Mine is a life of diversity.
One day I will be asked to photograph large groups, the next, I will be covering sport, maybe later the same day a social event, some drama or an after hours excursion.
Diverse, fun, challenging.
The gear requirements are heav. II am not a true pro, but experienced and widely equipped. However, each year I learn a little more, making some things easier and sometimes focing wholesale changes on my gear and processes.
If I had to rank the difficulty of each style I need to employ, I would use two criteria;
Gear, which is obvious but needs to be looked at,
and,
process or the knowledge, experience and control needed.
I will rank them from 1 (easy-amateur) to 3 (serious commitment).
Sport Indoor (3/3). Fast medium teles, through to equally fast shorter lenses, f1.8 on MFT is fine, 2.8 on a full frame. Good ISO performance through the camera or post processing and good AF. My EM1 mk2’s are fine, the EM1x just a little better with ON1 No Noise if needed. EM1’s, 4x f1.8 primes, 40-150 and 12-40 f2.8’s.
The sport that defined my thinking, indoor swimming. Poor light and long distances.
Field Sport (2-3/2). Long glass, with faster shorter lenses as the action moves closer or the light goes f4 being the outer limit. The enemy is poorly lit night games which can even rival indoor sports for difficulty. Fast cameras are also a requirement. After a horror night game exerience at the local hockey centre, I discovered ON1 No Noise in combination with C1 and they literally changed my thinking on what is “low light”. I now use 6400 confidently and 12800 if needed, where once 3200 gave me the jitters. EM1’s 40-150 f2.8, 300 f4 or the 75-300 if the light is good and the action slower, 1.4x converter and something wider for half time.
Large Groups (1 or 3 with lights/1). If light is good, a basic camera and standard zoom lens are all you need. If shooting indoors, a faster lens is useful as long as you can get back far enough to use the wider aperture, or lots and lots of light. MFT gives me a 2 stop depth advantage, but I still struggle to light up large areas. The main thing is to be on top of the process, i.e. crowd control. Any camera, 12-40 f2.8 or f1.8 prime, 4+ flash units with silver reflectors and constant lights if needed.
Portraiture (1/3). This is one of the easiest gear wise, with any camera and a fast(ish) prime generally all that is needed, generally f2.8 on a full frame or 1.8 on MFT, with a basic kit lens being ok if flash is used in a studio, where depth of field is largely controlled by light, not aperture. Lighting can be cheap and easy or as crazy as you want. This is one of those areas though where experience and communication out shine gear. Any camera, any MFT f1.8 prime for available light or any lens if in a studio. 1-2 lights, with mods and reflectors, which could be as easy as 2x 33” brollies on cheap stands with cheap flash units and lots of experimentation.
Performances (3/3). Poor light, movement, distance, limited angles, all the good stuff. I usually use primes, but sometimes if the light is strong enough an f2.8 zoom can work or even my longest lens at f4. Any camera (EM1’s for movement), any longer fast lens.
On a well lit stage, most lenses can be used, even the 300 f4.
Field trips (2/3). These include any trip outside of the school, but not camps or sporting events. A pair of zooms, one wide, one long with a TC or longer slower zoom on a good light day and a camera and maybe a fast prime. 2x anything, but generally a basic camera for the wide and an EM1 for the tele, 8-18, 40-150 pro or 75-300/40-150 kit and a 45 f1.8.
Camps (2/2). These can be tricky and specific, but generally weather proofing is the main priority, then coverage. Again a pair of zooms, one wide, one long and a camera for each (avoid changng if possible) and maybe a fast prime for low light candids. 2x EM1’s 8-18, 40-150 pro and a 25 f1.8. I may take a flash, but will generally avoid lighting in favour of authenticity and have had need of the 300. The OSMO also comes in handy in its water proof housing.
Social events (2/1). These are usually a formal entrance area and some on the fly, so I use an EM1 and 17mm with flash for the mobile stuff and my “lucky” EM10 with the 12-40 for the flash kit. Formal kit; A specific EM10, 12-40, YN 560 with reversed brolly (and a second one ready for larger groups), an LED for fill and to help focus. The on the go kit, EM1 with Godox TTL flash and black foamy thing for bounce, a 17 and occassionally 75 for stage work. Lots of backups especially backups.
Video Interviews (2/2). This settled quickly through working and not being messed with. A single prime lens, the 25mm f1.8 (wide open) and the G9 or EM1x. I usually run the SSH-6 mic in close on its own stand if static or off camera if not and use a single light or natural light when able with a little LED for rim and a reflector for fill. G9 for set spaces or EM1x if less controlled for better focus, 25 f1.8, F1 and SSH-6
Freestyle video (2/3+). Hand held, follow focus, patchy sound, make it up as you go along. This is tough to master and the province of full time videographers, but it is also tons of fun. It also covers the creative side of set video production. Gimbals are recommended, so my OSMO and EM1x are the go to’s. I have had success with the caged EM1x and 25mm and the OSMO is a given, just needing better sound (which is coming).
Group/Event video (3/2). This one is different to interviews becasue you have more to contend with with sound, but usually stereo sound will work. Any lens needed will work, from 17 to 45, with the H5 running a pair of condenser mics or its XY or SSH capsule (as well). G9, any lens, H5 and XLR condenser mics, XY capsule, SSH capsule, lots of light, a backup rig of the EM1x and F1 for second angles or just backup and even a third camera for same.
Event video (3/2). As a rule I shoot stills unless specifically tasked otherwise, but occasionally I will try to cobble together a little video while shooting. My primary video camera for this is the OSMO, the secondary camera is either an EM1 in dual role or the G9 specifically. Always the OSMO, a mini tripod, sometimes the weatherproof housing and occasionally the G9 and 12-40.
My own travel and street (1/3). I generally stick to light weight and easy to use and gear that I trust completely. Needless to say, if not working in this space, I could pack my entire camera kit up into a small bag! Pen F, Pen Mini, 17, 40-150 kit, 45.
