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Phase One recently sent award-winning portrait photographer Rick Wenner on a dream assignment. Equipped with the XF IQ3 Achromatic—the world’s only 101MP black-and-white medium format digital back—he was sent to Wildwood, NJ to shoot an odd event called the Race of the Gentlemen.
The annual drag racing event features pre-war era hot rods and motorcycles, speeding across the beach. It’s the ideal event to shoot in black-and-white, and when you’re shooting with the only 101MP digital back out there… well, all the better.
But why black and white only? Wenner explained in an interview with Phase One:
“Black and white photography is a great approach to focus completely on the detail and art of these beautiful machines. […] You aren’t distracted by a bright blue sky or a yellow-green paint job on a hot rod. You are not distracted by the colorful tattoos or the rust and patina of an old delivery truck. Your eye is only looking at what I want the viewers to see in my photos – detail, texture, facial expressions, style, shapes, and action.”
As for the camera itself, it was… hefty… as you might well assume. In addition to the weight of the XF IQ3 Achromatic, Wenner was using the Schneider Kreuznach 40-80mm LS f/4.0-5.6 and Schneider Kreuznach 75-150mm LS f/4.0-5.6 Blue Ring lenses, neither of which are exactly light.
Speaking with DPReview over email, though, Wenner tells us the extra weight was totally worth it once he got a look at the files:
The camera was heavier than what I’m used to with those zoom lenses but still manageable throughout the day. The files are ENORMOUS, as expected. The .IIQ (raw) files are on average about 150-175 MB. I loved working with the files because of the insane amount of detail captured and how much information can be recovered in highlights and shadows.
Check out the full set of photos from the TROG event up top. And if you want to see more of Wenner’s work, visit his website, check out his blog, or give him a follow on Instagram.
All photos by Rick Wenner and used with permission.
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Photography gear is pricey, and buying used is a great way to keep your wallet from getting too thin, but it also comes with quite a few risks. The high price associated with photo gear sometimes attracts unsavory folks disguising themselves as reputable sellers, as a means to part you from your hard earned cash. Thankfully, it’s pretty easy to avoid this from happening.
I’ve been buying gear on a budget for thirteen years now, mostly via eBay and Craigslist, and in that time have come of with a basic set of rules to protect myself from getting burned. And after recently reading a gear-buying horror story, I felt compelled to write down my rules – with the input of my DPReview colleagues – and share them with you.
Note: There are exceptions to these rules and following them does not necessary guarantee you won’t get burned by a bad deal. As with any big-ticket purchase, common sense is the best and safest policy.
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Buy from reputable used retailers like KEH or from the used department of reputable camera retailers like Adorama or B&H. If you are unsure of whether a camera retailer is reputable, if they are based in the USA, a quick search of the company’s name on the Better Business Bureau website should provide you the answer.
As a rule, always be sure to check and understand the retailer’s return policy, just in case you have an issue. For instance, KEH offers a 6 month return window.
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The advantage of buying from a used retailer is generally piece of mind; the disadvantage is you will likely pay more than buying direct from a selling party. That’s where consumer-to-consumer sites like eBay and more recently, Amazon Marketplace* come into play.
If you plan on purchasing from a seller on one of these sites, I can not emphasize enough how important it is that they have a positive selling history with multiple completed transactions. At least ten is a good place to start, but the more the merrier. Checking a seller’s history is simple on both of the above-mentioned sites.
DPReview.com is a wholly-owned subsidiary of Amazon but is editorially independent of our parent company.
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Only pay using a payment method you trust. PayPal is the obvious option, especially if buying on eBay, but there are others out there. And be wary of anyone who wants you to pay by wiring money to them via Western Union. If you choose to do so, make sure you’ve developed a sufficient level of trust with the seller.
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Buy from sellers who are photographers/photo enthusiasts. They’ll likely have taken better care of their gear and know more about its operation. The language used in an item’s description is usually a good indicator of whether the seller is a photo enthusiast or just someone who picked up some gear at an estate sale. If you are still unsure, reach out to the seller and ask them a question about the gear. If their reply doesn’t satisfy you, don’t buy it.
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If you plan on buying off Craigslist, try the gear with your own lenses/camera before you buy. One of my colleagues went to check out a prospective lens from a Craigslist seller. The lens seemed to function great on the gentleman’s camera, but when my buddy mounted it on his, the AF motor started to squeak. My friend had done his research and knew this particular lens occasionally suffers from premature failed AF motors, so he politely said ‘no thank you’ and moved on. Had he not tried it on his own camera, he might have ended up with a lemon of a lens.
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This is in a similar vein to the previous tip: Always, ALWAYS research warning sizes of failure for a piece of used gear you are considering purchasing. Some used gear holds up surprisingly well over time; some does not. For instance, early production Nikon 17-35mm F2.8 lenses suffer from the aforementioned failed focus motor. Knowing the warning signs of failure is essential. And don’t be afraid to ask the buyer if ‘the AF motor squeaks at all.’ These kind of questions and their answers can help protect you.
On a similar note, if purchasing a used camera, always ask for the shutter count. In the same way the odometer in a used car provides a metric for how much wear and tear it’s received, so does a shutter count. Because shutters are only guaranteed so many actuations by the manufacturer, it is crucial to check before you buy.
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Avoid grey market gear. If you are unfamiliar with the term, it refers to gear that is sold in new condition, but without a corresponding warranty for the country in which it is being purchased. To be clear: ANY camera or lens bought new from a reputable dealer will always have a warranty card issued by the manufacturer. Grey market cameras have usually been imported illegally. Some will come with a third party warranty, some will not.
While the prices might be tempting, it’s best to avoid these ‘deals.’ If you end up having a problem with the gear or there is some kind of recall, you may run into issues when sending it back to the manufacturer. Not to mention that grey market sales undermine the integrity of the photography gear market as a whole.
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Look for alternative versions of gear that may be less expensive. This is less a tip about protecting yourself and more a tip about finding the best deal, but what the heck, we included it anyway. A good example of this is the Leica CL, which goes for a lot more money than a Leitz Minolta CL, despite being the same camera.
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Double check your prospective gear’s compatibility with your current gear. This one is pretty commonsense, but if you accidentally buy a Canon FD mount lens for your 5D Mark III, the screw-up is on you, not the seller. Likewise, if you buy a Nikkor-D lens and your DSLR doesn’t have a built-in AF motor, that’s your problem – not the seller’s.
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Be patient. If buying on Amazon Marketplace or eBay, you can set automated searches or notifications for products of interest. Don’t rush into buying something because you don’t see a lot of copies for sale.
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Make sure if the seller had registered their gear with the manufacturer that you coordinate changing the registration info to your own. I recently heard an unfortunate story of a photographer sending a piece of gear, bought used, to the manufacturer due to a recall, and the manufacturer sending it back to the original buyer. A sticky wicket for sure! Don’t let that happen to you.
Have any used-gear-buying tips of your own? Share them with us. If they’re solid enough will include them in our list!