COMPARISON: Nikon 1 V1, Fuji x10, & Canon s100 (plus Fuji x100 and Canon G12 & s95) UPDATED: 12/28/11

Nikon 1 V1, Fuji x10, Canon s100 & G12

The Nikon 1 V1, Fuji x10, & Canon s100 (plus Fuji x100 and Canon G12 & s95) all have something in common this holiday season – they are collectively the hottest high quality compact cameras on the market. While some like the s95/s100 may be classified as a “point and shoot” camera, I really put all of these cameras above and beyond the typically low quality consumer cameras that we call point and shoots.

This article is the home page for other articles that cover each camera individually. I’ll send this series with a comparison article(s) that will cover how they compare in more depth. Please check back often to see links to new updates as my goal is to complete this series by mid-December 2011.

What about the Panasonic Lumix DMC-GX1, etc…?

Noticeably absent from this line up is the Panasonic Lumix DMC-GX1, but the reason is simple – I just could only do so much so I focused on the cameras I was most interested in. I’ve borrowed a friends DMC-GX1 briefly and it seemed like an okay camera, but I had my hands full with this comparison so other cameras simply didn’t make the cut. My apologies to the Lumix fans out there.

What do you mean by plus Fuji x100 and Canon G12 & s95?

When writing this article I had “on hand” the four cameras shown in the photo at the top of the page, but you can also read my existing reviews on the G12, s95, and x100. I am very familiar with those cameras and I own a G12 (as well as having extensive experience with the G9, G10, and G11) . However, the x100 and s95 was not on-hand for a side, by side comparison during my testing. I have all of my data from testing them previous and will discuss that during this comparison.

My Testing Methodology

While these cameras are DLSR-like, they are not DSLR’s. Instead, they are more portable so I wanted to test these cameras as my alternative camera for times when I didn’t want to have my bulky DSLR. As a result, the types of photos I’d take or situations I’d be in with these cameras are entirely different than what I’d do with DSLR’s. In short, I used these as every day practical cameras not only for myself, but I also shared it with my wife and friends to give me their subjective feedback on the real-world usefulness of these cameras. In fact, some of my friends might choose these as their step up from their current crappy point and shoot as a DSLR-alternative, so my testing drew lots of interest.

I carried one or more of these cameras to normal day to day activities and shot them as I’d normally shoot my G12 or iPhone. While I typically modified the settings to capture RAW files (when possible), I did try to take advantage of the auto features of these cameras and use their in-camera JPEG’s as much as possible. I did this because my idea behind owning one of these cameras is to sacrifice some quality (over a DSLR) in exchange for portability, easy of use (i.e., literally point, shoot, and move on), and faster post-processing times (either print or upload to the web “as is” from the in-camera JPEG, or only minor Lightroom edits).

At the conclusion of my testing I did put all of these cameras on a tripod and did various testing using different modes, focal lengths, ISO, etc… This testing is primarily for my own use, but I will share some of those images and data in this series. However, I’m not trying to replace what DPReview.com does – they have a staff and its their full-time job, so they can do a lot more than me.

If you want a scientific comparison to pixel peep until your eyeballs dry out, then go to dpreview.com. If you want a subjective opinion of Ron Martinsen, his wife and friends on what these cameras are REALLY like to own and use on a daily basis then you a have come to the right place. My goal of this comparison, much like I’ve done in my tripod & ball head series, noise reduction roundup, lens rental series, printing series, and web hosting series is to give you MY personal opinion of which product I like the most based on my own personal preferences. I test them as scientifically as I care to so I can try to eliminate any bias or preconceived notions, but the winner(s) here will be the camera(s) that I’d actually go out and buy (at B&H’s normal prices) just like you. I’ll also consider which camera my wife would want as well as she’s the one who will use it most often, and while image quality is important so are size, features and ease of use.

Detailed Review List & My First Impressions

Click the review link next to name of the camera below to see my full review. If there is no hyperlink then I haven’t published the review yet, but it is coming soon. I’m also including what my first impressions of each camera was which may differ from my final opinion based on my looking at the detailed data I’ve collected during testing. The cameras are currently listed in the stack ranked order from most favorite to least favorite based on my opinion today, but this list order may change before this article is 100% done – stay tuned.

1. Fujifilm FinePix x10 (P&S of the Year Review) – While this camera lacks some of the ease of use and creature comforts of the Canon G12, this camera is everything I hoped it would be and more when I reviewed the x100. I loved the image quality of the x100, but I thought it was pretty spendy, quirky, and impractical as a camera for my wife. The x10 sacrifices a little in image quality compared to the x100, but sheds a lot in price. It also works extremely well as a point and shoot for my wife and friends, and lacks most of the quirkiness/bugs of the x100. In short, I love this camera for still photos, ease of use, and excellent video. In fact, I loved this one so much that I bought the copy I reviewed.
   
2. Canon G12 (review) – While this camera lacks 1080p HD video, the killer high ISO performance, and dynamic range of the non-Canon cameras in this comparison, it is still a tough camera to beat. It’s hard dials make it super easy to switch to non-full auto modes and dial in the result to get the shot. My wife knows or cares nothing about geeky camera terms, but she quickly learned and loved how she could dial in a higher ISO or do an exposure compensation to get the shot. She couldn’t define or explain either to you, but she knows to rotate those dials to make the blurry images go away or modify the image brightness. She’s also appreciated the durability as this rides in her bottom diaper bag compartment where it takes a beating daily. She’s enjoyed the pivoting display so she can capture herself in photos or videos with the baby. However, the feature she enjoys the most is the speed – in short, when she uses this camera she usually gets the shot about 90% of the time (which is higher than me my DSLR as I’m usually too busy dialing in my settings). Regardless of what I do, my wife may not give up this camera without a fight.
   
3. Nikon 1 V1 (review) – I’ve said it before, and I’ll say it again – the idea of a “mini-DSLR” to me is just stupid. I say this because you end up with a new proprietary system where you have to buy lenses and ultimately get trapped to stick with the platform. However, these systems offer less quality and cost more than the lower-end DSLR’s by Canon and Nikon. These cameras are also not very light or portable, so they fall into this gray area where they suck as a DSLR and they are too heavy/cumbersome to be a point and shoot. With that gripe out of the way, it is fun having these tiny lenses, a killer LCD on the back, and outstanding video quality in a package this small. However, the thing that really drives me the most insane about this camera is how Nikon buries nearly all of the controls in menus rather than having lots of external buttons (which is effectively their advantage / trademark when comparing with Canon). The exterior is so dumbed down that it can be infuriating at times. The full-manual mode wasn’t too bad once I got used to it, but I’ve just got to be able to have quick access to ISO and exposure compensation. I couldn’t’ do that with this camera and that really annoyed me. This is a good camera, but it really doesn’t belong in this comparison as a comparison against the DMC-GX1 would make more sense. That said, my review will still treat it fairly and tell you what I really think (i.e., it doesn’t suck). I will say right now for Christmas shoppers that it doesn’t have a significant edge in image quality over the cameras in this comparison which I think is due to cheap quality lenses, so don’t rush out to buy this thinking it can be like a mini D3000 – it’s not even close .  (NOTE: I did use the sexier J1 at the Expo in New York and was underwhelmed – I’d definitely go for the V1 over the J1 any day) 
   
4. Canon s100 (review) – I really struggled where to place this camera because it’s the most pocketable camera in the bunch and it is statistically so good. Canon has also packed it full of great features like built-in GPS tracking, a huge LCD on the rear for its size, amazingly good high ISO performance up to 6400, and an innovative ring selector on the front that is programmable so you can have your favorite feature readily accessible without going into menus. With that love aside, I don’t think it doesn’t live up to the hype. I’ve been very unimpressed with the build quality and reliability of both the s95 and s100 I’ve tested. I also find that despite how it seems on paper when you compare it to the G12, the reality is that when you are out shooting kids doing activities its shutter lag is annoying and it repeatedly underwhelms me with the images that come out of it. While you can use the High-Speed Burst HQ scene mode to get a fast burst of 8 shots, RAW is not supported and frequently the subject is out of focus. I’d rather have a 3 megapixel version of this camera that had much better dynamic range and faster performance than this dog. Despite its great stats on paper, a car analogy is in order – it’s much like comparing a Ford Mustang GT to a Porsche Cayman S. While the Mustang might fare well on paper, and looks are subjective, when you actually use both you realize there is no comparison. My wife liked the s95 when she compared it to the G12, but we ultimately went with the G12, Now that she’s a seasoned G12 owner, but she lasted 10 minutes with this camera before she handed it back to me in disgust and resumed using the G12. She said she still loved the compact size, but we made the right decision getting the G12. I couldn’t agree more.

From here, the Fujifilm FinePix x100 (review) would be next on my list despite all of its quirkiness and lack of a zoom lens. This camera just feels like quality your hands and it draws you in with its cool geeky features (like the innovative optical AND digital viewfinder). I couldn’t justify buying one and my wife could never live with it, but if someone gave me one for Christmas I’d be pretty jazzed. It just has an addicting quality to it much like a super fun but frustratingly hard video game.

The Canon s95 (review) can’t keep up with the s100, so if you’ve got to have a camera that size then go with the s100 – it is better. It does everything the s95 does, but better in my opinion. However, the s95 is dirt cheap this holiday season as the channel tries to sell out their remaining inventory, so if price is your only concern then you probably won’t find a better deal.

Video Comparison (NEW)

Click here to see my article where I compare the video of the s100, x10 and V1 of a subject all recorded at the same time in identical conditions.

Upgrade your Lightroom & Adobe Camera Raw

Photoshop will require Adobe Camera Raw 6.6 and you will need Lightroom 3.6 to use the RAW file format of the Nikon 1 V1 (*.NEF), Fujifilm Finepix x100 (*.RAF), or the Canon s100 (*.CR2). If you don’t have those versions you can still read those image formats using the latest versions of Capture NX2 (2.2.8+), SILKYPIX (3.2.5.0 & up), and DPP (3.11 & up).

The Perfect Case For These Cameras

Nikon wants $60 for their case, but I found the BlackRapid SnapR 35 to be a brilliant choice with the V1. I use the SnapR 20 with my X10 as well, and it would work for the s100 as well. I’ll be posting my review soon, but it’s basically a nice case with a built-in mini BlackRapid strap (see my RS-7 review) that is brilliant for point and shoot cameras. You can see above how there is room for this camera with plenty of extra space. There’s also nice side-pocket storage as shown below to hold your accessories on both sides:

If you aren’t familiar with this case and its unique strap, then check out this cool short video. You can purchase it in various sizes at B&H.

A Simple Portable Tripod

While reviewing these camera I got my hands on a Gary Fong Flip-Cage Pro, so I used it as my tripod when I was out and about. The Pro size is needed for the V1, G12 & X10, but a smaller size flip cage can be used with typical point and shoots like the s100.

Conclusion

None of these cameras are bad cameras. In fact, compared to most consumer products out there they are excellent. The s100 may be my least favorite, but it is a joy to use and comes in the perfect package. The Nikon 1 V1 seems pointless to me, but it can take a decent photo and the interchangeable lenses open up new options. With that said, all are good but only one is great – the Fujifilm X10.

I love the X10 so much that I’ve actually purchased my evaluation unit from B&H. If I was buying for my wife only I'd wish a G12 replacement was out, but she loves the X10 based on our real world experiences at Thanksgiving, in Hawaii, and Christmas (including Christmas lights outdoors). The other cameras are nice and have their benefits, but my money goes to the X10 for the best overall performance.

Please use the links to the cameras found in this article to make your purchase, and feel free to enjoy my discount coupon code page to save even more on your favorite photography products.

If you enjoyed this article, please share it on your favorite forums and social networking sites so that others can enjoy it as well. See at the bottom of this article for links to help make that simple and easy to do.

Where to Buy

B&H made this comparison possible at a time when it was near impossible to get access these cameras. Please support this blog and their generosity by using the following links when you make your purchase:

• Click here to buy the Canon s100
• Click here to buy the Fujifilm X10
• Click here to buy the Nikon 1 V1

Disclosure

While most popular blogs have mechanisms for generating revenue, few disclose it. I believe in transparency so I will disclose that B&H has given me an extended return period to review these cameras, but I returned the s100 and V1 when I was done. I purchased the X10 based on my findings at an open box discounted price.

If you make a purchase using links found on this blog I may get a commission. I thank you for your support of more articles like this by your using my links when you are ready to make a purchase. If you are unable or unwilling to use my links, then a donation is appreciated for countless hours I spend while you sleep so that I may bring articles like this to you.

On behalf of my family, we thank you for your generous support!

High Speed Drop Photography–Getting Started by Joseph Calev

There are many things in photography that if given enough time and financial resources, I’d probably try out. However the reality of my life is that I don’t have enough time or money to do cool things like High Speed Drop Photography. As a result, my friend Joseph Calev is here to guest blog again to tell you about his experience getting into this cool new world.

NOTE: The content that follows is Joe’s opinion. I have not made edits beyond fixing typos or sizing.

Ron

Enjoy and Happy Holidays!

Introduction

For quite some time I have been interested in high speed photography.  Last week I finally bit the bullet and picked up some gear to make this a lot easier.  In the following article I will discuss my setup and some of the decisions I have made thus far.  Keep in mind when reading this that I have been doing high speed photography (so far just drops) for only a week and I am still figuring a lot of things out.  Below is one of the first shots I took with my setup.

Water Drop by Joseph Calev

The basics of high speed photography

Some time ago I spent a great deal of effort photographing drops from melted ice.  I spent several hours outside with my camera in the exact position I needed it and continuously pressed the shutter at the right moment.  More often than not I missed my goal and out of every 100 shots I would wind up with about four or five in focus.  Of course, of the photos in focus many of them were quite uninteresting.  As you can imagine, it took quite a few shots and a lot of time to get something decent.

The real problem in high speed photography is improving the odds by making sure you have something in focus in the viewfinder with each shot.  This allows you to spend more of your time working on the most crucial part - making a photo that is actually interesting.  The key here is firing your camera and flash at the exact moment you need to.  There are really four parts to high speed photography.

The trigger - This is the thing that has to happen for some action to start.  For all of my water drops thus far this has been the act of pushing a button.  There are many types of triggers though.  You have infrared and laser triggers, microphones, and special triggers for ballistics.  The idea is something needs to happen to start the events in motion that will lead to your photo.

The flash - This is one case where it is better to have a small speedlight rather than a larger powered light.  You need your flash to freeze your subject as most cameras only go down to 1/8000 second - too slow for a lot of high speed work.  What many do not know about lights is that a 'more powerful' flash creates this by holding the light for a longer period.  Therefore for high speed photography you need to set your flash at the lowest setting.  I currently use two 580EX flashes set to 1/128 - which gives a duration of around 1/40,000 second.  At some point I hope to pick up the Microflash Pro.  This flash gives the same power as two 580EX flashes at full power at a speed of 1/28,000 second.  Alternatively it can go down to speeds of 35 microseconds.  However, at a price of £1800 it was too much to include in my initial setup.

The camera - As I previously mentioned it is the flash that illuminates the subject.  The camera doesn't do much in the equation except cause problems. :) The main issue is there exists a lag between when the camera is triggered and when it actually fires.  On Canon cameras, this lag actually varies unless you use mirror lock.  With mirror lock, I measures my 5D Mark II to have a shutter lag of 83.7 milliseconds.  For drops this is not much of an issue.  You simply need to factor your shutter lag into the equation.  However when photographing things that move invariably and quickly - such as insects - this will not work at all.  For this type of photography you need a special solenoid shutter that typically fits in front of your lens.  You then place your camera in bulb mode and trigger your solenoid.  A good solenoid shutter will have a lag of less than 5 milliseconds.  I currently do not have such a shutter but I anticipate having one by the summer.

The orchestrator - The most crucial piece of equipment you need is something that reacts to the trigger by firing the flash and the camera.  There are several triggers available on the market today.

• Hiviz - These are very simply hobbyist triggers that depend on the camera being placed in bulb mode in a dark room.  Given a particular trigger it then fires a flash.  Images from these triggers typically have dark backgrounds.  The triggers themselves are not very sophisticated compared to the other options.
• Mumford Time Machine - This is one of the first high speed devices I heard of and I almost purchased this model.  It is close to the Stopshot in functionality, but I found the specs of the Stopshot to be more flexible.  Stopshot offers more outputs and a lighted screen (add ons to the Time Machine) and it is possible to connect two Stopshots together.  The user interface of the Stopshot also appears to be better.
• Cognisys Stopshot - This is what I ended up purchasing.  I had a lot of questions about this device before I purchased it and they were very prompt and helpful in answering them.  They are also continuously innovating - unlike the other triggers which seem more like static products.
• Phototrap - While I am sure this trigger works just fine, from looking at the specs it appears to do less than the Stopshot.  I have the feeling this trigger is more geared towards wildlife photographers in the field, but they do seem to heavily push their system through wildlife photography classes.  Basically you take a wildlife photography class where a photographer shows you some of the great things you can do with the trigger and you wind up buying it before you are done.  From what I can tell though the Stopshot and Time Machine will do more for less money.

My setup

Below is a shot of my current setup.  As I have already stated, keep in mind that I have only had this gear for a week and am still working on things.

One aspect in which I have deviated significantly from many drop photographers is I prefer to use store bought components rather than building things myself.  A quick search on the web will reveal a number of different ways to create a drop setup from wood.  However I wanted something that offered more flexibility.  I am also quite limited in time.  Therefore the following is what I put together.

• On the sides you can see two light stands.  It doesn't really matter which ones they are.  I tend to prefer taller air cushioned ones but I currently own four different light stands - none of them the same.
• At the top of the light stand I have a Bogen Clamp on either side.  Between the two light stands I then have a Bogen Arm.  Originally my plan was to attach a background stand holder to each clamp and then rest the arm on the holders.  However this allowed the arm to spin - which is very bad for precision scenarios.  Therefore I have the arm actually held by each clamp and the clamps screwed in to the top of the stands.  This is one great advantage of buying flexible parts as it allows me to improvise when necessary.  This setup allows me to easily vary the height of the siphon.
• On the top you can see the water siphon from Cognisys.  This comes as part of their water drop kit.  Here is a close-up.

The siphon is attached to Cognisys's tripod holder for the siphon.  I am not crazy about this holder but it works.  The most annoying thing is I have to unscrew it to take the siphon out.  I would have preferred some type of clamp and someday I may look into whether there is some type of bracket the will attach to a Bogen Clamp that will do a better job.  The tripod holder is screwed into another Bogen Clamp (can you tell I really like Bogen Clamps?!)  Immediately below the siphon is the water valve (with the red wires attached).  This connects to the Stopshot and releases the water.  Below the water valve is a small infrared trigger.  I am actually not using this right now as the trigger is a button push but this will factor in when I begin using multiple liquids.  To the left of the siphon I have another Bogen Clamp with a heavy duty Bogen Flexible Arm holding another tripod bracket.  In the future this will hold another siphon - which I already have.  This will allow me to work with multiple liquids at the same time.  On the far right of the shot is yet another Flexible Arm + Bogen Clamp for a third siphon.  The blue inside the siphon is from food coloring.  The upside down Sub-Zero box behind the setup is a fort my kids made (most expensive fort yet).

Here is a close-up of the bottom setup.

I am currently targeting the drops to a setup of brightly colored bowls I bought at a local store.  In the future I plan to also buy some straight pans and put a white background behind it.  I can then change the color of the background by modifying the flash illuminating it.  I am still playing with lighting setups but for now I have one 580EX on a small Gorillapod.  The other is held up by another Bogen Flexible Arm attached to another Bogen Clamp.  I have no preference for one way or the other but I only own one Gorillapod.  In this shot I have both flashes gelled with Rosco modifiers from the Color Effects kit (which comes in sheets that I cut to 3" x 5" gels).  In this particular shot IMHO I would have been better off without the gels.

In the corner of the table you can see the Stopshot.  The Stopshot is connected to the water valve above.  A special cable connects the Stopshot to my camera and I have both flashes connected to the same output via an RCA Y cable.  The camera itself is on my tripod that I previously discussed on Ron's blog [see Ron’s tripod & head recommendations].  It is a Gitzo 2541EX with an Acratech GP ball head and two Really Right Stuff macro rails.  It is the same tripod I typically use for macro photography.  On the camera itself is the 100mm 2.8 IS Macro.

Other miscellaneous items on the table are a ruler to measure the height of the water valve (to do calculations for the timing), a pencil I use for focusing, and a measuring glass I use for pouring liquids (don't tell my wife though - she still wonders where it went to...)

Below are some of my results so far.

Drop Monster by Joseph Calev

Water Man by Joseph Calev

Overall I am very pleased with the Stopshot thus far.  Once you figure it out it works quite well - though this is definitely one piece of equipment where you need to read the manual.  It also provides a good lesson in cable organization as I counted exactly 30 cables in the box with my kit.  I now have a rack in my garage just for cables.  I still have a lot of things to learn.  For example I have not dealt with the following yet.

• Different liquids provide different types of drops.  I have yet to work with milk are additives to water other than food coloring (rinse aid, guar gum).
• As previously stated I want to try setting the background color via a white background and a gelled flash.
• I currently own three siphons, but am only working with one thus far.  In the future I want to use multiple drops of different liquids.  With a single siphon multiple drops are supported but are obviously of the same liquid.
• I also own the cross laser trigger.  In the future I will use this for insects but it has other uses I haven't had time to investigate yet.
• I also own a microphone trigger, but haven't played with that yet either.

Disclosure

Joe approached me about his excitement getting these products, so I extended an offer for him to blog about his experience. Neither Joe nor I have any known direct affiliation with most of the companies mentioned on this blog. In the limited cases where I do (i.e., Amazon, Adorama, & B&H), I may make a commission if you make a purchase from their site.

Travel Photography: Photographing People At Night In New York City (Manhattan)

Manhattan Nightscape
All photos in this article are Copyright Ron Martinsen – ALL RIGHTS RESERVED

How many times have you gone on a trip where you see some cool nightscape and you tell your loved one – “hey, let me take a photo of you against that great view”?

Now think about how many times you’ve been happy with the result. If you are like most people, the answer is usually “very few” (at best). For most when you throw in the challenge of the evening shooting where high ISO’s and slow shutter speeds are virtually inevitable then things get even worse!

I’m no stranger to this problem myself, but I’ve learned a few things over the years that certainly help – A LOT! All of the shots in this article were taken in New York City in 2011 while I was there attending the PhotoPlus Expo. Most shots are at ISO 3200 or 6400, but I was also lucky to have a great assistant or two and borrowed lights to get some shots that I’m happy with.

I hope you’ll enjoy both the advice and the shots as you read through this article.

Introduction

Shooting at night in a big city like New York introduces some serious problems.

Your subjects are typically backlit against bright lights or mixed lighting. If you’ve been to the Flash Bus Tour, Strobist or Planet Neil then you probably know that you’ve gotta start by exposing your background first and then adding your fill light. This means you’ll be shooting manual and you’ll not always trust what your camera meter is telling you.

To get good results, you’ve gotta know your gear. If you don’t then I highly recommend you read my Which Books Should I Read? article and possibly get a subscription to Kelby Training (see my discount coupon code page for details).This article will not go into those details as that is beyond the scope of this article. Off-Camera Flash Techniques, Speedliter's Handbook, and Sketching Light all offer great advice on how to to get the shots shown in this article.

1. If you plan to shoot when travelling then come prepared

A Lastolite EzyBox and an assistant will get you great shots in the field

Many of us don’t have the budget to shoot on location, so our travels will be business trips or family vacations. If your goal is to get great shots during your limited shooting time on one of these events, then you really have to be prepared. While more gear is always better, there’s way to be smart and still have a great shoot.

First and foremost you need to be realistic about what you can accomplish with the gear on hand and the objective of your trip. What I mean by this is that if the objective of your trip is to get great photographs, then bring (or rent) the gear you need to get the job done. Companies like LensRentals.com will drop ship your rental gear to your destination so you can have what you need without hauling it on the plane.

Here’s the minimum kit that I recommend (in addition to your favorite camera):

1. A comfortable backpack like the Streetwalker Pro or if you have a lot of gear then a roller bag like the ThinkTankPro Airport Security. Your shots will be much better if you are comfortable and can bring everything you need. For me I always load my Airport Security bag with everything I need when shooting is my primary objective.
   
2. I like to have a 70-200mm lens and a 16-35mm lens so I can do both wide angle and telephoto shots. I usually use sneaker zoom for the rest. I’ll take my 24-105mm when I just want the one size fits all compromise lens.
   
3. A Lastolite EzyBox and an assistant will get you great shots in the field. This is really how the big boys do it, so if you want to look like a pro you’ve gotta bring the good stuff. This also means you’ll need some remote triggers like the Pocket Wizard Mini TT1, Flex TT5 and AC7.
   
4. At least one good reflector like the Lastolite TriGrip. Even better, consider using what small flash master Joe McNally uses as shown here at B&H. See the 2nd part of my PhotoPlus Expo article for my 2 cents on Joe’s collection.
   
5. Rogue FlashBender and Rogue Lighting Filters are a must to help you throw light where you need it as well as control the color of the light.

Sure there are a bazillion other things you can bring, so you can see my gear page or my holiday gear guide to get ideas on what else you can bring. Personally I pack my bag as full as I can stand it.

2. At a MINIMUM, bring a good flash for outdoors

If you want good shots then you are going to need good light.

At a minimum this can be an on-camera flash like a 580EX II or SB-910. Indoors the cheaper flashes can work, but outdoors you are going to want a the best flash money can buy (e.g., the Quantum QFlash is great too).

The shot above of Sandy is an example of a shot done just with a 580EX II on my camera with it pointing directly at my subject (something you can kinda get away with outdoors). I also had an orange Rogue Gel on my flash to warm up the light hitting her skin.

Tip: If you haven’t already, read On-Camera Flash Techniques to learn how to get great shots with the on-camera flash.

3. Avoid photographing your subject in the dead center of the frame

As Rick Sammon says, Dead Center is Dead Wrong. If you want to convey a sense of being in a different location, then your photos should include a little of the location with you. How subtle or pronounced it is depends on your proximity of the subject and the ability of your equipment, but the key thing is to have both – with one dominant subject. The way you do that is to put your subject at the left or right edge of the frame and pay attention to the background.

In the photo above I get Wall Street in the background and only let Kaethe occupy 25% of the frame (the minimum your subject should be in most shots). While the physical distance and laws of physics make it impossible for me to have both subjects in focus at the same time, you can appreciate a nice portrait and your memory will fill in the blanks. Wall Street adds a nice splash of color and you can tell that there’s something big happening in the background.

4. Take your cityscape and portraits separately

Your photo should only have one primary subject. While it would be great to have photos of Manhattan and your friend, don’t try to do both in one shot. In the photo above I successful capture beautiful QiaoQiao with a nice Manhattan backdrop for a splash of color and location. However, I don’t try to make them both subjects in the same shot.

When I was done with the shot above I stepped to the side of QiaoQiao and took this Manhattan shot:

The net result is that I have two good shots instead of one crappy shot that doesn’t do justice for either QiaoQiao or Manhattan. (TIP: Topaz Labs Adjust 5 (review) is for processing city shots)

5. Groups - the same rules apply, but it’s more tricky

Mouse Over for Before “Fail” Shot
Mouse Out for After (Fixed using InFocus by Topaz Labs)

Groups are always tough, but they are even more tough to shoot when you are out having fun and are trying to do an impromptu group photo. The key thing to remember is that you need to apply the same rules as your individual shots, but you’ll need to configure the people differently.

In the above shot I decided to line group up in an alternating pattern to make them more interesting, but I also was mindful of the background so I could convey the sense that they were in Times Square. I then tried to use the top third of the shot to get the nightscape to give a sense as to where these girls were.

What I did fail to do in this shot actually is adjust my aperture (hey, shit happens) so f/2.8 got all of the girls except for the foreground girl in perfect focus. The foreground girl was totally blurred, but I used Topaz Labs InFocus to bring her back into the shot. While this photo won’t end up in a portfolio or a gallery, it’s still a decent group shot that these girls can show their friends when talking about their great trip to The Big Apple! Let this be a lesson though – either shoot with a larger f-stop number or get everybody on the same plane.

6. If you have a friend in your destination city, ask them if you can borrow their gear

The last time I was in New York City, I was extremely fortunate to have one of my blog readers – Cliff Pickett – offer to help me out. Not only did he act as an assistant, he also loaned me gear which helped me to get a lot of great shots while I was there. He also got me access to the best place to shoot in all of New York City!

Keep this in mind when you are travelling – there may be a friend, or long lost cousin that might be able to help you out when you are in town. You never know, that cousin you never met that your Mom tells you to see when you visit city X, might just be a cool photography geek that can be a huge help to you!

They may save you some rental expenses or extra luggage fees too, so plan to treat them to dinner too! :)

7. Be ready for the unexpected

Seriously, I wouldn’t have guessed in a million years that I’d see Elmo in Times Square on his cell phone making a call in front of a huge bottle of Corona beer! Shit happens when you are in the big city, so always have your camera ready to shoot. This means flash on, lens cap off, and camera settings dialed in as conditions change.

If I didn’t have my camera (and in this case my crew) ready to go, there’s no way I would have go this shot.

8. Be spontaneous and get your subjects to come to life

As a photographer we need to think of so many things when shooting that it is easy to make a technically strong, but terribly boring shot. Instead of taking DMV mug shots outside, ask your subject to get a little crazy and then start firing away. Have them look off camera and think about something that makes them happy and fire away.

Another thing I’d like to point out is that keeping an eye on what is behind your subject is important. The crap in the background like power lines, signs, lamp posts, garbage cans, planters, etc…. are all nasty to look at in your photo so try to avoid them if you can. While a quick shot of Elmo dancing my get you a free pass on the background clutter, generally speaking it can just ruin a shot.

9. Photograph strangers

This is a tough one for many people, but you’d be surprised how many people will let you take their photo if you ask. It helps to have a business card and tell them who you are and what you do first, and you should always offer to give them a free image in exchange for their time. An 8x10 print or 800px on the long side JPEG is sufficient. What’s more, is that you can have them fill out a release for you after they contact you to get their print. This keeps you from shoving a contract in their face while on the street, and lets them go about their business.

Tip: Ask the people who you find attractive! Yep, that’s right, try asking the good looking folks because generally good looking people are happy to get their photo taken, and you’ll be happier with shots of people you find pleasing to look at! Once you do, you’ll have people of all sorts of looks asking to have their photo taken!

10. Find or recruit buddies to help assist

Taken with the Canon 8-15mm f/4L Fisheye Zoom (review)

There are lots of photographers in the world these days, and local groups for strobist, smugmug, etc… mean there are always people willing to go out and do a photo walk. As a result, you can recruit these people to help you out and help them in exchange as well. It’s tough to get great shots without an assistant, so I highly recommend you find one and plan ahead!

I’d like to thank my buddy Joe Gambardella who I met at the Bryan Peterson Workshop in Seattle (review) and Cliff Picket for their generous time and support during my Times Square and Rooftop shoots.

Conclusion

Travel Photography is one of my favorite things to do, but I’m only able to travel once or twice a year. Being out of my element sparks new creativity possibilities, but also new challenges.

Most of us aren’t Joe McNally so while we read great books like Sketching Light and think I’d like to try that sometime”, few of us actual do – especially when we are out of town. However, I’d like to encourage you to stop making boring shots when you travel. Haul a little more gear with you and go make some great shots! 

Feeling Trapped And Longing For More Creative Outlets?

As photographers we get into creativity ruts from time to time, but travelling is the best way to see the world differently. Reading books like Learning to See Creatively or taking a course from The Perfect Picture School of Photography can really help inspire some new thinking, so a new environment may be just what you need to get those creative juices flowing again. I know it always helps me!

See the introduction part of this article for more ideas on how to improve your camera skills too!

If you like this article and want to see more like it, please leave a comment on the blog to let me know what you think.

Disclosure

I may get a commission if you make purchases using links in this article. Thanks for supporting this blog by using my links!

REVIEW: Gary Fong Flip Cage

Gary Fong Flip Cage shown on the X10, iPhone 4s, s100 and G12
The large unit is the Pro and the smaller is

Gary Fong is best known for his lightsphere product which I actually owned (one of the original versions). While there are lots of strong opinions about the lightsphere, I think the Flip Cage should be a little less controversial. What this gadget does (for under $20) is provide your small camera with a easy to carry tripod that also acts as a LCD protector and/or light shield. The front unit can also serve as a flash bounce for your small camera. In fact, there’s even an adapter that allows you to use this with your iPhone 3Gs or 4/4s which can be very handy on vacation (as I discovered in Hawaii).

Here’s couple shots I took of it using a Nikon 1 V1:

While big lenses will test the strength of the flip cage pro, it still worked just fine.

Here’s a shot I did with the Nikon 1 V1 with it mounted as shown above to a Flip Cage Pro during a 1 second exposure:

In-Camera JPEG for a 1 second exposure using the Nikon V1

 

Additional Uses

Here’s some photos courtesy of B&H that show some alternative ways to use this product:

Conclusion

I dig this little gizmo – especially for the iPhone! It’s small and easily fits in a pocket while its attached to your camera. While I didn’t get much testing of the diffusion panels, I thought it was clever for Gary Fong to include these panels, but if you don’t like them then they can easily be removed. At less than $20 for most versions (except iPhone), they make a great stocking stuffer or gift for a photographer friend.

Ordering Info

Please support this blog by ordering using the the following links:

Click here to order your size and color Flip Cage. Larger cameras like the G12 and X10 or X100 will require a PRO model. This link also contains models for your iPhone 3Gs or 4/4s.

Disclaimer

I was provided with test units by Gary Fong, Inc. I may also get a commission if you make purchases using links in this article.