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  • How To Protect Camera In Bad Weather: 16 Pro Tips

    How To Protect Camera In Bad Weather: 16 Pro Tips


    The weather can be unpredictable, even in the most temperate of climates. Rainy days can make for a great photo shoot opportunity, but if you’re unprepared and don’t have the right gear, it could also mean some costly repairs for your camera. 

    Protect your camera from bad weather by investing in high-quality rain protection gear, covers, rain sleeves, waterproof backpacks, and UV filters. 

    Whether you’re shooting in the rain, snow, or extreme heat, there are steps you can take to ensure that your camera stays safe and functional:

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    16 Tips for Weatherproofing Your Camera

    1. Invest in a Camera Rain Cover

    A camera rain cover is the first line of defense against rainy conditions, and it’s a must-have for any serious outdoor photographer.

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    It is a simple and effective way to protect your camera from the elements. It fits over your camera and lens, creating a barrier between the camera and the rain.

    A good rain cover will protect your camera from rain, snow and sand—and can also be used to shield it from the sun’s UV rays. Rain covers attach to your camera using hook-and-loop fasteners (a type of adhesive), allowing you to easily remove or reposition the cover as needed.

    2. Use a UV Filter

    For those who don’t know, UV filters are basically clear pieces of glass that fit in front of your camera lens to protect it from scratches and damage. So why would you want one?

    Well, they’ll help keep dust out of your camera and prevent moisture from getting inside. Aside from that, they help reduce the amount of UV light that enters the lens, which can cause lens flare and other problems. A UV filter also provides an extra layer of protection for your lens.

    They’re also easy to clean when they do get dirty while you’re working outside with your camera! These filters come in all shapes and sizes – we recommend purchasing one with just a bit wider diameter than the front element on your lens so that it can easily slide into place without having to worry about vignetting (light falloff).

    3. Change your Lens Cap for a Tulip Hood

    To protect your camera from the elements, you can use a tulip hood. A tulip hood is an alternative to using a lens cap that will save you time and money. The benefits of using a tulip hood are:

    • It’s easy to attach and remove from your camera.
    • There is no need to remove it every time you want to take pictures.
    • It protects both sides of the lens at once—the front and back sides of the lens are equally protected by this cover!

    4. Use a Rain Sleeve on your Camera

    You can also use a rain sleeve as an additional protection for your camera gear. A rain sleeve is a protective cover for your camera that helps keep it dry and protected from the elements, including dirt, dust and water.

    Rainsleeves come in several sizes: some are designed for specific models like DSLRs or mirrorless cameras; others are universal and will fit any size device.

    If you’ve got multiple lenses that need protection but don’t want to buy multiple covers, consider buying an ultralight backpack instead of individual bags—many backpacks have built-in lens cases that can be opened with one hand while shooting!

    A good quality rain sleeve will have an adjustable strap to attach it securely around your DSLR or mirrorless camera body. It should also be made from high-quality material with waterproof zippers so that it doesn’t let any water in when you open the case up after using it in inclement weather conditions like heavy rain, light rain or snowfall.

    If you don’t want to buy one of these sleeves for every time you go out shooting photos outdoors during bad weather conditions then consider investing in a lightweight plastic bag instead (or even just zip lock bags).

    This way you can keep them as spares when photographing outdoors so that if something does happen with your gear while taking photos outside during rainy days then there’s always an extra layer protecting their expensive equipment!

    5. Keep your Camera Away from Direct Water Contact

    Keep your camera away from direct water contact
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    The last thing you want is for your camera to get wet, so make sure you take precautions before heading out on your next adventure. If there’s even a chance of rain, keep your camera gear safe in a waterproof camera housing, bag or case for better protection. You must always be ready with weather-sealed cameras.

    And if it’s too late and the weather has already turned against you, try taking the battery out and bringing just that part inside.

    If a storm happens while you’re out in nature, quickly seek shelter under some trees or rocks until it passes—but don’t risk getting lost by trying to find shelter outside! If all else fails, consider changing plans altogether and rescheduling them for another time when it won’t be raining as hard (or at all).

    6. Carry Dry Bags with you

    Keep your camera inside a dry, protective bag. Dry bags are waterproof and can protect your camera from the elements. 

    A camera bag with a weather-resistant exterior can help protect your camera gear safe from the rain and other elements. It’s also a good idea to store your camera in a dry place when it’s not in use for better protection.

    They come in all shapes and sizes, so you can choose one that fits your needs. Make sure the zippers are strong enough to keep all the water out and make sure there’s a way for air to escape if it does get inside (don’t buy a dry bag with just a single valve).

    You can also use them to keep any other electronics you’re carrying dry. You can typically fit your photo gear, waterproof camera housing, a phone, wallet, passport, etc. in one of these small bags and just throw it into your bag or backpack.

    7. Shoot in RAW format

    Shooting in RAW format is one of the best ways to protect your camera from bad weather. Unlike JPEG files, which are compressed and have their colors reduced, RAW files are not processed by your camera settings until you open them on your computer.

    This means that they contain all of the information captured by the camera’s sensor—uncompressed, high-resolution images with more detail than JPEGs can ever hope for.

    8. Buy a Waterproof Backpack to Protect your Gear

    You may want to invest in a good waterproof backpack to keep your camera dry. Even if you are confident that your camera and lenses can stand up against wet conditions and the elements, it’s always better to get added protection and to be safe than sorry.

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    Look for one that has been designed specifically with photographers in mind. It should feature an internal memory card slot, multiple accessory pockets and dividers for organizing equipment. It also needs to have padded straps to comfortably keep your camera inside during long hikes or treks through the city streets.

    The additional cost is worth it to protect your cameras and gear and keep them safe from the rain, cold, and other extreme conditions.

    9. Keep an Extra Camera Battery Handy

    The weather is not going to care if you are shooting a wedding or just trying to get that perfect shot of the sunset. You need to be prepared, as your camera’s battery life will be affected by all sorts of things, including temperature and humidity.

    As with human batteries (iPhones), the amount of charge left in your camera’s battery will decrease over time. If you use your camera often, then you should consider replacing the original battery with an extra one.

    10. Protect your Camera from Heat and Humidity

    If you store your camera for long periods of time, make sure it is dry and cool. Do not leave your camera in a car or on any surface that might get hot from sunlight or indoor heating.

    For extra protection, keep the lens cap on when not in use to prevent dust accumulation on the surface of the lens. If you’re going to be putting your cameras away for a while, consider storing it in a temperature-controlled environment (such as an air-conditioned room) or climate-controlled storage facility.

    11. Carry a Microfiber Cloth

    A microfiber cloth can be used to wipe away any excess moisture or dirt that gets on your camera. It’s a good idea to keep one in your camera bag at all times.

    12. Avoid Changing Lenses in Bad Weather

    If you need to change lenses, try to do it in a covered area to protect your camera from the elements. If you must change lenses in the rain, turn your camera off and cover the body and lens with a rain cover or umbrella to minimize the amount of moisture that gets inside.

    13. Use a Lens Hood

    A lens hood is a piece of plastic or metal that attaches to the front of your lens. It helps to shield the lens from heavy rain, snow, and other elements. It also helps to reduce lens flare and improve image quality.

    14. Avoid Shooting in Extreme Heat

    If you’re shooting in very hot conditions, try to keep your camera in a cool, shaded area as much as possible. Avoid leaving it in a hot car or direct sunlight for extended periods of time, as this can cause damage to the camera and its batteries.

    15. Use a Dry Box or Silica Gel Packets

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    If you’re traveling to a humid location, consider using a dry box or silica gel packets to protect your camera and lenses from moisture. A dry box is a small, airtight container that absorbs moisture, while silica gel packets absorb moisture and help to keep your gear dry.

    16. Use a Tripod in Windy Conditions

    If you’re shooting in windy conditions, a tripod can help to keep your camera steady and prevent it from being blown over. It’s also a good idea to use a cable release or self-timer to minimize camera shake

    Takeaway

    The takeaway from this article is that you need to be aware of the weather conditions and keep your camera safe when you are outdoors. You should also take precautions before heading outside.

    If it looks like it will rain or snow, keep your camera weather sealed, stay indoors, and wait for the storm to pass. Be sure to wipe off any moisture on your camera if it gets wet in the rain or snow, and make sure you keep it dry when indoors so that moisture doesn’t build up inside of it and damage its internal parts.

    The most important thing is to not let yourself get frustrated or discouraged when things don’t go as planned. Remember that there will always be beautiful days for photography.

    It’s impossible to keep the bad weather completely out of the picture. Tips, we shared can help you protect your camera from bad weather, and ensure that it stays in good working order, and takes better photos for years to come. Happy shooting!

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  • Best Media Storage Solutions for Pro Photographers

    Best Media Storage Solutions for Pro Photographers


    Andrew Hancock isn’t the type of photographer that has a lot of downtime from shooting. As one sports season wraps up, he’s already looking ahead to what’s coming up. And when Hancock is covering a sporting event, he’s typically overseeing the remote cameras aimed at the athletes—he estimates for a basketball or baseball game he’s managing anywhere between six to 12 cameras at a time. For horse racing, it can be as many as 20 cameras.

    It’s a massive amount of data that needs to be managed after the fact. Hancock trusts the SanDisk® Professional G-DRIVE® PROJECT desktop solution which has a built-in PRO-BLADE™ SSD Mag slot, and SanDisk® PRO-CINEMA CFexpress™ Type B cards to stand up the challenge when he is out in the field.

    “I’m only as fast as my slowest point and speed is everything, especially when you’re doing work for the teams,” Hancock says. “Cards can be the Achilles heel for sports photographers—we’re using high speed frame rates, and trying to get as much of the action as we possibly can. SanDisk PRO-CINEMA CFexpress Type B cards help let me push my camera to its limits.”

    The SanDisk PRO-CINEMA CFexpress Type B card is a key part of Hancock’s workflow. The card is designed for professional photographers and videographers who need a high-performance, reliable storage solution. The card is compatible with a wide range of cameras, and it offers read speeds of up to 1700MB/s1 and burst write speeds of up to 1500MB/s1. This means that Hancock can capture high-resolution photos and videos without having to worry about his cards slowing him down.

    Hancock says that SanDisk’s line of professional products has allowed him to create a daisy-chained ecosystem that works well together. The reliable, fast PRO-CINEMA CFexpress cards are loaded into the cameras, media on the cards is offloaded using the SanDisk Professional PRO-DOCK 4 or PRO-BLADE SSD Mag slots, eventually getting archived on a G-RAID® MIRROR.

    “The ability to be able to pump this data as fast as it can go and wherever it can go, means I’m not having to worry about overheating issues or filling the buffer,” Hancock says. “In a clenching situation, where I want to get as much as I possibly can, these cards allow me to actually focus on capturing the moment, without worrying about missing frames.”

    For Hancock, having these fast, top of the line cards and drives is as essential as his cameras and lenses when he’s on a job.

    “I know I’m not going to be covering a massive event and then something’s going to fail or underperform. At the end of the day that comes back on me,” he says. “It’s like being the quarterback of the team. It doesn’t matter if the receiver dropped the ball, everything comes back to your shoulders. It’s on you. As a photographer you’ve got to make those decisions. And it’s a business decision, quite frankly.”

    Professional sports photographers typically spend a good deal of time on the road—Hancock mentions that some years he has up to 200 travel days a year. Having a storage solution that’s been easy to pack up and set up on location has also been a huge part of the appeal for him. Beyond its compact size, the SanDisk PRO-CINEMA CFexpress Type B card also comes with a durable enclosure, withstanding up to 1-meter drops and the pressure of up to 50 newtons2, so Hancock can be confident his data will be safe on the go.

    “I’m like water, I want the path of least resistance. Having a streamlined workflow takes all the stress out of the situation for me,” he says.

    For Hancock having such a streamlined workflow with storing and archiving, enables him to perform at a higher level and be more creative when he’s working. But it’s also helped him get valuable back time. “It’s made my job easier and more efficient, which ultimately means more time with my kids whenever I’m home,” he says. “I love what I do, but any second that I can get back, I want it.”

    1Up to 1700MB/s read speed; up to 1500MB/s write speed. 1400MB/s minimum sustained write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. 1MB=1,000,000 bytes.

    2Based on internal testing.





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  • Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2

    Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2


    After many years supporting the GoPro with their rugged aluminum housing, Isotta has turned its attention to the action cam competition—the Insta360 Ace Pro and new Ace Pro 2.

    The new housing has much in common with the company’s housing for the GoPro HERO13 Black: anodized aluminum construction and signature red finish; depth rating to 200 meters (650 feet); one-handed open/close; double O-ring seals throughout; and a removable shade that offers a clear view of the rear LCD in bright conditions.

    Priced at $515, the housing is available from retailers such as Backscatter.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    Isotta Underwater Camera Housing for Housing for INSTA360 Ace Pro and Ace Pro 2

    Technical Data

    • Red color anodized aluminum body;

    • Back housing completely detachable from the front housing;

    • Single-hand closing knob for the back of the housing;

    • Aluminum buttons;

    • Wide back display viewfinder glass;

    • Double O-Ring seals on all buttons and removable parts;

    • Double square flat porthole;

    • Rubber covered feet for solid footing on boat floors or sea floor;

    • Cold shoe located on upper side of the housing for various accessories such as focus lights;

    • A M6 hole and a 1/4W hole located on housing bottom side for different accessories such as brackets for strobes or tripods;

    • Working depth: 200 meters;

    Commands

    • Mode button;

    • Shutter button lever;

    Optional

    • 1632 – Forefinger shot;

    • 1633 – Thumb shot;

    • 1862 – Tray for action cam;

    • 3073 – Single flip with magenta filter for action cam;

    • 3074 – Single flip with red filter for action cam;

    • 3075 – Double Flip with Filters for action cam;

    What Is Included

    • Housing;

    • Front lid;

    • Shade;

    • Replacement O-ring kit;

    • Warranty: 2 years manufacturer’s (excluding batteries);

    Spare Parts

    • 4409 – Set o-ring for INSTA360 Ace Pro and Ace Pro 2;

    • 4410 – Shade for INSTA360 Ace Pro and Ace Pro 2;

    • 3664 – Front lid for actioncam;





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  • Make It Different, Make it Yours.


    One of the great photographic challenges is making a photograph that is different: different from what others are making and different from the images you’ve made so many times before.

    Taking the same photograph over and over doesn’t appeal to me. I want to go further, learn more, and get closer and closer to images that feel uniquely my own. I’m betting you do, too.

    So how do we do that? It takes a conscious effort. It takes a recognition that the “same old, same old” isn’t scratching the itch it once did. And it also takes some risk. After all, we do the same old, same old because it works. It’s safe. It’s obvious to us. Approaching things a bit more obliquely isn’t obvious—at least not at first. But being in the moment and then thinking, “I need to do things differently!” isn’t much help, either. Which things? Different how? Asking more specific questions and looking for interesting answers has always been my starting point of departure from my norm.

    Here are five questions I ask myself to get unstuck and discover new directions.

    How Can I Change My Point of View (POV)?

    Often, the easiest way to change things is to get the camera into a new place—to go against your first instinct just to raise it to your eye.

    I spent my last safari in Kenya bent over the side of the vehicle or shooting low through an open door after removing one of the seats. Two years ago, I finally caved in and bought chest waders so I could get my camera closer to water level. I’ve started playing with putting my camera in places where I can only control it with a remote app on my iPad. I’ve seen some photographers do the same, but with the camera mounted high on a boom pole. Why not get a drone if it can be used without disturbing others? All these efforts began by asking, “How could I change my point of view?”

    Moving the position of the camera changes so much in the image, and it’s often just that one change that makes the biggest difference.

    How Can I Change My Technique?

    We’re such creatures of habit, aren’t we? We can spend all day shooting one way and only later think, “Oh man, I was going to play with some slower shutters and a sense of movement!” It’s hard to pull out of the rut, I know. But a different technique is a great way to mix things up. Could you play with strobes? Could you learn to shoot underwater? Have you ever used a tilt-shift lens? When was the last time you really dove into macro? I like this approach because it can be playful; I enjoy trying new things and playing with new gear.

    Part of this change in technique could just be a different lens. If you’re the photographer who is always out there with your 600mm, try using your 70-200mm and forcing yourself into different compositions.

    Learning new techniques is risky because it means trying something new, and the “failure rate” is high. I prefer to think of it as a “learning rate,” but either way, you’re not immediately going to succeed at making images you love, so there’s a risk of losing those opportunities. But remember, you set out on this adventure because something about your existing approach left you unfulfilled. Better to swing and miss but learn and get better, no?

    How Can I Change the Light?

    Maybe what most needs to change are your habits. Could you go out earlier in the day when the light is moodier or stay later at night? Maybe you’ve written off one kind of light as “bad” and decided only one kind of light is “good.” Creative thinking is thinking differently about a problem, so maybe you need more problems, like “How can I shoot in more challenging light?” Maybe you need to learn to shoot in backlight or light that is more dramatic. Soft light is easy, but is it the only light that satisfies you?

    Take a look at your best work. Is it all shot in the same kind of light? Maybe it’s time to mix things up a little.

    How Can I Change the Story?

    This is a big one, but think in terms of choosing different moments or different compositions from what your first instinct tells you to do. Maybe you’re the wildlife photographer who always shoots super-tight portraits of bears, and it’s time to include moments where the animals interact. I found just that one change made my photography more interesting and gave the images a stronger sense of story. Maybe it’s time to play with a greater sense of scale or wait for moments with a greater feeling of energy. Sure, you might miss the shot at first, but that’s the very impulse or worry we’ve got to fight against if we’re ever going to approach our craft differently.

    The impulse to get the safe shot over taking the risky shot is the same impulse that keeps you in your rut. You’ve got enough safe shots. Safe shots don’t teach you, and they don’t satisfy.

    How Can I Change the Way I Develop My Images?

    Lastly, is there a way you can set your images apart by changing how you develop or post-process them? We all have our preferred workflows, but if you’re like me, you developed yours ages ago, and things change. We change, and so should the tools we use if they’re just better tools.

    One of the things I like to do is watch one YouTube video a week about something in Lightroom. Pick a tool, go to YouTube, and search for a video about it. “How to use Tone Curve in Lightroom,” for example. Spend 15 or 30 minutes watching the two most popular videos on the subject and learn something new. See how others are solving some of the problems we all face or how they’re using colour. Maybe it’s time to up your game with black-and-white conversions.

    One of the most significant changes I made over the last two years is a shift from doing most of my developing work as global adjustments to using masking tools for most of that work. Once very blunt instruments that were hard to use with any real accuracy, the masking tools in Lightroom have become incredibly powerful and make it much easier to now adjust different areas of the image differently and in a much more refined way.

    My development in Lightroom is much stronger—and I think my images are becoming stronger—because I’m doing things differently. Not for the sake of being different, but because doing so allows me to get closer to my own voice, my own vision. If you haven’t dug into the new masking tools in Lightroom, I encourage you to do so.

    We’ve all got ruts we fall into. Sometimes, they look suspiciously like a creative groove until one day, they aren’t. The easiest way to escape that rut is to take a risk, shake things up, and do things differently.

    Learn a new thing and see where it fits. Try putting the camera somewhere else. Use a slower shutter speed or a different lens. Shake your habits up, and get curious.

    Stop playing it safe. If, like me, you feel like you don’t need any more safe photographs, it’s time to stop being such a safe photographer.

    Safe shots don’t move the heart, and they probably don’t give you the thrill you used to get when things were all a little newer, a little less familiar and certain. So mix things up a little, try a new thing or a new way of doing the old thing, but if you want different images, you’ve got to make them differently.

    For the Love of the Photograph,
    David





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