QOTD: Do You Co-op Gear?

I am gonna turn it around to you guys with a question today: Is anyone participating in a formal (or informal) gear co-op program?

It seems like a logical choice as a compromise for gear you cannot rationalize owning.

Obviously, renting is an option for those who live in NYC or LA (and, increasingly, secondary markets). But it seems to me that the idea could easily be applicable to lighting gear. For instance, a group of weekend enthusiasts or a camera club could pool money for a monobloc kit.

There have always been informal arrangements between photogs in a given local area for spotting each other little-used gear. It's a lifesaver -- especially on assignments that require extra equipment. And some photographers even rent the stuff to other shooters, the cost of which is usually passed onto the client.

Personally, I have been jonesing for a Phase One back on a medium format body. But I cannot rationalize the cost.

Okay, let me rephrase that. I cannot rationalize the cost to my wife. I can rationalize anything to myself.

At The Sun, we had a pool of gear that was available to be used when needed by the staffers. Just seems to me that there must be civilian versions of this. And I'll bet someone reading this site has done it.

Hit us in the comments.

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Five Things Music Can Teach Us About Lighting

In 1986 I walked into the photo department at The Gainesville (FL) Sun for the first time. I was 21, and it was like walking into heaven.

Several well-respected photogs worked there. There was pool glass available for borrowing. There were huge photos on the wall. And there was a nice stereo with a pair of high-end (to me) speakers on top of the bookshelf.

Looking back, I think they were Bose 301's. But I was impressed back then.

They said that they paid for the stereo by pooling the money they received for transmitting AP specials and enterprise art over the wire. It was the first time the connection between music and photography ever hit me.

Ever since, I have made an effort to install some sort of music into the photo departments where I worked -- stereo in the darkroom at Patuxent, amplified speakers in the studio at The Sun and now, multi-source music on demand in The Cave.

Music and photography share a lot of concepts. And even more specific, there is actually a lot of crossover between music and light. Read more »

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Travel, Light

UPDATE: Corrects backpack, adds links to backpack and duffel.
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I have logged a lot of air miles over the last few years, and am getting ready to pile on a few more en route to Dubai this week.

On of the biggest advantages of being speedlight-based is being able to avoid the excess-baggage mafia. Given that I usually travel with computer, camera gear, lighting gear (including stands, etc.) in addition to the typical clothing stuff, I thought I would do a quick post on what and how I pack. Read more »

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Tent Pole Light Stands: More Details

Due to popular demand, Swedish photographer Peter Karlsson has created a more explanatory video on his tent pole light stand. They run about 1 lb. each, and pack very small and flat. They can be a good option for traveling interior/portrait shooters.

Got questions? Peter is answering them in the comments section of his blog post. Oh, and take a moment to look at his portfolio, too. It is all speedlight-driven.

Of his diminutive lights, Peter says, "clients sometimes look a little puzzled about their tinyness," but hey, it gets the job done.

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Shoot the Bloggers: Gus Sentementes

Local tech blogger Gus Sentementes popped down to The Cave for a headshot recently. And that was a good excuse to play with some atypical (for me, anyway) light.

Keep reading for some thoughts on working with differently shaped faces -- and taking the final display size into account, too. Read more »

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MPEX Now Outsourcing Business Decisions...

Here's an idea that Moishe has been kicking around with me for the last couple of weeks: Midwest is letting readers vote on which items will go on sale the following week.

So far, everything is small flash/lighting related and they plan to rotate it each Monday. This week, the Lumiquest SB-III has jumped out to an early lead.

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It's Time for the PC Jack to Die.

As a lighting photographer, I have long been grateful for the fact that Nikon has included an external Prontor/Compur (PC) jack on most of their speedlights. But while I love the synching ability, I hate the connector.

Nothing against Nikon -- they are among the good guys when it comes to synching flashes. Fact is, I also hate the PC jack on the camera itself.

There is simply no reason to continue the use of a proprietary connection for such a simple circuit. There is a better way, which will not only save photographers -- and manufacturers -- money but add a valuable capability to hybrid still/video DSLRs. Read more »

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