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Digital Equipment

updated 12/09

Going Digital

Equipment selection is often a battle between efficiency and necessity. A natural inclination towards a lightweight, simple gear selection can be overshadowed by a need for the precise tool for the job.

However, the rapidly advancing digital age has greatly simplified our choices. With the introduction of the 11 megapixel Canon 1Ds digital SLR camera, we were able to abandon film early in 2003.

Ignoring the plethora of scientific tests and opinions comparing film to digital, we have gained this opinion based on our own experience and subjective observations comparing thousands of fine art prints and press-published images from both sources.

There are many other benefits of digital. We no longer require color correction filters for unusual lighting situations. We can meter based on the cameras histogram readout, which is often more accurate than using a light meter. We no longer need to scan new images.

We haven’t looked back.

Cameras

Canon 1Ds MarkIII
(2 bodies) 21.1 MP full frame sensor DSLR

Canon 5d MarkII
21MP full frame sensor DSLR, light weight option

Canon 7D
18MP 1.6x sensor crop DSLR

Lenses

To compliment the cameras we use a variety of common and special purpose lenses, including:

Canon 16-35mm F/2.8L II
This photographer’s staple has many uses. Its wide angle of coverage is perfect for many scenic and landscape photos. Outstanding optical performance, even wide open, makes it a favorite lens for aurora photography, where any optical defects will be made more obvious.

Canon 24mm F/1.4 II
The third 24mm lens in the arsenal is primarily for Aurora borealis photography.

Canon 24mm F/2.8
The fourth 24mm lens in the arsenal makes a great landscape lens that takes virtually no bag space. Being a prime lens (not a zoom) it suppresses flare and gives light sources a very pleasing “star” appearance. This is perfect for photographs with the sun in the frame.

Canon 24mm F/3.5 Tilt-Shift
Yet another lens covering the 24mm range, this lens mimics the tilt and shift functions found on large format view cameras and some medium format cameras. When you tilt a camera up, lines bend inwards creating a distorted look. This lens allows for correction of this problem without doing post production.

Canon 24-70mm F/2.8L
This lens provides a range similar to what the human eye sees, and is often used when photographing people and environmental portraits.

Canon 24-105mm F/4L IS
A good lens for overall midrange shooting, but vignettes strongly. The versatility of range makes it a winner however.

Canon 70-200mm F/4L Image Stabilized
A lightweight alternative to the f/2.8 version.

Canon 70-200mm F/2.8L Image Stabilized
Speed and great handling make this a wonderful lens for large wildlife that is approachable. It’s large aperture and image stabilization make low light photography possible without a tripod.

Canon 100-400mm F/4.0L lens
Very versatile zoom range

Canon 100mm F/2.8 Macro lens
Allows subjects as small as one inch tall to fill the frame. The 100mm focal length provides longer working distance to avoid shadowing (or scaring!) the subject

Canon 300mm F/2.8 Image Stabilized
One of the sharpest lenses available, this provides extra reach while maintaining a fast aperture of F/2.8

Canon 400mm F/5.6L
Extremely sharp and lightweight

Canon 400mm F/4L DO Image Stabilized
The ultimate long lens for travel.

Canon 500mm F/4 Image Stabilized
Another optical marvel, this massive lens is often used for Arctic wildlife, often with a 1.4x and sometimes a 2x extender.

Zenitar 16mm Fisheye lens
This little-known lens is made in Russia. It provides a unique distorted perspective and is sometimes useful when unusual effects are desired.

Sigma 14mm F/2.8 rectilinear
After being dropped in a river, the electronics were fried in this lens, but it still works when super wide angle is desired. This perspective renders some wild skies! Rectilinear means that lines remain straight, unlike a fisheye lens which distorts the image.

Tripods and Mounts

All of this gear must be securely anchored to prevent vibration and soft photos.

To achieve this we use a Gitzo G1348 Mark II Carbon fiber tripod with a Really Right Stuff BH-55 ballhead. Our cameras and lenses mount with Really Right Stuff quick release plates.

For lighter weight gear, we also use a smaller Gitzo G1227 carbon fiber tripod with a Kirk BH-3 ballhead.

Super lightweight Gitzo Trip: GT0541 carbon fiber-1.7lbs
Really Right Stuff BH25 Mini Ballhead

Lighting

For our assignment work or the occasional stock image requiring lighting, we use a Dynalite m1000wi power pack triggered wirelessly by a pocket wizard transmitter. This is complimented by a Dynalite Uni400Jr monolight used either plugged in or powered by a Jackrabbit battery source.

We support the light heads with Calumet air-cushioned light stands, and soften the light with Chimera and Calumet soft boxes.

When we don’t need so much light, we often use with three Canon 580EX strobes, either using E-TTL auto metering or in manual mode. These are much more portable than full sized strobes, and a pleasure to use.

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