German Tourist Trampled by Elephants During Photo Attempt
Some caution always enters into the equation when you’re working with animals in photography. And if you’re in a wild area this is particularly wise as you cannot predict what an animal may do.
A recent story in The Independent serves as a stark reminder of the dangers of wildlife photography – particularly if you are dealing with elephants.
In what is one among a string of incidents involving elephants, a German tourist on holiday in Zimbabwe was killed after exiting her tour vehicle to snap some pictures of a herd of elephants her tour group encountered at the popular Mana Pool game reserve. Her injuries were so extensive that she later died in hospital.
Zimbabwe Parks and Wildlife Management Authority Tinashe Farawo detailed the events that led up to the woman’s unfortunate death but was unsure as to whether or not her actions may have caused the elephants to attack. He did add that visitors are given plenty of warnings about the animals before they begin their tour and that all are instructed to keep a safe distance from them lest someone get attacked.
Of course, we’ve brought you multiple stories here of photography and animals gone sideways but it’s something that, though it has always been a part of the field, is growing in prominence because more and more people are aiming for that perfect shot whether for social media or other purposes.
And, as The Independent reports, elephants are particularly prominent in the headlines regarding photographer-related deaths. One tour guide was killed by a trained elephant near Victoria Falls and another person was killed while herding elephants for tourists according to the publication.
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September 30, 2018 at 07:56PM
“Distracted Boyfriend” Meme Called Sexist by Swedish Ad Authority
Whether or not you’re a fan of memes, they’re definitely an endless source of amusement – and controversy – for many people on the Internet.
Some people even think they are part-and-parcel with the whole Internet experience yet others point to their misleading, controversial, or even outright offensive content as a source of annoyance. We in the photography world often observe that little to no attribution is given to the creators of these ubiquitous images, a perennial issue across the web for people who work in digital media, and that they represent some of the most glaring examples of outright theft on the Internet, garnering even the attention of the EU with their latest copyright efforts which would effectively kill memes on most social media platforms if allowed to come into effect.
In a first, Swedish ad regulation agency Reklamombudsmannen (RO) received complaints from people that the famous “distracted boyfriend” meme, using a stock photograph from Antonio Guillem called “Man Looking at Other Woman,” is sexist in nature. The meme, as anyone can imagine just from reading the title of the original photograph, often compares two different things with the boyfriend being tied to one but checking out the other option quite blatantly. The meme is used to push everything from political viewpoints to brands of optical equipment and is, if anything, one of the more anodyne examples of an Internet meme out there by any rational estimation.
The controversy erupted when Swedish Internet service provider Bahnhof used the meme in an attempt to advertise employment with the company according to The Guardian. The figures in the photo are appropriately called “you,” “your current job,” and “Bahnhof” following the formula established for this type of meme. Obviously your current job isn’t checking out a new position with Bahnhof, so that would leave the male figure as the obvious candidate for being “you” and some people took offense at this depiction of men and objectification of women. Of the two issues, the latter seemed to weigh most heavily in the RO’s ruling on the ad.
“The advertisement objectifies women…It presents women as interchangeable items and suggests only their appearance is interesting […] It also shows degrading stereotypical gender roles of both men and women and gives the impression men can change female partners as they change jobs. According to the committee, the objectification is reinforced by the fact that women are designated as workplace representatives while the man, as the recipient of the advertisement, is being produced as an individual.”
Bahnhof for their part told local Swedish newspaper The Local: “Everyone who follows the internet and meme culture knows how the meme is used and interpreted. [Whether someone is a] man, woman or neutral gender is often irrelevant in this context. … We are an internet company and are conversant in this, as are those who would look for a job with us, so we turned to that target group. If we should be punished for anything, it’s for using an old and tired meme.”
Though the agency does not have any power to sanction Bahnhof making the complaint largely an interrogative process to discuss the whys and why nots of this type of ad.
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September 30, 2018 at 05:33PM
In photography, learning and knowing how to use and manipulate light will always be an advantage. Especially when it comes to portrait photography because you aren’t always going to photograph your clients in the most ideal light.
Backlight your subjects
You might think that backlighting can only apply during sunset hours, however, it can be used any time the sun has passed its peak. Once the sun angles a bit, you are able to backlight your subject.
This technique is best to keep direct sun off your client’s face and avoid those weird shadows that happen under the eyebrows, nose, and chin.
It also helps to keep people from squinting. Keeping your subject’s face away from direct sunlight will also help keep them comfortable during the session. Beware of backgrounds as well because sometimes, to keep the light of your client’s face, it may mean having them in front of ab undesirable background.
Try your best to position your subjects away from direct sunlight while still keeping the background that you desire.
Luckily, because the sun is high in the sky, and most likely really bright, you’ll have big natural light reflectors at your disposal.
Natural reflectors are great to bounce light back onto your subject without having to spend tons on expensive photographic gear. They are found at the location and can fill in the shadows nicely.
Natural reflectors include big parking lots, sidewalks, windows, big light-colored walls, silver or white cars, buildings with silver or reflective paneling/architectural designs, light-colored cement walls/floors, sand at the beach, and any found natural reflective surface.
Backlight your subject when the sun has passed its peak and position them in front of a large natural reflector to bounce light back onto their face.
Professional photographic reflectors are also great to use if you have one already. Position your subject with their back to the sun. Use the silver side of the reflector to bounce light back onto them.
Be careful not to aim the reflected light directly into your subject’s eyes as it can be really bright, almost as strong as direct sunlight. Angle it a bit until you find enough fill on their face.
Make sure you do not place your reflector on the floor pointing upward at your client. This will cause the light to bounce upward which will give you odd unflattering shadows on the face. Rather, have a stand or a friend hold the reflector up so that the light bounced back is around torso height.
Be careful when using the white side of the reflector during midday sun as this can cause your client’s face to wash out and look opaque.
Use a scrim to diffuse light
Some reflectors, especially the 5-in-1 kind, come with a translucent side. This translucent reflector helps to diffuse sunlight without completely blocking it out. You can also make your own using translucent fabric and a PVC/hula-hoop.
Hold the scrim over your client’s face or body to diffuse the light. Be careful of your backgrounds. If your background is brighter than your client, the background will be overexposed. If possible, try and match the light on the background to the light on your client.
Scrims are especially effective if you are going for close-up photos of your client.
Underexposing while photographing in bright midday sun can help you get less washed out backgrounds. Underexposing your photo can also help retain details that otherwise get lost if they are too bright.
After the session, you can bring up the shadows in your editing program of choice without losing detail in the rest of the image. Underexposing 1/2 – 1 stop can also help to keep the background details intact.
You can also expose for both your clients in one photo and in the next expose for the background. Later you can merge both photos so that your final photo is exposed for both the people and the scene.
This will also look a bit like HDR which gives your photo a more artistic and dynamic look. Make sure that both photos are taken using the same lens, at the same distance, with the same framing so that both images line up. Otherwise, it will be more difficult to merge the photos in an editing program.
Flash is a great resource to use during the midday sun. Especially when you are in a location where natural reflectors are scarce or you need an extra pop of light. Flash is also handy during midday sessions so that you can properly expose for your clients while keeping the background from washing out.
Since you’ll be competing with the bright midday sun, point your flash directly at your clients to make sure the light reaches them. Using a diffuser can help to disperse the light. If you’re using your flash in manual mode, aim to use it at 1/8th power or more. This will give you enough power to light your clients.
Experiment with your flash in the high-speed sync mode where you can use shutter speeds higher than 1/200th of a second. You’ll get more fashion styled photos as the pop of light will be more directional and your background will be darker.
Pointing the flash at a big white wall can also help to bounce light back onto your clients meanwhile diffusing the light so that it isn’t so harsh creating a nice blended fill.
If your flash is attached to your camera, you can slightly bend the flash down to direct it towards your clients rather than having it all the way up. It can add more light to the scene and direct it where you want it to be.
Shoot in Shade White Balance
It might seem a little weird to photograph your entire session in the Shade White Balance and your eyes might take some time getting used to the sepia tones. However, photographing people in shade mode helps to keep skin tones even.
This is very important, especially while photographing during midday sun since it can be really bright and hard to keep the skin tone consistent.
Shade White Balance allows you to then edit your photos so that you can get the exact skin tones that you desire.
Let creativity flow
Photographing during midday sun may not be ideal yet it can offer many different ways for your creativity to flow. Use shadows to create interesting effects. Try to face your client toward the direct sunlight and focus on the details.
You can also use hats, palm leaves, water, and other interesting elements to create different styled photographs. Experiment with your flash in different positions. Use the sun as a subject within the photo.
Allow your backgrounds to grow dark or wash out. Use the midday sun to highlight details that you want and put into shadow the details that you want to eliminate. There are many different ideas and letting the sun guide you can often give you the best results!
Put your clients in the shade
Just because you have to photograph during the harsh hours of midday sun, it doesn’t mean that you can’t use shaded areas to your benefit!
You don’t need a much shade, just enough for your clients to fit in. Tall buildings, large tall trees, and tall walls work to help shade your client from harsh light during the middle of the day. Position them close to a big natural reflector, keeping them in the shade while taking advantage of the light being bounced back.
Make sure you expose for your client’s face and not the background, this will help keep your skin tones even if the background washes out a bit.
While photographing in midday sunlight isn’t necessarily ideal, it can always offer some great ways to create different and interesting photographs of your clients. Practicing during these hours is also helpful in case you do have to photograph in midday sun such as a wedding day, for example.
If you find yourself photographing during these peak hours of the day, just know that these tips will help you to get the best out of your session, no matter what the light is like.
The post How to do Portrait Photography in Bright Midday Sun appeared first on Digital Photography School.
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September 30, 2018 at 02:01PM
If you want an alternative to using the regular camera strap for hiking or walking around town type of activities, then this review is just the thing for you! Read on to find out about the SKOUT Handsfree Camera Carrying System and whether it will suit your needs.
A couple of weeks ago, I had the opportunity to review the SKOUT handsfree camera carrying system by Cotton Carrier during a backcountry camping family trip in Colorado’s Rocky Mountain National Park over a period of five days.
To say I was impressed with the performance and comfort of the SKOUT would really be an understatement. I was super impressed with the way Cotton Carrier’s handsfree system worked. It actually held up really well over 30 miles of hard terrain for the duration of the entire trip.
If you have ever been hiking in the mountains, especially the backcountry, you know that total weight and back comfort are very high on the list of priorities for any hiker. I have broken down my review of the Cotton Carrier in terms of the following factors.
#1 – Ease of use
The SKOUT design is a one-size fit all solution for almost any camera and lens attachment. I used it with my Canon 5D MKIII and 16-35mm L lens as well as the 24-70mm L lens. The first setup with the 16-35mm lens was definitely lighter than with the 24-70mm lens. But with both lenses, the sling held up really well.
The side-strap provided the support needed and balanced the weight effectively. Since I was already carrying a heavy camping pack on both my shoulders, the side strap ensured the camera was well balanced on my back. I was really impressed with the SKOUT’s patented “Twist & Lock” mount that attaches and detaches the camera from the anodized aluminum hub with a simple twist.
I have to admit I was a little nervous the first few minutes after attaching the camera to the SKOUT, being completely handsfree. But my body and my back quickly adjusted to the freedom and I loved not having to constantly pull up the camera strap from my shoulders while walking and hiking in the rough terrain.
Hidden inside the system is an internal stash pocket that fits a phone or a few credit cards. There’s also a rain cover/ weather guard so the gear stays safe and dry in less than ideal environments. I actually ended up using this a couple of times during my hike when we got caught is a mild downpour in the moutnains.
Attaching the SKOUT was fairly simple. After wrapping it over one shoulder, there is a single strap that wraps around the torso and snaps into place on the front, securing the entire system. The shoulder strap is really padded well, so even heavier camera systems don’t put too much stress on the body.
The cotton fabric is very breathable. I was hiking for almost 5-6 hours every day on some pretty rough terrain. Yet the shoulder and body straps were soft and did not rub against my back. The padding on the shoulder straps is thick and really does support the camera weight across your shoulder nicely.
Like I mentioned earlier, I used the SKOUT camera sling system over a span of 10 days in the mountains of Colorado. I used it on backcountry hiking days as well as day hikes in Rocky Mountain National Park.
After the first few minutes of figuring out how to attach the camera and secure the system in place, I really forgot it was even on my body. I absolutely enjoyed being handsfree and having the camera readily available to snap a photo when I saw a beautiful landscape or wildlife.
No more taking the camera out of the daypack and risking missing the moment. The straps, the clasp, and even the camera attachment held up really well to some rough use during my trip.
Here is a video of the SKOUT handsfree camera system in use during my trip.
All in all, I would definitely rate this product a 9/10 and highly recommend it for anyone looking to do photography on a trail or during a backcountry hiking/camping trip.
It is easy to use, comfortable to wear for extended periods of time and seems reliable even after some rough use in the outdoors.
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September 30, 2018 at 09:01AM
Photokina 2018: Hands-on with Tokina's Opera 50mm F1.4 premium full-frame lens
Photokina 2018: Hands-on with Tokina's Opera 50mm F1.4 premium full-frame lens
Hands-on with the Tokina Opera 50mm F1.4
We first saw a prototype of Tokina's new 50mm F1.4 Opera lens at the CP+ show in Japan earlier this year. After waiting all summer, we finally gotten hands-on time with a working model at this year's Photokina in Germany. The Opera series is Tokina's high-end lens lineup – the equivalent to Sigma's Art line – and the 50mm F1.4 is the first lens in the series to come into production.
Available in both Nikon and Canon full-frame DSLR mount, the lens is specifically meant to be paired with high-resolution cameras like the Nikon D850 and Canon EOS 5DS R. Set to ship around the end of October, it is priced at $950.
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September 30, 2018 at 08:06AM
A Tale Of Two Titans – Kodak and Fuji
In 1975 an engineer by the name of Steve Sasson demonstrated a new technology to his employees. The size of a toaster, the invention took photographs, not onto film but onto an electronic sensor.
The image was recorded to cassette tape, was black and white and had a resolution of 0.01 megapixels yet it would eventually revolutionize the world we live in. Steve Sasson had invented the digital camera. His employers were Kodak.
The Rising Sun
On the other side of the world, the biggest rivals to Kodak in the film world were Fuji. By the 1970’s Fuji, like Kodak was a highly diverse photographic company, producing not only film but a wide range of photographic-based hardware both for consumers and industry. While Kodak held a virtual monopoly on film sales in the US, Fuji had the same hold over the passionate Japanese photographers. They struggled however to break the US market.
A Tale Of Two Decisions.
Steve Sasson’s technology demonstration was a hit. The technical people loved it, the management thought it was “cute” It was cute, but it was not film and of course Kodak was predominately a film company. The management’s reaction was to tell Steve Sasson to keep quiet about it. A film-less camera, after all, could damage their film sales. Kodak had, classically, failed to see the power of a disruptive technology.
By the early 80’s Fuji had still failed to make any great inroads into Kodak's dominant position in the US film market. Their decision was to spot an opportunity and capitalize on it. That opportunity was the sponsorship of the 1984 Olympic Games. The green colors of Fuji were plastered not only all over the host city of Los Angeles but on every television screen in the world. Fuji had broken the US market.
The Last Decade Of Film
Walk into any camera store in the 1990s, anywhere in the world, and the film fridges would be dominated by two colors. The Yellow of Kodak and Green of Fuji. Head to head were the two iconic Kodak films, Ektachrome and Kodachrome, pitched against them was Fuji’s new kid on the block Velvia.
In the background, however, both companies had been working on digital imaging. In 1988 Fuji revealed the DS-P, the worlds first viable digital camera, but never marketed it. In 1991 Kodak unveiled the Kodak DCS, in partnership with Nikon.
While Fuji had realized that digital was going to become a mainstream consumer technology, Kodak clung to the idea that it would merely be an alternative or supporting technology to film. There is no better example of this than the Kodak Advantix Preview system. Launched in 1996 it was a camera based on Advantix film but with an LCD screen that allowed you to review the image you had just shot. By this time, however, both Minolta and Casio had launched consumer level full digital cameras and in 1997 Fuji launched the Fujix DS-300.
New Millennium, Old Strategies.
By the early 2000s, Fuji had gained a hold on the digital consumer market with its Finepix range of compacts. They were relatively affordable, easy to use and attracted not just photographers but general consumers too.
Meanwhile, Kodak still saw a future in film despite the obvious trend in the market. They were so tied up in producing film and the paraphernalia of chemical-based imaging that they could not foresee it’s demise. While they did produce some consumer-level digital cameras, they were half-hearted affairs that did not bring anything innovative to the table.
Fuji, however, had spotted that the Digital SLR market was not going to remain a professional only arena. In 2000, they released the FinePix S1 Pro. Cleverly, it was based on the Nikon F60 body and mount and so gave access to Nikon’s huge range of optics. Inside the technology and sensors were Fuji’s own. The S Pro series was not a massive success but it did allow Fuji to advance its digital technologies, a strategy that put it in good stead for the future.
The End Game
Through the early years of the new Millennium, Kodak remained innovative in the digital arena but also stubbornly fixated on celluloid imaging. By 2003, digital cameras started to outsell film but for Kodak it was too late. Already losing money they resorted to filing frivolous lawsuits for patent infringements rather than launching a comeback product.
In 2007, Apple launched the iPhone and in doing so created the new trend of smartphone photography. Smartphones began to kill the compact digital camera market, the only area where Kodak marketed digital cameras.
Fuji in the meantime seemed to have spotted the compact’s demise. While maintaining a diverse range of compact cameras, Fuji went back to their photographic roots and started to develop a true “photographer’s” compact camera. Released in 2011, the X100 was expensive, limited yet exquisitely made and designed. It set Fuji on the road to its highly acclaimed X series of cameras and returned them to the forefront of the photographic industry.
Just 11 months after the release of Fuji’s X100, Kodak filed for Chapter 11 bankruptcy. Today the once ubiquitous name of Kodak lives on as a much smaller technology company focussing on imaging for business.
In September 2018, Kodak released a new product for photographers. Its called Ektachrome and its a revival of its iconic 35mm transparency film. It remains to be seen if Kodak’s faith in celluloid will eventually pay off. I am sure the irony is lost on few.
If you have a view on these film titans' fight or any other interesting points about the history of photography and film, tell us in the comments below.
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September 30, 2018 at 08:01AM
Google Images adds creator and credit metadata to photos
This week, Google revealed a new collaboration with IPTC and CEPIC that brings image rights metadata to Google Images. The new "Image credits" inclusion is found by tapping the triple-dot menu icon directly beneath an image located on Google Images. When selected, Google presents both image credit and image creator metadata.
The company notes that it has historically been difficult to locate creator and copyright information for online images. Google's new image credits data helps address that problem, and in "coming weeks" it will also add metadata related to image copyrights.
The information's inclusion depends on the availability of metadata, though, leading to another announcement: Google will work with IPTC and CEPIC to improve guidelines advising photographers, photo agencies, and more on how to include relevant metadata with their images.
PhotoShelter CEO Andrew Fingerman provided Google with a statement on the importance of this new feature, saying:
Employing IPTC metadata standards in Google Images results will help ensure proper attribution of credit and support photographers’ copyright, while also boosting the discoverability of content and creators. This is a win for the professional photo community.
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September 30, 2018 at 07:02AM
The Knot and WeddingWire to Merge to Form Wedding Industry Giant
The parent company of The Knot has agreed to a $933 million deal to merge with WeddingWire, creating a juggernaut of a company in the US wedding industry.
WeddingWire announced on September 25th that the public company XO Group, which owns The Knot and several other website and services, has agreed to be taken private with shareholders receiving $35 per share in cash (a 27% premium to the stock price at closing on September 24th).
The combined company, which will have over 1,700 employees, will be owned by private equity firms Permira Funds and Spectrum Equity, which are the current investors in WeddingWire. XO Group CEO Mike Steib and WeddingWire CEO Tim Chi will serve as co-CEOs.
After the merger, which is expected to be completed in the first half of 2019, the combined company will continue operating The Knot and WeddingWire as separate brands. The websites and their global brands (including The Knot, WeddingWire, Bodas.net, Matrimonio.com, WeddingWire.in) will serve 15 countries across North America, Europe, Latin America, and Asia.
The companies say that one of the key strategic benefits of this merger is accelerated innovation.
“The collaboration in research and technology will help to streamline development and better address the evolving needs of engaged couples and wedding vendors in the wedding industry,” WeddingWire writes.
The Knot was founded in 1996 as a website designed to be the ultimate wedding planner, providing couples with resources for putting their big day together, from finding venues to locating vendors (including wedding photographers). The company went public in 2005 as The Knot Inc. before renaming the company XO Group in 2011 in light of its new websites and services (including The Nest for home decor and The Bump for pregnancy info).
WeddingWire launched in 2007 and is also a one-stop shop for wedding planning (including finding wedding photographers). It has received over $380 million in funding over the years and has, unlike The Knot, remained a privately-held company.
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September 29, 2018 at 10:47AM
ARSBETA is a Website for Constructive (and Anonymous) Photo Critiques
Looking for a place to receive constructive criticism and feedback for your photos outside of popular social media platforms and photo sharing sites? ARS BETA, a service created by street photographer Eric Kim, is designed to offer just that.
ARS, which stands for Art Revolution Society, is specifically a place for photographers to find meaningful critique from other photographers.
After you upload your photo to the site via desktop or mobile, the algorithm randomly and anonymously shares the image to other users in the community, and those users are asked to weigh in on the photos strengths and weaknesses.
As is common in social apps these days — think Tinder — ARS has an extremely basic feedback process: photographers can “keep” or “ditch” for each photo while providing optional comments on thoughts and rationale.
“Facebook and Instagram is a good platform for sharing pictures, but not a good platform for receiving meaningful critique and feedback on your photos,” the service states. “Consider ARSBETA like a ‘testing ground’ for your pictures (A/B testing). You can upload pictures, and see what other (random/anonymous) photographers really think about your pictures.”
While Facebook and Instagram are full of photographers trying to “game” the reach algorithms and attract as many followers as possible, the anonymous nature of ABS causes the focus to be on the photos rather than the photo makers.
The first version of ARS BETA was launched back in February 2018, and the service has so far attracted a community of thousands of active photographers. Version 2 was just launched on September 28, 2018. Head on over to the ABS BETA website and sign in with your Google account if you’d like to try it out.
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September 29, 2018 at 10:15AM
Road trips, and other “off the grid” travel adventures are a time for slowing down, for finding the unexpected, and for reconnecting with the world around you. Unfortunately, for us photographers, they can also be a time of anxiety and frustration. How can you keep your camera charged so it’s always ready when inspiration strikes? How can you handle batteries and backups of your photos so they aren’t lost in the mix before you return home?
As a consummate road-tripper and photographer, I’ve spent many years fine-tuning how to keep my camera charged, and my photos safe, for weeks of off the grid travel. Here are some tips to help you do the same.
Many cameras, from point and shoots to DSLRs, are powered by lithium-ion (Li-ion) batteries. Li-ion batteries are small, lightweight, rechargeable batteries that can tolerate hundreds of charge and discharge cycles.
They are recharged by an external charger, which comes with your camera when you purchase it. That charger plugs into a wall via a two-prong plug and feeds off your house’s Alternating Current power (also called AC power).
Here’s where charging off the grid gets tricky. Unless you’re staying nightly in a hotel room, two-prong AC plugs (and the charging capacity to power them) are hard to come by. In order to keep your camera battery charged, you will need to adapt.
Essential Charging Gear
Start out by purchasing a universal Li-ion battery charger. Universal chargers can hold almost any kind of small Li-ion battery, and come with a two-prong plug as well as a 12-volt Direct Current (DC) adapter. This adapter is cylindrical and fits into your car’s 12-volt port (traditionally called a “Cigarette Lighter” charger).
If you plan to drive for long distances each day and are only looking to recharge a camera battery, this may be all you need. If you plan to charge other devices—tablets, phones, and laptops—or won’t be driving, you’ll need a power bank.
Power banks are essentially big batteries. They receive a charge, either from a wall outlet or an alternative source like solar panels, and hold onto that charge until you need it. Power banks vary greatly in size, weight, and capacity.
Small USB power banks are perfect for powering cell phones and tablets. Depending on their capacity, they can recharge a phone or tablet anywhere from two to eight times.
Though they are harder to find, some small power banks also have a two- or three-prong port for plugging in a Li-ion camera battery charger. For quick trips where a little backup is needed, these power banks are just right.
If a little backup isn’t what you’re looking for, it’s time to call in the big guns. Portable power stations range in size from 150 to 1250 watts and are designed to be a full-service power solution. Power stations offer three-prong ports for AC power, multiple USB ports, and a 12-volt port.
They can charge camera batteries, laptops, tablets, and cell phones with ease (charging capacity varies by model).
Portable power stations are relatively large, as well as heavy. To illustrate, they are great at a campsite but too bulky to hike comfortably into the backcountry. These power stations are recharged by plugging them into a wall outlet, or by connecting them to solar panels and allowing them to charge for 8-12 hours.
If you’re looking for serious charging power, or plan to be off the grid for long stretches, a portable power station is a wise investment.
Note: Portable power stations cannot be brought on airplanes, though smaller USB power banks often can.
Is there anything worse than returning from travel and finding your image files are corrupted or missing? A savvy photographer will avoid this scenario by doing daily backups of their images.
Backing up images online to the cloud is an option if you have fast, reliable Wi-Fi at your disposal. Set the backup to happen overnight, and you’ll wake up knowing your images are safe.
Fast Wi-Fi is hard to find. Hotel and coffee shop connections are often sluggish, so always be prepared with another backup plan. If you’re traveling with a laptop you can either back up the images directly to the computer or carry a rugged external hard drive. If the images are critical, such as a wedding gallery or a shoot for a client, back up the images to two different locations.
When traveling without a laptop, invest in a portable backup device like a Gnarbox. These small drives have an SD card slot and will copy and store all of the card’s images. Again, if the shoot is extra-important, be sure to back up the images to at least two locations.
Keeping your camera and other devices charged while on the road can be a challenge, but is made easier with a few pieces of essential gear designed to meet your charging needs. Together with regular backups, you can take images off the grid with ease and peace of mind.
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September 29, 2018 at 09:07AM