Dunn
Well-known
After being strongly interested in photography for the past six years I've decided to pursue a career in photojournalism.
However, I don't really have a practical digital camera kit. I've been using a Leica M6 for the past few years and I used Nikon slrs before that.
I think I would be able to work just fine with an M9, but that's just too expensive. I recently bought an X100 to try out and it seems pretty good, but I haven't gotten the hang of it yet.
I've been thinking of getting into the X-pro line to work with, but I'm not sure if it would be good to work with. My other consideration is going the typical route and getting a Nikon D700 or D600. I already have some Nikon AF lenses that I used on my first dslr (D50). And I like that they are full frame, fast af, and very durable.
So, do you think the x-pro camera would work in this line of work? I just think it's more like what I'm used to using, but I'm not sure if it's practical. I'm actually hoping for an x-pro2 soon with faster af because I hate using af if I think it's worse than me manual focusing on my m6.
Anyone have any experience with this?
However, I don't really have a practical digital camera kit. I've been using a Leica M6 for the past few years and I used Nikon slrs before that.
I think I would be able to work just fine with an M9, but that's just too expensive. I recently bought an X100 to try out and it seems pretty good, but I haven't gotten the hang of it yet.
I've been thinking of getting into the X-pro line to work with, but I'm not sure if it would be good to work with. My other consideration is going the typical route and getting a Nikon D700 or D600. I already have some Nikon AF lenses that I used on my first dslr (D50). And I like that they are full frame, fast af, and very durable.
So, do you think the x-pro camera would work in this line of work? I just think it's more like what I'm used to using, but I'm not sure if it's practical. I'm actually hoping for an x-pro2 soon with faster af because I hate using af if I think it's worse than me manual focusing on my m6.
Anyone have any experience with this?
Damaso
Photojournalist
Why not shoot with a used M8? Of course it really depends on what you need to shoot. Sports probably won't be great with a Leica but I'm a photojournalist doing documentary and reportage with some occasional breaking news and my old M8 does a great job...
andrewnelles
Established
The best kit is the one that works well for you. Just find what is the best balance between your personal tastes and what is needed to cover your subjects.
I'm a full-time photojournalist, and even though I love rangefinders, I work almost exclusively with Canon DSLRS for my work. DSLRS are a necessity for the wide variety of subjects I can cover in a day. Feel free to send me a message if you have more questions.
I'm a full-time photojournalist, and even though I love rangefinders, I work almost exclusively with Canon DSLRS for my work. DSLRS are a necessity for the wide variety of subjects I can cover in a day. Feel free to send me a message if you have more questions.
Dunn
Well-known
I have definitely thought about it, but I tend to favor wide angles and I just don't think that the crop would work well with m-lenses as well as the slower speed of wide m lenses.
I don't know though. Maybe you could share your experiences with that. 28mm is one of my favorites. I almost feel like I could do anything I would like to work on with a 28 and 50 which is another reason the x-pro is appealing.
steveclem
Well-known
How about a 35mm and 90mm and the rest is down to your imagination.
It's not all about the kit but how you use what you have, the real players didn't dick around with shed loads of lenses and bodies, they just got stuck in. less is more,the attention is in the detail,move closer.
It's not all about the kit but how you use what you have, the real players didn't dick around with shed loads of lenses and bodies, they just got stuck in. less is more,the attention is in the detail,move closer.
johannielscom
Snorting silver salts
A small kit would be my choice first of all.
You're going to lug it around a lot: the best camera is the one you have with you when a shot needs taking!
Second, high pixel count and strong results with high ISO.
I'd take a Nikon D3200 with two lenses and external flash. And, bring a fast pre-AI Nikkor lens, like the 1.4/58mm for portraits with shallow DOF.
Getting an iPad and an SD adapter is a good idea too, allows for quick uploading and adding bylines in an email.
Personally I shoot a D3100 when I need too, and a Ricoh GXR-M whenever I can. The iPad with adapter and Snapseed currently is proving very useful.
With regards to 'looking pro', I tell people 'small is the new big'
You're going to lug it around a lot: the best camera is the one you have with you when a shot needs taking!
Second, high pixel count and strong results with high ISO.
I'd take a Nikon D3200 with two lenses and external flash. And, bring a fast pre-AI Nikkor lens, like the 1.4/58mm for portraits with shallow DOF.
Getting an iPad and an SD adapter is a good idea too, allows for quick uploading and adding bylines in an email.
Personally I shoot a D3100 when I need too, and a Ricoh GXR-M whenever I can. The iPad with adapter and Snapseed currently is proving very useful.
With regards to 'looking pro', I tell people 'small is the new big'
Dunn
Well-known
A small kit would be my choice first of all.
You're going to lug it around a lot: the best camera is the one you have with you when a shot needs taking!
Second, high pixel count and strong results with high ISO.
I'd take a Nikon D3200 with two lenses and external flash. And, bring a fast pre-AI Nikkor lens, like the 1.4/58mm for portraits with shallow DOF.
Getting an iPad and an SD adapter is a good idea too, allows for quick uploading and adding bylines in an email.
Personally I shoot a D3100 when I need too, and a Ricoh GXR-M whenever I can. The iPad with adapter and Snapseed currently is proving very useful.
With regards to 'looking pro', I tell people 'small is the new big'
I am a big fan of small kits too, but if I'm going the dslr route then I would get full frame. The Fujis size helps me overlook the sensor size. And I don't care about looking pro like you said. I actually prefer not to look pro. Haha
johannielscom
Snorting silver salts
Full frame is nice but an APS-C sized sensor adds DOF to shots and manual focusing gets less critical sometimes.
The 1.4/58mm is often overlooked nowadays, the D3100 and D3200 take it without modification and it turns into a perfect 1.4/85mm manual focus portrait lens.
But, getting one quite cheap and having it AI'd shouldn't set you back and in full frame it's even more a great lens due to almost noctilux-like rendering.
If you get on AI'd have it optimized in focusing and cleaned from any haze as well, and it'll be stellar wide open whenever you need it.
A modern 1.4 will set you back more and will be less of a signature lens.
Idea: I use mine on my Ricoh GXR with M-mount, and a Kipon adapter mounted to the lens.
The 1.4/58mm is often overlooked nowadays, the D3100 and D3200 take it without modification and it turns into a perfect 1.4/85mm manual focus portrait lens.
But, getting one quite cheap and having it AI'd shouldn't set you back and in full frame it's even more a great lens due to almost noctilux-like rendering.
If you get on AI'd have it optimized in focusing and cleaned from any haze as well, and it'll be stellar wide open whenever you need it.
A modern 1.4 will set you back more and will be less of a signature lens.
Idea: I use mine on my Ricoh GXR with M-mount, and a Kipon adapter mounted to the lens.
furcafe
Veteran
For general PJ work, assuming you don't need cutting edge video, I think a D700 + X-Pro1 could work well. Sort of a modernized version of the classic Leica M + Nikon F combo.
Jubb Jubb
Well-known
I'd get an DSLR or something that can shoot video, as multimedia is becoming a larger part of photojournalism than just pictures.
johannielscom
Snorting silver salts
Good call.
The D3100 and D3200 can switch to LiveView and video shooting with the flick of a single switch.
I really should get into that more...
BohnJecker
Newbie
I'd bet if you throw in an RX100 it would see a lot of use including video, especially if you use 28mm a lot.
Godfrey
somewhat colored
Most of the professional photojournalists I know (from my days as a member of the NPPA) use whatever their employer handed them. Typically a mid-range Nikon or Canon DSLR, an 80-200 zoom, and a shorter lens for tight quarters.
But if you have to ask the question, I'd suggest signing up and completing a couple of courses on Photojournalism first, before you buy anything.
Bobbo
Well-known
Define photojournalist. What type of media do you want to work in?
You see, what kind of media you want to be part of will change your choices. If you're thinking general assignment for a small daily newspaper (i.e. NOT a major outlet), you can actually get by with a used Nikon D70 and a 28-80 zoom from the late '90s.
I carry a D90 with a couple lenses for the small daily paper where I do a bit of everything (a 12-24mm Tokina, an old 24-120mm AF and some kind of fast 50 or the like). For the resolution newspapers are printed with (nobody notices when I "fix" a photo at 170 or 200 ppi), 10 megapixles will fill a double-page spread without upscaling. You do NOT need a full-frame camera. Plenty of Sports Illustrated covers were shot with 2-megapixel Nikon D1 files.
Fun Fact of the Day: Many smaller papers work with much less gear, and I've seen award-winning work from guys who honestly don't know the difference between an f-stop and a g-spot. Having a good eye and knowing your timing is more important, as they are harder to teach.
Gear-wise, I think a D7000 (for video) with a wide zoom (like a 10-24mm Nikkor) and a long zoom (70-200VR is ideal, but any of the myriad of 80-200/2.8 models will do) would be perfectly adequate, with an AF 50mm or 85mm (the cheap ones) would be great. Short of sports (with a faster camera) or really detailed work (like studio stuff), you don't really need anything else.
But in general, there's a reason virtually everyone dumped their compact rangefinders/medium format/large format cameras and jumped to SLRs like the Nikon F in the early 1960s. If you're working on deadline in a tight spot (like people getting shot at or a "perp walk"). you will NOT want an X-Pro, M9 or anything of the sort. Too expensive for something that moves too slowly. Speed, flexibility and durability are the most important things you need, in that order.
I assume you'll be going to college for this, no? If not, I wouldn't hold your breath. Most places will look at your resume, see no degree and toss it before opening a single file. You might get lucky, though.
BTW, more important than any gear is this: Learn how to write a cutline. Shooters who can't write cutlines are freaking worthless and nothing pisses off a layout guy more than having to fight with a cutline 5 minutes to deadline. I've been the layout guy, so take it from me. (You name a job in a newsroom, I've done it... even written a few sports stories and sold ads even).
You see, what kind of media you want to be part of will change your choices. If you're thinking general assignment for a small daily newspaper (i.e. NOT a major outlet), you can actually get by with a used Nikon D70 and a 28-80 zoom from the late '90s.
I carry a D90 with a couple lenses for the small daily paper where I do a bit of everything (a 12-24mm Tokina, an old 24-120mm AF and some kind of fast 50 or the like). For the resolution newspapers are printed with (nobody notices when I "fix" a photo at 170 or 200 ppi), 10 megapixles will fill a double-page spread without upscaling. You do NOT need a full-frame camera. Plenty of Sports Illustrated covers were shot with 2-megapixel Nikon D1 files.
Fun Fact of the Day: Many smaller papers work with much less gear, and I've seen award-winning work from guys who honestly don't know the difference between an f-stop and a g-spot. Having a good eye and knowing your timing is more important, as they are harder to teach.
Gear-wise, I think a D7000 (for video) with a wide zoom (like a 10-24mm Nikkor) and a long zoom (70-200VR is ideal, but any of the myriad of 80-200/2.8 models will do) would be perfectly adequate, with an AF 50mm or 85mm (the cheap ones) would be great. Short of sports (with a faster camera) or really detailed work (like studio stuff), you don't really need anything else.
But in general, there's a reason virtually everyone dumped their compact rangefinders/medium format/large format cameras and jumped to SLRs like the Nikon F in the early 1960s. If you're working on deadline in a tight spot (like people getting shot at or a "perp walk"). you will NOT want an X-Pro, M9 or anything of the sort. Too expensive for something that moves too slowly. Speed, flexibility and durability are the most important things you need, in that order.
I assume you'll be going to college for this, no? If not, I wouldn't hold your breath. Most places will look at your resume, see no degree and toss it before opening a single file. You might get lucky, though.
BTW, more important than any gear is this: Learn how to write a cutline. Shooters who can't write cutlines are freaking worthless and nothing pisses off a layout guy more than having to fight with a cutline 5 minutes to deadline. I've been the layout guy, so take it from me. (You name a job in a newsroom, I've done it... even written a few sports stories and sold ads even).
kxl
Social Documentary
I'm no PJ, but shouldn't your first worry be to find a job? Then if your employer doesn't provide you with gear, assess whether or not your existing gear would suffice, and if not, only then figure out what to buy.
Fraser
Well-known
I'm no photojournalist but I am a newspaper photographer, If I was you I'd get a DSLR like Canon 5dmk2 or a 1D series camera (or equivalent Nikon) 16-35mm or 17-40mm or 24-105mm and a 80-200mm a flashgun with a curly cable. Once you start making some money add another body and that will do 99% of press work (if thats what you want to do).
28mm
Established
The question isn't what camera to get, but moreso the lenses. As a photojournalist, you definitely want the two standard zooms of roughly 28-70 and 80-200.
People can romanticize all they want about prime lenses and getting up close like Capa, but sometimes the only way to get a close shot is to zoom in. Secondly, there will be many times when you don't have the luxury of changing lenses/cameras.
And to emphasize Bobbo's advice, learn to take good notes and write captions. Pretty pictures are great, but they're not the entire story.
People can romanticize all they want about prime lenses and getting up close like Capa, but sometimes the only way to get a close shot is to zoom in. Secondly, there will be many times when you don't have the luxury of changing lenses/cameras.
And to emphasize Bobbo's advice, learn to take good notes and write captions. Pretty pictures are great, but they're not the entire story.
-doomed-
film is exciting
I'm no photojournalist, more like a reporter who is a decent photog. I carry a D7000 with a 17-55/2.8 and 80-200/2.0. I carry an SB-800 flash if I need it. It's fantastic setup that could do with a decent mic (if you're doing video). I'll echo 28mm here on zooms, depending on what you do. If you want to shoot with primes, be prepped to carry multiple bodies. I'd rather not carry two bodies myself.
Not so much camera kit related but worth noting, wear good shoes. I wear boots most of the time since I'm never sure what kind of mess I'm headed into. Much of where I work is littered with all sorts of "interesting" trash, broken glass, needles and the like.
I almost never need my 80-200 unless I'm forced back from a scene, the 17-55 is my go-to.
And take notes, if you're covering something cops related try and listen to what the cops are saying if they won't talk to you -- there is quite a bit you can pick up that way. Talk to people in the area, but be smart about it. Some people may not be so receptive to your presence.
Not so much camera kit related but worth noting, wear good shoes. I wear boots most of the time since I'm never sure what kind of mess I'm headed into. Much of where I work is littered with all sorts of "interesting" trash, broken glass, needles and the like.
I almost never need my 80-200 unless I'm forced back from a scene, the 17-55 is my go-to.
And take notes, if you're covering something cops related try and listen to what the cops are saying if they won't talk to you -- there is quite a bit you can pick up that way. Talk to people in the area, but be smart about it. Some people may not be so receptive to your presence.
-doomed-
film is exciting
Newsroom jack-of-all-trades, fun stuff.
I know that grind, too.
The frustration of photos sans cutline or the poorly worded gibberish from a freelancer boils my blood. I've been down that road far too many times.
Phil_F_NM
Camera hacker
Like others have said, you want flexible and fast.
Salgado can shoot whatever he likes, gear-wise but that's because he's established.
Getting action with a rangefinder or manual focus anything is hard and if you miss it, you miss it.
You're going to want to get into freelancing first to get your feet wet and network. That might be all that is available for years, so don't quit your day job. These days there is not much to go around and with a lot of pubs closing you're going to have to struggle against folks who are already established in the field.
Learn not only to write a cutline but just to write, period. These days, there aren't really many photojournalists left. Everyone is a general reporter that shoots, writes, does some editing, pitches and possibly a bit of web work. If you're in school, fight tooth and nail for an internship. Anywhere with any publication on the editorial side. You'll network there and your job prospects will be better than if you didn't have an internship.
Good boots are a must. I've worn out the soles on a pair of Alden 406 boots once in just over two years. This is a shoe that lasts an average of 10 years before that kind of service. I walk a lot.
Back to the kit though. The X100 is ok for a wide-normal but last year my would-be editor said she'd rather have me shoot film with a pair of Nikon RFs than have me with just a fixed lens X100. There was a good amount of sarcasm in there and that wasn't a green light to shoot film, it meant "get a DSLR."
You also want something that is durable. I have a history of destroying cameras and putting them through hell (combat in Iraq) so you want a durable camera and you want a backup if this is your bread and butter. If you can afford the best, get the best. If you think your camera is going to get thrown into the front seat a lot or left on the roof once or twice before you see it in the rear view mirror, you need a pro series body. I shoot a 2 generation old pro Nikon right now because it is durable as hell, and cheap as far as pro gear goes. I took one of these to Iraq in 2004 and it worked just fine through my whole deployment. So, maybe slumming it with older, cheaper pro gear is the way if you know what you're going to be shooting.
Get a zooming point and shoot like a Canon G11 or G12. Something decently reliable with a good lens and a good zoom range. Pocket camera as well as backup.
You need a durable and reliable car. For years I had a bicycle and public transit in one of the nation's largest cities with excellent public transit and I couldn't get a single paid assignment because I didn't have a vehicle. Make sure your car works, you know how to do simple repairs and all your legalese is good to go. This is more important than your camera.
Learn to eat as healthy as you can, as cheaply as you can. No ramen. Eat beans, rice, sriracha, frozen veggies, fresh veggies when you can get them. Yogurt, oatmeal, peanut butter, jelly, bread, frozen berries, fresh fruit when you can get it. Becoming a freelance photographer and living off of it is like preparing for the zombie apocalypse almost. (Hyperbole)
There is always the option of the military as well...
This is what I did and it's the best as well as the worst job there is. The hardest job because you have to bear witness and the easiest because you love what you do. Not everybody can become a military photographer though and definitely not everybody is selected for independent augment or Joint Combat Camera.
Good luck.
Phil Forrest
Salgado can shoot whatever he likes, gear-wise but that's because he's established.
Getting action with a rangefinder or manual focus anything is hard and if you miss it, you miss it.
You're going to want to get into freelancing first to get your feet wet and network. That might be all that is available for years, so don't quit your day job. These days there is not much to go around and with a lot of pubs closing you're going to have to struggle against folks who are already established in the field.
Learn not only to write a cutline but just to write, period. These days, there aren't really many photojournalists left. Everyone is a general reporter that shoots, writes, does some editing, pitches and possibly a bit of web work. If you're in school, fight tooth and nail for an internship. Anywhere with any publication on the editorial side. You'll network there and your job prospects will be better than if you didn't have an internship.
Good boots are a must. I've worn out the soles on a pair of Alden 406 boots once in just over two years. This is a shoe that lasts an average of 10 years before that kind of service. I walk a lot.
Back to the kit though. The X100 is ok for a wide-normal but last year my would-be editor said she'd rather have me shoot film with a pair of Nikon RFs than have me with just a fixed lens X100. There was a good amount of sarcasm in there and that wasn't a green light to shoot film, it meant "get a DSLR."
You also want something that is durable. I have a history of destroying cameras and putting them through hell (combat in Iraq) so you want a durable camera and you want a backup if this is your bread and butter. If you can afford the best, get the best. If you think your camera is going to get thrown into the front seat a lot or left on the roof once or twice before you see it in the rear view mirror, you need a pro series body. I shoot a 2 generation old pro Nikon right now because it is durable as hell, and cheap as far as pro gear goes. I took one of these to Iraq in 2004 and it worked just fine through my whole deployment. So, maybe slumming it with older, cheaper pro gear is the way if you know what you're going to be shooting.
Get a zooming point and shoot like a Canon G11 or G12. Something decently reliable with a good lens and a good zoom range. Pocket camera as well as backup.
You need a durable and reliable car. For years I had a bicycle and public transit in one of the nation's largest cities with excellent public transit and I couldn't get a single paid assignment because I didn't have a vehicle. Make sure your car works, you know how to do simple repairs and all your legalese is good to go. This is more important than your camera.
Learn to eat as healthy as you can, as cheaply as you can. No ramen. Eat beans, rice, sriracha, frozen veggies, fresh veggies when you can get them. Yogurt, oatmeal, peanut butter, jelly, bread, frozen berries, fresh fruit when you can get it. Becoming a freelance photographer and living off of it is like preparing for the zombie apocalypse almost. (Hyperbole)
There is always the option of the military as well...
This is what I did and it's the best as well as the worst job there is. The hardest job because you have to bear witness and the easiest because you love what you do. Not everybody can become a military photographer though and definitely not everybody is selected for independent augment or Joint Combat Camera.
Good luck.
Phil Forrest