Depending upon the shoot, some or all of the following equipment may be essential:
Camera Bodies
Carry at least one spare body. If possible, make sure that all are of the same make, so that parts can be interchanged. If you are likely to need two kinds of film at the same time (e.g., color and black and white, or slow and fast color film) you will definitely need a third body. (Show Photo)
Special Cameras and Remote Control
High-speed, panoramic and under-water cameras all have special uses, but if you have no real need for them, they will simply be an extra burden. Remember that a purpose-built underwater camera, such as the Nikonos, can survive rain or dust better than an ordinary camera. A small, simple viewfinder camera may be better than an obtrusive motor-driven camera in situations where you need to be inconspicuous. Also, consider taking a cheap Polaroid camera; if you can give to people that you wish to photograph an instant picture of themselves, you may find it easier to gain their cooperation.
Lenses
Even if money were no object, you would not be able to carry all the lenses that you might find useful. Decide what you really need, but take only the best that you can afford - the lens is your most important piece of equipment. Decide whether you need any of the following lenses:
Fish-eye
Extreme wide-angle
Wide-angle
Normal
Moderate long-focus
Extreme long-focus: If weight is important, consider instead a tele-converter for use with a moderate long-focus lens.
Fast lens, for low-light conditions: This could double up as your normal lens, but also consider whether the high-speed film you are taking might be sufficient with your basic range of lenses.
Macro lens, close-up attachments and extension rings: Many professionals use a 55mm lens as their normal lens While not particularly fast, its resolution is normally excellent through the focusing range. Use a bellows extension for extreme close-ups.
Perspective control lens: This is highly specialized and rather slow to use. Remember that in an emergency, you can achieve a similar effect by using an extreme wide-angle lens, pointing it horizontally, and cropping the lower part of the picture later.
Zoom lens: If it covers a range of focal lengths that you find useful, and can actually replace two or more lenses, then it may be a useful weight-saver. There are also some situations, particularly those involving action, where it has a definite advantage over fixed-focal length lenses.
Camera and Lens Accessories:
Neck straps
Lens hoods
Lens caps, front and back
Camera body caps.
Filters: UV, polarizing, graduated, soft focus, effects, neutral density, color conversion, color compensating. Filter holder.
Soft release button. Cable release
Double cable release
Extension release for motor-drive
Rubber eye caps
Spirit level
Spare batteries for TTL meter, motor-drive
Spare focusing screen
Camera Supports:
Tripod: You will have to compromise between weight and rigidity. Decide under what conditions you are likely to be using it.
Tripod head: Detachable locking screws often come loose, so carry a spare.
Monopod or table-top tripod.
Clamps, and small ball-jointed tripod head to fit thread adapter.
Camera Repair Kit:
Should include jeweler's screw-drivers, jeweler's claw, long-nosed pliers, file, heavy pliers, tweezers, tape, spare screws from old camera.
Cleaning Equipment:
Blower brush
Lens tissues
Cloths
Chamois leather
Anti-static gun or brush
Lens cleaning fluid
Toothbrush
Cotton buds
Compressed air
Light Meters:
TTL heads
Hand-held meter or spot-meter
Flash meter
Color temperature meter
Spare batteries
Lighting:
Portable flash and/or lights and attachments
Cases:
Consider a metal or high-impact plastic case for transporting equipment. It should be strong, waterproof and dustproof, gasket- sealed and capable of being locked. Its main function is to protect equipment on the move rather than be a case to work from. It should either have movable compartments or contain a foam block which you can cut to take your own pattern of equipment. When packing, make sure that there is adequate padding for all hard-edged items and that the camera shutters are not cocked (this relaxes the strain on the mechanism). Make sure that nothing will activate any electrical equipment, such as the trigger release of a motor-drive, and for extra safety, disconnect batteries. Leave at least one camera body loaded with a fresh roll of film in case you need to open the case and shoot in a hurry. On aircraft always try to take this case as carry on baggage.
Shoulder bag: This should be light enough and flexible enough to work out of easily, but it should also be at least showerproof and fairly well-padded. An anorak or light jacket can be stuffed inside to double as padding.
Tripod carrying case
Lens cases
Camera case: Most professionals dispense with these as they slow down the use of the camera, relying on the protection of a shoulder bag.
Lead-lined film bag
Lighting cases
Cold Weather Extras:
Winterization:
This is a factory or repair works operation, and involves changing some of the lubricants for thinner ones. Once done, you should use the cameras only in cold conditions until the original grade of lubrication has been replaced.
Camera tape: This not only protects our skin from sticking to the cold metal, but also keeps moisture out of the equipment (condensed moisture from your breath quickly freezes in gaps in the body, only to melt when the camera is taken indoors).
Space blanket: An extremely useful light wrap with highly efficient insulating properties, developed for emergency mountaineering use.
Electric element heaters: Battery powered hand warmers and thermal garments are also useful for protecting camera and film from the effects of cold.
Selenium-powered light meter: CDS meters, such as those in TTL heads, may cease to work in extreme cold.
Sealable bags and desiccant (silica gel): Put equipment inside the bags with the desiccant before taking them from the cold into a warm room, otherwise condensation may affect all parts of the camera.
Camera tape: Essential for sealing gaps in the body in dusty conditions.
Desiccant (silica gel): Necessary in humid tropical conditions, both for equipment, which can rust and acquire fungus (lenses can be permanently ruined by fungus), and for film which deteriorates fastest under the combination of heat and humidity.
Underwater camera or housing: Although this may seem an extreme solution, under the worst conditions, such as during the rainy season in the Amazon basin or the monsoon in South-East Asia, it may be the only practical one.
Film And Processing Checklist:
Film Supply
Always try to carry your own film with you on assignment, rather than buy it on the way. Check whether it is possible to buy and/or process film at the destination. If so, this will remove the difficulties of passing film through X-ray machines at airports. The standards of the stores and labs must, however, be reliable. Ideally, order film in bulk making sure that all the rolls of each type of film are from the same manufacturing batch (the batch number is printed on the pack). Test one roll of each type before leaving, to make sure that the film speed is actually as stated by the manufacturer and the color balance is neutral. This way, you can be certain of your results, even though the assignment may be long. If you do have to buy film from an unfamiliar source, choose the largest retail outlet you can find (the stock turnover will be faster) and look for the expiration date on the pack.
Film Types
Only experience with particular types of work will tell you what quantities of each type to take. Some photographers shoot more film than others, and uncertain subjects, particularly those involving action, will need more film than static, reliable subjects. If in doubt, take six 36 exposure rolls for each day you plan to be shooting; this will probably be more than you need.
Film designated "professional" has been tested and shipped to higher standards of tolerance in speed and color balance, but on a long trip, and particularly to a hot country, standard film may be better if fresh, as it is designed to "mature" on a dealer's shelf over a few months.
Absolutely essential on a long assignment is a record of what you shoot. If special processing may be required, you must be able to identify rolls without any doubts. For safety, if you have a good subject in front of you and sufficient time, split the shooting over more than one roll, if a mishap occurs with one, the other will be welcome insurance. Take a notebook and/or pocket tape recorder, making sure that at the end of each day you have a legible written record. Also take stick-on labels for numbering rolls.
Film Storage
Film deteriorates under high temperatures and high humidity, therefore protect it against these two conditions. Before processing, exposed film is more susceptible than unexposed film, and should be your top priority. Do not open cans of film before you are ready to use them, particularly when it is humid. If possible, keep the film in an insulated container, such as a polystyrene lined cool-box. Always use liberal amounts of desiccant in porous bags.
Periodically dry out the silica gel by heating in an oven or gently "cooking" it over an open fire. In an emergency, rice can be substituted for silica gel, although it is approximately ten times less effective. Packing the film container as fully as possible leaves no room for humid air.
If you are away on a long assignment, you must either (a) keep all the film with you for processing on your return, thereby running the risk of its deterioration, (b) send it home for processing, at the risk of it going astray, (c) have it processed locally, or (d) process it yourself. If you send it home, check the methods available beforehand - mail, air freight, or courier - and try to assess their reliability (ask someone with an unbiased opinion and local knowledge, such as a consul or magazine stringer). Also, arrange for its reception at the other end, and establish some means of communication whereby you can get an idea of how the processed material looks (an agent may be able to do this for you).
Local processing can be unreliable; as soon as you arrive, send in a test film for express processing. Judge the results before sending anything important. For other processing systems, try to contact local professional photographers and ask their opinion about the most reliable laboratory. In small towns and remote areas, you may find that the local professionals process their own film, and you may be able to persuade one to handle yours.
Processing your own film is really only practical with black-and-white materials, and even then it will involve you in a great deal of effort. Think twice before attempting it.
Travel And Administrative Checklist:
Briefing:
Do you have sufficient background information? What is the best timing for season, weather, dates of events? What is the client's deadline?
Other Documents:
General and specific letters of introduction/accreditation from client.
List of contracts (sources of information and help) at the location.
Documentation: Passport, including relevant visas.
Receipts, guarantees and list of serial numbers of equipment.
Press card.
Driver's license, including international license.
Travel tickets, and separate confirmation list (most airlines issue a computer print-out showing confirmation status).
List of alternative transportation schedules.
Check weight restrictions for baggage.
Insurance: Both personal and equipment - check exclusions.
Finance: Advance against expenses from clients.
Cash, in relevant currencies.
Travelers checks, and separate list of check numbers.
Credit cards, separate list of card numbers, and local contracts in case of theft.
Insurance
As a professional photographer, there are several areas of your work where you may be involved in losses or liabilities.
Equipment:
All Risks Insurance will cover your equipment and film for accidental loss and damage, although mechanical failure, wear and tear are normally excluded. Check that the policy covers the particular countries involved in an assignment abroad, and that the equipment is insured on a "new for old" basis.
Car:
If you use your car for business purposes, make sure that your existing car insurance covers this.
Home:
If you work from home, this may not cost any more than normal household insurance, but you will need to notify the insurers.
Public liability:
You could be legally liable for causing injury or damage during an assignment. In particular, if you use a studio, you may find yourself responsible for the entire building.
Travel:
If you travel abroad frequently it will pay you to take out an annual policy. In any event, check that medical expenses, loss of deposits, personal effects and personal accident are covered, and that the policy includes business travel.
Health:
As most photographers' income depends on their personal work, insure against loss of income due to accident or illness.
Legal costs:
To cover litigation that you may become involved in.
Weather:
You can insure against costs involved in delays due to bad weather if you are working on location.
Professional Indemnity:
Unless the client indemnifies you against such claims, you can insure against your legal liability for libel and breaches against various acts, particularly in advertising.
