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  • Expanding Usage For A Non-Profit Healthcare Client – A Photo Editor


    By Andrew Souders, Wonderful Machine

    Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Image Licensing service on the Consulting Services page of our website.

    Concept: Additional licensing for previously shot conference images, including a new set of selects
    Licensing:     Publicity and Collateral use of the original 25 images for an additional 3 years, and Publicity and Collateral use of 7 additional images for 5 years
    Photographer:     Corporate and Portraiture photographer
    Client:     U.S. non-profit healthcare organization
    Agency: Healthcare communications agency representing the client

    A photographer partnered with me to help navigate an image licensing expansion for a recent conference shoot. The client, a non-profit healthcare organization working through a major healthcare communications agency, wanted to expand usage rights for a set of images and license additional selects from the previously photographed event.

    Client Request

    The original license covered a batch of 25 images from the conference shoot for use on digital, social, conference, and internal platforms – terms that generally fall under what we define as Publicity and Collateral use. The client had previously agreed to $6,900 in creative/licensing fees for this usage, granted for a period of 2 years.

    As the client sought to extend the usage of these original images and license new selects from the shoot for a longer timeframe, we also identified an opportunity to improve clarity in the licensing terms. The original agreement did not include a definitions clause for the stated usage categories, and the terms digital, social, conference, and internal felt somewhat open to interpretation.

    To address this, we recommended that the photographer adopt clearer and more standardized usage definitions. We updated the language in the new agreement to reflect our recommended terms and included a Definitions section, helping both parties better understand and align on how the images could be used.

    The client specifically requested pricing for:

    • Extended Usage for the Original 25 Images: The client wanted to extend the current usage of the 25 images for an additional 3 years.
    • Unlimited Usage for the Original 25 Images: The client was also interested in pricing for unlimited, perpetual usage rights for the original 25 images.
    • New Selects: The client wanted to license additional selects from the conference shoot, requesting them for various usage periods: 2 years, 5 years, and unlimited use in perpetuity.

    Proposed Options for Original 25 Images

    Keeping the previously agreed-upon fees in mind, we wanted to propose a solution that expanded on the original licensing agreement to meet the client’s needs while ensuring proper compensation for the photographer. To navigate the negotiation, I worked closely with both the photographer and the agency client to craft a pricing structure that was fair and competitive. Here’s the expanded licensing structure we proposed:

    Extending Usage for Original 25 Images

    We proposed two options for extending the usage of the original 25 images:

    • Publicity and Collateral use for an additional 3 years: This extension would cover the same usage platforms (originally defined as digital, social, conference, and internal use) for an additional 3 years.
    • Additional Fees: $4,500 total.

    This fee was calculated as a fair percentage of the original licensing cost, considering the multi-year extension and the added value.

    • Unlimited use of up to 25 images in perpetuity: This option offered the client perpetual, unlimited use of the original 25 images.
    • Additional Fees: $10,500 total.

    Given that unlimited use provides value over an indefinite period, I suggested we propose a fee 2-5 times the original annual fee, offering a flat rate to ensure the photographer’s compensation for indefinite usage.

    Proposed Options for Additional Selects

    Pricing for Additional Selects from the Conference Shoot

    For the new selects, we offered the following usage options and fees:

    • Publicity and Collateral Use for 2 Years
    • Fee: $325 per image (plus any additional retouching).

    This price was based on the original per-image licensing cost, slightly increased to reflect the extended usage.

    • Publicity and Collateral Use for 5 Years
    • Fee: $650 per image (plus any additional retouching).

    We scaled the price for the 5-year usage based on a multiple of the 2-year option, maintaining a competitive yet fair fee.

    • Unlimited Use in Perpetuity
    • Fee: $1,200 per image (plus any additional retouching).

    The price for perpetual use was designed to reflect the value of indefinite usage rights, with a tiered discount offered for multiple images to make the offer more attractive to the client.

    Proposed Pricing for Additional Selects with Unlimited Use

    To accommodate the client’s interest in licensing additional images with unlimited usage, we proposed a discounted bundle for licensing 15 additional images with unlimited use in perpetuity. The proposed package rate was $12,750, or $850 per image. This offered a significant discount compared to the single image rate of $1,200 per image, encouraging the client to license more images at a reduced rate.

    The Outcome

    After the negotiations, the final terms and costs were agreed upon:

    • $4,500: Publicity and Collateral use of the original 25 images for an additional 3 years.
    • $4,550: Publicity and Collateral use of 7 additional images for 5 years, including basic color correction with delivery of the selects.

    Grand Total: $9,050 for the extended image usage duration and additional selects.

    The client was able to extend the original licensing agreement for the desired period while also licensing the new selects for an extended term. The photographer was fairly compensated for the additional usage and new images, while the client secured the expanded usage they needed.

    Takeaways

    Clear, well-defined pricing structures simplified the negotiations while ensuring the creative work was properly valued. By offering flexible licensing options such as time-limited extensions, perpetual use, and multi-image bundles, the photographer met the client’s needs without compromising on value. This transparent approach gave the client control over the decision-making process and allowed them to make informed choices within their budget, encouraged larger purchases, and fostered a fair, collaborative process to meet their needs. Ultimately, it strengthened the working relationship and demonstrated how thoughtful image license pricing can benefit both sides.

    Follow our Consultants @wonderful_at_work.





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  • 20 Top DaVinci Resolve Slideshow Templates for 2025

    20 Top DaVinci Resolve Slideshow Templates for 2025


    A successful DaVinci Resolve picture slideshow should be short, concise, and with a captivating professional design. If you’re unsure how to make a slideshow in DaVinci Resolve, look no further. Here, we went through some of the best premium DaVinci Resolve slideshow templates available on Envato Elements.

    Editorial Note: This article has been completely rewritten to make it more usable for the reader.



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  • How to Position Your Subject for the Best Shot – Path

    How to Position Your Subject for the Best Shot – Path


    Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens. 

    How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.

    Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.  

    Prepare for a successful portrait shoot

    The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:

    Set clear expectations

    Help your clients arrive confident and prepared by sending them key information ahead of time:

    • Share simple wardrobe guidelines: solid colors work best, avoid busy patterns
    • Explain the location and background setup: indoor/outdoor, how many outfits to bring
    • Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
    • Outline the session timeline: how long it will take, how many looks you’ll capture
    • Send examples of poses you’ll try: helps them visualize the result

    To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.

    Build trust and rapport

    Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:

    • Start with a quick chat about what to expect and what you’ll shoot first
    • Demonstrate poses yourself—it’s easier than explaining and helps break the ice
    • Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
    • The same goes for instructions in general—some people need more guidance than others 
    • Keep the conversation natural while you work, but keep your directions simple
    • Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems

    Main posing frameworks for any portrait shoot

    Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine. 

    Standing poses 

    Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits. 

    Here’s how to pose for standing shots: 

    • Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
    • Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
    • Ask them to lean forward slightly from the hips, with just an inch or two being enough
    • Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
    • Remember “if it bends, bend it slightly” for natural-looking poses
    • Keep shoulders relaxed and dropped because tension shows in photos
    • Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles

    two photos of women, side by side, with gray hair

    For corporate shots:

    • Keep poses clean and professional
    • Arms relaxed at sides or one hand in pocket
    • Subtle lean forward to engage with the camera
    • Maintain a straight posture while avoiding stiffness
    • For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page 

    treeconomy about us page with team individual headshots

    For personal branding:

    • Allow more dynamic movement
    • Try casual leans against walls or furniture
    • Experiment with crossed arms or hands on hips
    • Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store

    Wild Pines about page with a photo and text about the founder

    • Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page

    Sojo about us page with the founder photo at a design table and some text about the brand

    Flattering seated poses

    Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.

    Key principles for seated portraits include:

    • Guide subjects to sit at the edge of their chair or sofa instead of slumping back
    • Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
    • Keep the core engaged for good posture 
    • Point toes in the same direction to elongate legs

    Mejuri meet the founder page with text and portriat

    Professional settings:

    • Position at a desk with a slight forward lean
    • Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
    • Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
    • Cross ankles rather than legs for a polished look
    • Keep shoulders level and relaxed
    • Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile

    man sitting at a desk looking away from the camera with an open laptop in front of him

    Casual settings:

    • Allow more relaxed postures while maintaining good form
    • Create asymmetry by shifting weight to one hip
    • Use arms for support when sitting on floors
    • Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera

    portrait on off-white background of a woman sitting down casually, she has a prosthetic leg

    Creating dynamic duo shots:

    • Use seating to create interesting height variations
    • Try one person seated while the other stands
    • For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
    • Vary the height of chairs or use different seating positions to add visual interest
    • Keep subjects at different heights but maintain connection through body language or eye contact

    Ettitude from the founders page on their webiste

    Relaxed group portraits

    Whether you’re photographing a corporate team or a family, group photos present unique challenges. 

    Basic principles for group shots:

    • Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
    • Stagger heights naturally using stairs, chairs, or standing/sitting combinations
    • Keep heads at different levels but close enough to feel connected
    • Position taller people towards the back or center
    • Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
    • For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
    • Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from

    Ora about page showing the founders and their story

    For professional teams:

    • Keep poses consistent but not identical
    • Use the rule of thirds to arrange larger groups
    • Break bigger teams into smaller clusters
    • Maintain equal spacing between subjects
    • Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other 

    two group shots, side by side, the group shot on the left has three older women standing and the group shot on the right has five diverse adults standing

    For family portrait poses:

    • Create natural connections through gentle touching (hand on shoulder, arms linked)
    • Position children in front or held by parents
    • Use props or furniture to create natural groupings
    • Let small kids move around and play between shots to stay engaged
    • Capture both formal and candid interactions—experiment with both seated and standing poses
    • Switch between some or all subjects looking at the camera to fully candid shots

    family portrait of two adults and two children in a casual home setting

    Common posing challenges and tips to solve them

    Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?

    Height differences

    If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps. 

    portrait photo of a group of students and their teacher in front of a blackboard

    You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.

    Confidence issues

    If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great. 

    It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.

    Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural

    Photographing glasses and reflections

    If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.

    Rushing through poses

    Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.

    Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.

    Are you ready to direct your next portrait shoot?

    Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.

    And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.

    Polish up your portraits with pro retouching from 79¢ per image

    Portrait poses FAQs

    How do you pose for a professional headshot?

    Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!

    How do you look professional in a headshot?

    • Maintain good posture without looking stiff
    • Keep shoulders back but relaxed
    • Sit at the edge of your chair for seated shots
    • Cross ankles instead of legs
    • Let hands rest naturally

    What are the best poses for group photos?

    Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.

    What are common mistakes to avoid when posing subjects?

    Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.

    How to pose different body types?

    Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:

    • Focus on good posture
    • Create asymmetry through slight head tilts
    • Adjust your camera position rather than making subjects twist
    • Make sure subjects feel confident in their pose
    • Don’t let the subject sink back into a soft chair or sofa

    How do you pose someone who is camera shy?

    Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.



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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video


    Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)

    The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.

    To give you a better idea of the amazing results you can achieve with the new excitation filters, Backscatter has prepared a must-read article, “The Backscatter Underwater Fluorescence Strobe & Lighting System,” which tells you more about the fluroresence phenomenon, gives you recommended settings to get the best results, and, of course, offers lots of inspiring fluoro images to get your creative juices flowing. Available now, the Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter are each priced at $200. The barrier filters cost between $20 and $50.

     

    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter

     

    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300

     

    Left: Threaded Fluorescence Barrier Filter (52mm, 55mm, 67mm).

    Right: FLIP Fluorescence Barrier Filter for GoPro

     


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





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  • Packing For An African Safari (Updated)

    Packing For An African Safari (Updated)


    The notes below are specific to Kenya but having done safaris in Zimbabwe and South Africa as well, most of these suggestions apply just as well to other places.

    I’ve been asked over the years, both by my safari clients and others, what and how to pack for a trip like this, so it felt like this might be a good time to explore that for those who are curious. If you and I were sitting down over a glass of wine and you told me you were planning a safari and asked me for my advice on packing, here’s what would be most likely to tumble out of my mouth, in no particular order. This is a long one, so you might want to get that glass of wine (or cup of coffee) now.

    Arrive Early

    Most flights into Nairobi arrive late at night, usually from 9 pm to midnight. You clear customs, grab your bags, and head out of the airport to take your first breath of air—a mix of dust and diesel and the heady promise of adventure. If you’re on one of my trips, a driver will pick you up and take you to your hotel for whatever sleep you can get before an early breakfast and a short flight to the Maasai Mara. That’s if it all goes well: if there are no delays, no missed connections, and no lost luggage.

    My recommendation is to arrive at least one night earlier; I prefer to spend two or three nights at The Emakoko. Located in Nairobi National Park, staying at The Emakoko means I’m in a Land Cruiser and out of the city within 20 minutes of walking out of the airport (about 40 minutes to the actual camp). And when the sun comes up the next morning, I’m photographing rhinos and lions in the morning light, shaking off the dust and jet lag while waiting for my clients to arrive. (The Emakoko is lovely but not inexpensive. If I don’t have time or budget, I stay at the Emara Ole Sereni)

    And if there’s a problem with international flight delays (or wayward luggage), I’ve got time to sort that out before I need to be on a small plane heading to the Mara or whichever area I’m exploring. Planning to arrive two nights before you’re meant to be on a charter flight to the Mara (or Amboseli, or Meru, or wherever) provides a buffer and some peace of mind. And if you want to get out to see things like the Giraffe Centre, the Sheldrick Elephant Trust, or just spend the day exploring and photographing in Nairobi National Park, this gives you time to do that.

    Pack Light

    This is easily the hardest part of most safari travel. Sure, your international flight to Nairobi will let you carry 50 lbs (or more) of checked luggage and maybe as much as 50 lbs in your carry-on luggage as well. So bring it all, right? But the problem arises when you need to get on a small Cessna and they tell you you’re limited to something insane like 25 lbs—total! It’s an impossible ask of photographers with gear.

    Even if I didn’t bring a stitch of clothing (look away!), my camera gear alone weighs more than this. The workaround is to book an additional seat or child’s seat with your airline (usually SafariLink), or to travel with a small group specifically catering to photographers, like one of my trips, in which case we just charter the whole plane. Weight limits of some sort still apply, but they’re much less restrictive. Mercifully, my clients can now pack a few pieces of clothing as well.

    Once you arrive at your safari camp, you need very little. A couple changes of clothes is really all you need as there’s basic laundry at most camps. Bring a sweater or light jacket as the mornings can be cool. Bring a rain shell if you’re there during the rainy season. You’re not there to make a fashion statement, so just bring the basics. But do be aware of what your limits are before you get there and plan for those limits (everything is negotiable) or you’ll find yourself frustrated and stressed out when all you want to do is board your plane. If you’re going with a group or you’ve got a safari organizer, be sure to ask about this. Of course, if you’re driving to the Mara (or whichever area you’re visiting) it becomes a non-issue, but I wouldn’t trade more time on safari for unlimited gear and the long drive ever again. A 45-minute flight compared to an eight-hour drive on Kenyan roads? That’s an easy choice for me.

    Soft Luggage

    The other thing to keep in mind is your luggage itself; the smaller planes really don’t like rigid luggage, so leave the hard shell suitcase at home. Pilots like to be able to get as much luggage as possible into the small holds, and large rigid suitcases make this more difficult than it needs to be. They’re also heavy, so if you want to save weight and not get your pilot’s nose out of joint, stick to something soft. I like the Base Camp series of duffel bags from The North Face. I’ve got five of these bags in different sizes, and they’ve never failed.

    (Updated: as of 2025 I’m using a Patagonia 70L Black Hole Wheeled Duffel. In June 2023 I had my right leg amputated below the knee and find a wheeled duffel easier for hauling my gear)

    The North Face Base Camp Duffel has been around the world with me, in various sizes and colours for many years. Reasonable weather-proof and extremely durable, these (or something like them) are my recommendation.

    In addition to what I wear as I travel, here’s what’s in my duffel for most of my trips:

    • 2 long-sleeve buttoned shirts (lightweight and synthetic) 
    • 1 warmer long-sleeve shirt (I like merino wool)
    • 2 pairs underwear
    • 2 pair of socks
    • 2 pairs lightweight long pants
    • Lightweight flip-flops/sandals
    • Shorts that double as swim trunks
    • 1 baseball or sun hat 
    • 1 sweater, merino wool (I like the Icebreaker brand)
    • 1 lightweight puffy jacket (Patagonia) for cooler mornings
    • Light gloves and toque
    • Lightweight rain coat (Patagonia)
    • 2–3 Buffs, which are handy fabric tubes that can be worn around your neck to protect from sun, pulled over your nose and ears to keep pesky flies out, and wrapped around lenses and camera bodies to protect them in transit. I love my Buffs!

    What About Footwear?

    My favourite slide-on/slide-off boots are Blundstones, and they’ve been around the world (and on safari) with me many times. You don’t usually need much more than light sneakers or ankle boots for safari because you’re not often out of the vehicles unless you’re on a walking safari. Don’t weigh yourself down with heavy leather hikers. I have clients who happily wear sandals all day, though I prefer to keep my feet covered and out of reach of bugs (especially ticks which freak me out!)

    About Carry-On Bags

    Now, this all assumes you’ve managed to get to Kenya in the first place without running the gauntlet of various luggage limitations imposed by international carriers. Since they all differ, the best thing you can do is check your limits and buy a decent luggage scale and keep it with you as you pack.

    My last British Airways flight to Kenya (YVR – LHR – NBO) allowed me two pieces in the cabin, each up to 23 kg (or 51 lbs). That’s generous; many airlines don’t give you this much. To my surprise, Air Canada is currently limiting the size and number (2) of carry-on bags but is saying that no specific weight limits apply. I’m not sure when that change happened, but it’s welcome! Know your limits and work within them.

    My carry-on bags are the Gura Gear Kiboko 30L and the Gura Gear Chobe 16″. Both are lightweight, can carry a ton of stuff, and still fit in almost every overhead bin I’ve ever tried and under some of the tightest seats, and they look like they carry less than they do. I own seven different Gura Gear bags, they’ve been to 7 continents with me, and they’re my hands-down favourites for my long-lens trips. Read more about them in this post here.

    One of my Gura Gear Kiboko bags (left and centre) and my Gura Gear Chobe (right). Made from a durable sail cloth these are lighter than any other bag of the same size that I’ve used.

    About Gear

    For most trips, I pac the following in my Kiboko 30L backpack (carry-on #1):

    • 2 x Sony a1 bodies with vertical battery grips
    • 24-105/4.0 lens
    • 100-400/4.5-5.6 lens
    • 600/4.0 lens or 300/2.8 lens
    • 1.4x  and 2x teleconverters
    • 8 batteries for the cameras (lithium-ion batteries cannot go in checked luggage)
    • 1  small Petzl USB-rechargeable (lithium-ion) headlamp (don’t overlook this; you’ll be starting and ending the day in the dark, and having a hands-free light to find things while you’re bumping around in the truck at the edges of day can really help)
    • 1 card wallet with 10 x 256 GB SD cards (bring more than you think you need)

    *A note about packing lenses: don’t travel with them attached to your camera bodies, especially longer lenses, which act like levers. It’s just too easy for the weak point—where the lens and body connect—to fail if a bag gets dropped. Keep them separate in transit and put them together when you get to your camp.

    I pack the following into my Gura Gear Chobe bag (carry-on #2):

    • 1 x Apple MacBook Pro 13″
    • 2 x Samsung 4TB SSD hard drives (SSD drives have no moving parts and are much faster and more durable than drives with spinning platters (and they’re so small I can put one in my passport wallet)
    • 1 card reader and one hub to connect it all
    • Power cables and plug adapter (Kenya uses type G, the same as the U.K.)
    • Sony battery chargers x 2
    • 1 novel
    • 1 journal and pens
    • Apple AirPods Max
    • Passports, copies of my visa, and relevant vaccine passports (copies of all these are also in the cloud on Dropbox, just in case)
    • iPhone
    • Sunglasses
    • Medications and a couple of meal bars
    • Cash for tips and emergencies (USD in newer, smaller bills—most camps take credit cards, but it’s good to have a few hundred bucks in cash to tip your drivers)

    On other trips when weight limits are tighter (for example, on Lufthansa, I’m allowed two carry-on bags, but each max out at 8 kg/roughly 18 lbs, and that’s for the business class cabin!), I move some of the heavier stuff from the big bag into the smaller one because the big bag is most likely to draw attention and get weighed. Fortunately, the airlines don’t like putting expensive gear, lithium-ion batteries, or life-saving medication in the hold, and that pretty much covers everything in my bags!

    What I like about this set-up is that when I get to camp, my computer and personal stuff is all in one bag that stays in my tent, and once my gear is all together, I have only one backpack and a long lens and camera to take to the Land Cruiser for game drives. It’s easy to work out of and still keep my stuff (as well as a raincoat, a sweater, and a bottle of water) all together.

    So, Which Lenses?

    I’ve listed above which lenses I bring. Out on the savannah, you’ll have plenty of times when the 24-105mm will be perfect (the lions and beasties almost within touching distance), and the wider focal lengths for landscapes and shooting the adventure itself are great. Other times you’ll want the reach of a longer lens.

    Do you need a 600mm lens? No. In fact, longer lenses are bigger and weigh more, and you might be better off with a 300/2.8 and a 1.4x or 2x tele, depending on the quality of images you get with your particular glass. A 1.4x on my Sony 600/4.0 is amazing and gives me the extra reach. Another way to get some extra reach might be to bring one body that’s not full-frame in order to take advantage of the crop factor.

    If I have lenses that cover from about 24mm to 600mm I’m happy. That could be a 24-105, 100-400, and a 600mm or a 300 with a 2x. It could also be a 16-35, 70-200, and 600 or 300 with a 2x. Or it could be 24-105 and 200-600. Whatever the combination, 24 to 600 is perfect coverage for a safari.

    The other consideration is not only reach but how much light it lets in. Some of the best opportunities I’ve had in the softer light on either side of the day have benefited from a lens that lets more light in, but if your camera does well at low-light/high-ISO, then just nudge that ISO up. It’s always a compromise (with budget as well), and for many people, the best compromise might be something like a slightly slower zoom lens rather than a long fast telephoto. And because you are usually confined to vehicles, generally choosing zoom lenses over fixed primes will give you some flexibility with your compositions. I personally don’t think there’s any reason to bring more than three lenses on safari.

    Instead of the big heavy 600mm and the 100-400mm, you could bring a lens like Sony’s excellent 200-600/5.6-6.3. As long as I could get to about 600mm of reach with focal lengths in between from about 24mm, I’d be happy on safari.

    (Updated: Sony now makes a 300/2.8 lens that is gorgeous and, coupled with a 2x teleconverter, gives me the option of a 600/5.6 at a fraction of the weight. My 600/4.0 mostly stays at home now.)

    Remember, some of this glass is prohibitively expensive, especially if you’re not doing this often, and this is where I suggest you consider renting. Don’t buy a $10,000 lens when you could rent one and get access to a much longer, faster lens for much, much less.

    Which Camera?

    Well, for most of us, the answer is “whichever cameras you own.” But something with decent high-ISO performance, a fast burst mode, and quick autofocus will serve you well. It’s probably more important that you have two of them so you have a backup if one fails, and so you don’t have to change lenses too often in what is often a very dusty environment. Most of the time, I’ve got one body with my 600mm and mounted to a monopod, and the other with my 100-400mm sitting in my open bag at my feet.

    Batteries?

    Bring enough batteries for a long full day of shooting a lot of frames. Most lodges have easy access to charging stations, but you’ll want to be sure you can shoot all day. Not every camp has charging stations in the tents, so it’s helpful to label your batteries and chargers just so you know what belongs to who if there are others there with similar gear.

    SD Cards?

    Bring them all. My hard drives max out at 4TB, so I have 4TB of cards (mostly 256GB, but some older 128GB cards, just in case). They weigh nothing, so if you’ve got’em, bring’em. I make sure I have enough cards and hard drives that I can arrive home with everything backed up on two drives and not have to reformat or re-use my cards until the images are safe at home.

    Anything Else?

    • 1 x 4-outlet power strip with USB (this means I only need one plug adapter and can charge multiple things at once—handy if there are other photographers wanting to use a limited number of outlets)
    • A rocket blower and small sensor cleaning kit
    • 6-8 microfiber lens cloths in a Ziploc bag
    • Small multi-tool (Gerber)
    • 2 x garbage bags in case it rains or my big gear needs quick protection from dust
    • Tiny roll of duct tape and tiny tube of Superglue
    • Tiny pocket-sized first aid kit
    • Spare glasses and sunglasses (if I can’t see, the trip is over!)
    • Binoculars (although the camps often provide them, I like using my own—and if I’m cutting bag weight, these are the first to get left at home)
    • Monopod (Really Right Stuff) with a gimbal head specific to monopods (I use and HIGHLY recommend the Wimberley MH-100 – it’s the best $170 I’ve spent on photography. Hate using a monopod? Me too. This small head changed that.)

    About Support

    Longer lenses mean the need for some kind of support. Sure, you could just hold that 600mm (it weighs 3 kg without the camera), but not for very long! Wildlife requires a lot of patience and waiting, and you want to be ready when the action happens, not sitting there with a camera on your lap.

    For years I brought a bean bag filled with lightweight buckwheat husks, and filling it at home saves you from having to find beans or some other filler when you get to camp. I still suggest this for those who don’t want a monopod or who use lighter lenses, but many vehicles (especially the open-sided ones that are best for photography) don’t have a great place to put a bean bag, or if they do, they’re so low you couldn’t see through the viewfinder if you wanted to (tilting LCD screens to the rescue).

    What About Tripods?

    I haven’t packed a tripod for safari in 12 years, but a few years ago I started using a monopod, and with the right gimbal head for lenses with a tripod collar, it’s amazing. 

    I keep my monopod collapsed and rest it on the seat or my thigh most of the time. But I can also expand it and rest it on the floor, or expand it more completely and rest it on the ground outside the vehicle to get my camera much lower. And once it’s up, I can sit for hours, holding it loosely, with my camera aimed where I want it. I can’t believe I waited this long to shoot this way. And if you don’t want it, take it off, and it’s out of the way.

    So, ahem, while we’re talking about support, Cynthia and other female clients have told me often that a good sports bra is a welcome addition to my suggested packing lists. There is a lot of bouncing around in the safari vehicles and for those for whom that might matter (you know who you are), a little extra support might go a long way.

    My first Kenyan safari was over 15 years ago, and it changed my life. We now spend every January (pandemic notwithstanding) exploring this wonderful country. For wildlife lovers, it’s an extraordinary experience. But it’s not only the fantastic animals: it’s the light, the landscapes from which the human race sprung, and the people. I feel so…home here. If you’re at all curious about exploring or photographing Kenya, I’d love to answer any questions you may have in the comments below this post.

    Or you could come with me. Add your name to my Adventure List and you’ll be among the first to hear about new opportunities.

    I’ve got an incredible safari planner, and if it might help you plan your own trip, let me know in the comments, and I’ll introduce you by email. He’s my secret weapon.

    Got a question about gear? Let’s talk about that, too. It’s taken me a long time to dial this in, and I’d like to make it easier for you if I can. There’s so much I didn’t cover in this article, but if you’ve got questions, let’s explore them!

    For the Love of the Photograph,
    David





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  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed


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    Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

    How we chose the best carbon fiber tripods

    The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

    When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

    The best carbon fiber tripods: Reviews & Recommendations

    There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

    Best overall: Peak Design Travel Tripod

    Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

    Specs

    • Maximum height: 60 inches
    • Minimum height: 5.5 inches
    • Weight: 2.8 pounds
    • Weight capacity: 20 pounds
    • Folded length: 15.5 inches

    Pros

    • Includes a ball head
    • Compact and lightweight
    • Good height range
    • Excellent strength-to-weight ratio

    Cons

    • Expensive
    • Only two leg angles

    Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

    The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

    The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

    Best for hiking: Manfrotto Befree Advanced

    Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

    Specs

    • Maximum height: 59.1 inches
    • Minimum height: 16 inches
    • Weight: 2.8 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 16.1 inches

    Pros

    • Includes a ball head
    • Lightweight and compact
    • Three leg positions
    • Well-designed twist lock legs

    Cons

    • Center column doesn’t move as smooth as the legs

    Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

    The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

    The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

    Best rugged: 3Pod Everest T3

    Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

    Specs

    • Maximum working height: 64.17 inches
    • Minimum working height: 13.4 inches
    • Weight: 3.2 pounds (without ball head)
    • Weight capacity: 33 pounds
    • Folded length: 19.7 inches

    Pros

    • Sturdy, heavy-duty build
    • Built for harsh environments
    • Comes with spiked feet for added grip
    • Available with or without a ball head

    Cons

    Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

    The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

    The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

    Even more carbon fiber tripods to consider

    If one of the three above doesn’t tick all the boxes for you, check out these additional options.

    Best for versatility: Manfrotto MT055CXPRO4

    Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

    Specs

    • Maximum height: 66.9 inches
    • Minimum height: 3.5 inches
    • Weight: 4.6 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 21.3 inches

    Pros

    • Ample height range
    • Sturdy and durable
    • Center column bends 90 degrees
    • Includes attachment point for accessories

    Cons

    • Tripod head must be purchased separately

    Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

    Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

    With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

    At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

    Best for landscape photography: 3 Legged Thing Leo 2.0

    Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

    Specs

    • Maximum height: 54.3 inches
    • Minimum height: 4.9 inches
    • Weight: 4.8 pounds
    • Weight capacity: 66 pounds
    • Folded length: 14.7 inches

    Pros

    • Heavy weight capacity
    • Good height range
    • Lightweight and compact
    • Highly modifiable

    Cons

    • Not as tall as other options

    3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

    One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

    This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

    Best heavy-duty: Gitzo GT5533S Systematic Series 5

    Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

    Specs

    • Maximum working height: 52.8 inches
    • Minimum working height: 3.9 inches
    • Weight: 6.2 pounds 
    • Weight capacity: 88 pounds
    • Folded length: 24.4 inches

    Pros

    • Very heavy duty
    • Available in different heights and configurations
    • Exceptionally sturdy
    • Feet are articulating for better stability

    Cons

    • Center column or head must be purchased separately

    If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

    The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

    Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

    Best budget: Neewer 66 Inch Carbon Fiber Tripod

    Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

    Specs

    • Maximum height: 66 inches
    • Minimum height: 23.2 inches
    • Weight: 3.40 pounds
    • Weight capacity: 26.5 pounds
    • Folded length: 19.3 inches

    Pros

    • Can be broken down into a monopod
    • Affordable
    • Comes with a ball head
    • Center column can be inverted

    Cons

    • Does not go very low
    • Not as durable as other options

    Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

    It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

    Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

    Things to consider before buying the best carbon fiber tripods

    Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

    Weight

    Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

    On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

    Capacity

    Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

    Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

    Maximum and minimum height

    All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

    On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

    FAQs

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

    Why trust us

    PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

    We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.





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  • Have You Lost Your Inspiration For Photography? A Toolkit to Find Your Inspiration Back. — Mikko Lagerstedt

    Have You Lost Your Inspiration For Photography? A Toolkit to Find Your Inspiration Back. — Mikko Lagerstedt



    It’s natural for us, as photographers and creatives, to lose our inspiration. While taking a break can initially be a great way to get your inspiration back, it can also harm your inspiration. Procrastination will sometimes sneak in when you are too comfortable.

    It can be easy to fall into a creative rut and feel like you need more ideas. I certainly have been there. However, finding new sources of inspiration is an essential part of any creative process, and there are many ways you can do this. In this article, I share a toolkit of ten tips for finding sources of inspiration.

    If you haven’t read my earlier posts about inspiration, here you can find them below.

    Get Out of Creative Rut
    How To Find Inspiration For Your Photography?
    Stay Inspired – Create a Catalog of Inspiration

    1. Be ready for inspiration

    Take your camera with you wherever you go, and be open to capturing unexpected moments and subjects. Visit new locations and try shooting at different times of day to see how the light and atmosphere changes. Explore new neighborhoods, towns, or even countries – sometimes, the most unexpected locations can yield the most inspiring photographs.

    2. Try new techniques or subjects

    Consider trying new editing techniques or using different lenses or cameras to change the look and feel of your images. Try shooting in black and white, trying long exposures, or experimenting with different compositions. The more you experiment, the more you’ll learn about what works for you and what doesn’t, and the more you’ll be able to develop your own style.

    3. Get out of your comfort zone

    Stepping outside your usual routine and trying something new can be a great source of inspiration, such as taking up a new hobby or visiting a new location. Taking a break from your routine can help you see things in a new light and spark new ideas.

    4. Find new subjects

    Keep your eyes open for inspiring subjects and moments in your everyday life. By staying attuned to your surroundings, you’ll be more likely to spot unexpected moments and topics that can inspire your photography. It could be a beautiful sunset, a stunning landscape, or an interesting street scene.

    5. Journal

    Consider keeping a journal of your photography ideas and inspiration; this can be a great way to keep track of your ideas and revisit them later. Having a place to capture your thoughts can help you stay organized and keep your creativity flowing. You could include sketches, notes, or even photographs that inspire you.

    6. Seek inspiration elsewhere

    Photography is just one art form, and many other art forms can inspire. Consider looking at paintings, sculptures, or even music for inspiration. Pay attention to the colors, compositions, and themes in these art forms, and think about how you could apply these ideas to your photography. For example, you might look at a painting with a strong color palette and try to recreate that same palette in your photographs. Or, you might be inspired by a sculpture’s texture and try incorporating texture into your compositions.

    7. Open your Mind

    Keep your eyes open for inspiration in the world around you. It could be the changing seasons, a city’s architecture, or the natural landscape’s beauty. Look for patterns, textures, and colors that catch your eye, and think about how you could capture these elements in your photographs.

    8. Plan a trip

    Planning a trip specifically for photography can be a great way to step outside your surroundings and find new sources of inspiration. Consider researching locations known for their photographic potentials, such as national parks, historic cities, or natural wonders. Look for places that offer a variety of landscapes and lighting conditions, as this will allow you to experiment with different techniques and subjects. Wander from the beaten path and explore off-the-beaten-track locations – sometimes, the most unexpected places can yield the most inspiring photographs.

    9. Collaborate with others

    Collaborating with other photographers on a project or photo shoot can be a great way to learn from others and find new sources of inspiration. Working with others can help you see things in a new light and inspire you to try new approaches to your photography. Consider reaching out to photographers whose work you admire and see if they would be interested in collaborating on a project. Alternatively, you could join a local photography group or participate in online forums or communities where you can connect with other photographers and discuss ideas and techniques.

    10. Seek new experiences

    One of the best ways to find new sources of inspiration is to seek new experiences. It could be trying new hobbies, traveling to new locations, or simply trying something new in your everyday life. By stepping outside your comfort zone and trying new things, you’ll be more likely to find new subjects and experiences that inspire your photography. For example, if you’re a landscape photographer, consider trying a new type of photography, such as portrait or still-life photography. It can help you see things in a new light and find new ways to approach your landscape photography.

    An additional source for inspiration: Create a theme or a goal.
    Consider setting yourself a personal photography project with a specific theme or goal. This could be a project where you photograph a particular location over the course of a year or a project where you focus on a specific type of landscape or subject. Having a specific project to work on can help you stay motivated and focused and can also provide new sources of inspiration.





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  • The Best AI Image Editing Tools for Landscape Photographers 2023 — Mikko Lagerstedt

    The Best AI Image Editing Tools for Landscape Photographers 2023 — Mikko Lagerstedt



    My Workflow & AI

    I mostly use Lightroom CC Classic as my daily choice. The AI tools inside Lightroom are powerful, and I often use the masking panel to create selections and fine adjustments. Occasionally, when I need to do some heavy editing, such as removing a difficult part from an image, I turn to Photoshop. The Content-Aware Crop is brilliant for adding more sky to a picture if cropped too tightly. Or, if I need to have more flexibility with layers, Photoshop is an excellent choice.

    For experimenting with a photograph or when I feel too comfortable with editing, I use Luminar Neo. I can easily step into a beginner’s mindset while working with it. And finally, my go-to sharpener at the moment is Topaz Labs Sharpen AI, which does an excellent job when I need to add sharpness to my images. Also, GigaPixel AI is fantastic for ensuring my photographs look brilliant when printed.

    AI image editing tools can significantly improve your landscape photography editing process. By using Lightroom, Photoshop, Luminar Neo, and Topaz Labs, you can achieve beautiful results and bring your creative vision to life. While these tools are powerful, they may have some flaws, so finding the right balance and workflow that suits your needs is essential. I recommend exploring and incorporating these tools into your workflow to enhance landscape photography.

    Unlock Your Creative Potential

    As you delve deeper into the world of AI-powered photo editing tools and unleash their potential, consider exploring some of the resources I’ve created to help photographers at all levels improve their skills and find inspiration.

    • The Complete Photography Collection. This all-inclusive package features all of my tutorials, presets, and eBooks, offering a comprehensive guide to enhancing your landscape photography and achieving the recognition your photos deserve.

    • Epic Preset Collection. Transform your editing process in Lightroom with my presets to help you unlock your creative potential and bring your images to life.

    • 1-on-1 Photography Coaching. Whether you’re a beginner or an experienced photographer, my new online 1-on-1 coaching service is designed to provide personalized guidance and support to your needs and goals.

    • Free Tutorials. For those just starting or looking to expand their skills without breaking the bank, check out my collection of free tutorials covering various aspects of photography and editing.

    Remember that AI is a tool; like any tool, it can’t replace the human element in the creative process. Embrace your intuition, emotions, and experiences as a photographer, and let them guide your editing choices. This will help you create images that not only look interesting but also resonate on an emotional level.

    Your personal style and artistic voice are what makes your photography unique. While AI tools can help you achieve technical perfection, preserving your creative identity and ensuring that your images reflect your personal touch is essential.

    Let me know if you use any of these tools or want to try them out. Thanks for reading!

    Disclaimer: I’m an affiliate of some of these programs. Remember that using the affiliate links in this article helps support my work and enables me to continue sharing my experiences and insights with you.





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  • What’s in my camera bag in 2023? Nikon Z7 II or Z8 for landscape photography? — Mikko Lagerstedt

    What’s in my camera bag in 2023? Nikon Z7 II or Z8 for landscape photography? — Mikko Lagerstedt



    I don’t often write about gear, but it’s the most common question I get, so today, let’s talk about gear and what I currently use in landscape photography. Throughout my journey, I’ve experimented with various Nikon cameras, from D90 to Z7 II and now to the new Z8. I have used lenses from Nikon, Sigma, Tokina, Tamron, and Laowa, ultimately finding the current setup that allows me to express my creative vision.

    I used the new Nikon Z 8 for a week in March, and it was fantastic. From a quick overview, I think it delivers an excellent upgrade for the autofocus and video options compared to the Nikon Z 7II. I’ll receive my copy of the Nikon Z8 later, so I can give you more thoughts about the camera. These are my honest opinions about the gear I use. Even though I’m a Nikon Creator, this post is not sponsored by Nikon.

    Nikon Z7 II

    I have used the Nikon Z7 II as my primary camera for the past year. Before that, I used Nikon Z7 and D810. You can view my review of the Nikon Z7. Now with the Nikon Z7 II, I barely use anything else. The SD card slot is a great addition to the previous version. I’m not currently shooting video much, but that part has also been upgraded from Z7. The battery life is slightly better than in the Z7. When I want to capture time-lapse as well as stills I bring with me the Z7 to have the option to shoot two different perspectives at the same time.

    Sensor

    Although not the highest-megapixel sensor in the market, the Nikon Z7 II‘s 45.7-megapixel sensor produces high-quality images with incredible detail. It is essential in landscape photography, where every nuance, from the texture of rocks to intricate patterns, adds depth and richness to the final image.

    Dynamic Range

    The dynamic range of a camera refers to its ability to capture detail in both the brightest and darkest parts of a scene. It is essential when photographing landscapes with high contrast between bright skies and shadowy foregrounds. The Nikon Z7 II excels, allowing me to capture images that retain detail even in challenging lighting conditions.

    Low-Light Performance

    One of my favorite aspects of landscape photography is capturing the beauty of the night sky. The Nikon Z7 II‘s excellent low-light performance allows me to photograph the stars and the Milky Way with minimal noise and incredible detail. The camera’s high ISO capabilities and noise reduction ensure that my astrophotography images are clean and sharp.

    Nikon Z7 II pros and cons

    + Exceptional image quality
    + Low-light capability
    + Dynamic Range
    + Low weight, only 705 g
    + Dual card slot
    – No in-camera RAW video capabilities
    – Relatively slow autofocus
    – Could have a better battery life

    Nikon Z7 II





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  • Best Tips And Tricks for Beginners

    Best Tips And Tricks for Beginners


    Volcano photography is an enriching hobby. Even though a lot of work goes into the process of capturing the best volcano pictures, the experience makes everything worth it. Yes, it’s risky but it’s an experience like no other.

    To photograph a volcano, you’ll need a quick shutter speed to freeze any motion. Set your speed to 1/1000th, then change your ISO and aperture as necessary. Shooting volcanoes from the air, ground, or sea captures dramatically different outcomes and a better view of the lava source. 

    Read on to learn the best tips on photographing volcanoes and how to do it safely. 

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    Best Ways to Locate Vantage Points

    Best-Ways-to-Locate-Vantage-Points
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    If you want to make the process a lot faster, you can ask a local to take you to the best vantage points. When photographing volcanoes, it’s not enough to see the areas in photographs or hear stories from other people. You’ll need to visit them and see them for yourself. Just don’t forget to take the appropriate lens for each possible viewpoint.

    When you go to an erupting volcano, take some time to observe the explosion from a safe distance. Determine the eruption’s strength and the direction in which the hot lava is moving for your safety. As we all know, it’s not safe to get near an erupting volcano.

    Photographing Tips During the Day

    You can catch the most powerful volcanic eruptions and ash clouds by shooting photos of volcanic explosions throughout the day. Shooting lava is an option as well. Your most probable lens will be a 24-105mm lens. A long lens is ideal if you are far away.

    You may either try to freeze the motion in daylight photography or create some motion blur.

    1. Freeze the motion: You will need quick shutter speeds to freeze falling lava bombs, or pyroclastic flows captured on camera. Set your speed to 1/1000th, then change your ISO and aperture as necessary. The ISO is probably at or over 1000. You should typically use an aperture of f/8 while taking landscape photography. You may need to use a bigger aperture as it grows darker.
    1. Motion blur: Slower shutter speeds, which may blur motion, are at the other extreme of the shutter speed continuum. Shutter speeds of 1/20th are required to capture the appearance of action. Use this with ash clouds if you can. Shutter speeds of one second or longer are perfect for recording lava movement. Use an ISO of 100 and a narrower aperture to obtain slower shutter speeds. Add a graded neutral density filter if necessary.

    Photographing Tips At Night

    Photographing-Tips-At-Night
    news18

    Nighttime is one of the loveliest periods to try taking photos of lava. You will be able to detect the glowing lava much better.

    The ideal time to take photos is during the late blue hour. You have a higher chance of detecting the volcano’s foreground features. The lava will seem brighter in the picture the later you go into the blue hour. The rocks will become shadows against the lava once wholly dark.

    For this reason, you need to try to take pictures while the moon is full. Bring a powerful flashlight so you can illuminate molten rock during the exposure. Look to expose for up to 10 seconds if you want to get the lava streaks. 

    ND filters are also valuable for blue-hour situations. You may shoot the volcano with prolonged exposure and six- to eight-stop neutral density filters.

    Use the same general procedures as when shooting a typical landscape. When feasible, bracket your shots and shoot in RAW. Exercise delicate processing to guarantee that the image you capture is as accurate as possible. Make sure your lava has a red and orange gradient and lessen the brightness. 

    Protecting Yourself and Your Gear

    You will need gear to protect yourself and your photography equipment before anything else.

    Safety Gear

    Volcanoes pose a wide range of hazards, particularly if you want to approach a volcano or lava flow up close. Most photographers covering volcanoes have a few specific things in their gear.

    • Helmet: Falling rock is one of the main risks around volcanoes (or lava bombs). 
    • Heat-resistant clothes: Wear heat-resistant clothes since it might be dangerous to approach the lava. 
    • Gas masks: The area surrounding volcanoes may contain deadly gases.

    Note: None of these items will shield you from pyroclastic flows. 

    Photography Gear

    The following are the camera gear you need for taking volcano pictures. 

    • Camera body: A must-have is a sturdy camera body and weather and dust-sealed. 
    • Lens: You must carry a wide-angle lens while taking landscape photos, especially for dormant volcanoes. Mid and long focal lengths are preferable for an active volcano. 
    • Tripod: Make sure the tripod is robust and heat-resistant.
    • UV filter: A UV filter protects from different debris present in an extreme environment. 
    • Camera blowers or towels for cleaning

    Hiking Gear

    Some volcanoes are located in very rugged terrain. That suggests you also need the following on top of the appropriate safety gear. 

    • Hiking boots 
    • Walking poles
    • Water and rations
    • Tent or sleeping gear
    • First aid kit 

    Dormant Volcanoes Photography

    Dormant-Volcanoes-Photography
    greatvaluevacations

    Even when they are not erupting, volcanoes are breathtakingly gorgeous. They are excellent photographic subjects because of their rough geology and features like crater rims. For times when the lava isn’t flowing, here are some other photographic locations:

    • Trekking up the volcano: It’s advantageous to climb a volcano when it’s dormant. Deep ravines and leaking gas will still provide challenges. Though even when it is not an active volcano, there are safety risks. 
    • Acid lakes: Acid lakes form when escaping sulfur gas combines with a crater lake. These lakes are highly picturesque and have an odd, otherworldly sense. 
    • Geysers: Geysers are nature’s fountains and make excellent picture subjects.
    • Sulfur mines: Sulfur mines also make for a compelling photo. 

    Photographing From The Ground

    Photographing from the ground is challenging and poses some particular difficulties. First, it takes a lot of frames and a little luck to get all parts to line up at once. 

    Don’t forget to get wide and detailed shots when shooting from the ground. Photograph between 14mm and 500mm, and be sure to have all your lenses on hand and keep an eye out for various compositions. 

    Examine several shutter speeds to determine which effect you like. A 1-second exposure often produces the most remarkable results. 

    When the blue hour is winding down, there is a perfect balance of light for 15 to 30 minutes. Because it moves quickly, you must be sure that you have chosen the best composition for the excursion at that point.

    It’s feasible for your tripod and camera equipment to melt while taking close-up photos with a wide-angle lens. Surprisingly far, lava flows transmit heat.

    Photographing From The Air

    Since many volcanoes are unreachable by land, it is better to have a broad notion of capturing the volcano and setting up your camera correctly in advance. 

    When the shutter speed is less than 1/500th of a second, vibrating aircraft like piston-engined helicopters tend to produce blurry images. If possible, set shutter speeds to 1/750th or even 1/1000th of a second; however, you may get away with 1/500th if your lenses have image stabilization. 

    Volcanoes Photographing From The Air
    @Icelandair

    A fast (f/2.8) lens is advantageous in this situation since you can often shoot wide open and still have everything in focus because the explosive eruptions are far away.

    ISO is the only setting you have to work with to get the proper exposure with a wide-open aperture and 1/750th of a second – this is where your camera’s “auto ISO” feature comes in useful. 

    The last factor is ensuring that the camera chooses the appropriate exposure for you. Use “highlight-weighted metering” if your DSLR has it. Volcanic photography in dark regions is easy to work in a frame with better exposure.

    For helicopter safety, do not switch lenses while the plane is in the air. In light of this, keep two camera bodies: one with a 24-70mm lens and the other with a 70-200mm or 80-400mm lens. Keep the camera’s strap connected, and wear them around your neck the whole trip. 

    Photographing From The Sea

    You should certainly see the lava from a boat to get a close-up view while it is entering the water. It is a fantastic view position that makes for a very immersive experience. 

    A 70-200mm lens (full frame) is ideal for capturing the hot lava trickling into the water in fine detail. A shutter speed of at least 1/250 second was necessary to freeze the motion due to the rocking boat and splashing waves. 

    Where Are the Best Volcanoes to Capture?

    Most of the world’s volcanoes are in tectonically active regions, such as in the country of New Zealand, the Philippines, Japan, Kamchatka, Alaska, and the western coasts of North and South America. 

    Indonesia, Italy, Iceland, Hawaii, and other places in Africa also have incredibly beautiful volcanoes. 

    Before going, look at the volcanic eruption history and ask locals about the actual eruption. Consider hiring a guide to accompany you as well.

    Find out whether the volcano generates potentially harmful pyroclastic flows. If so, find out which way they often travel.

    Conclusion

    Taking images of volcanoes is a ton of fun, and the results will blow you away! If you are interested in volcano photography, ensure you have the right gear and a good guide who knows the area well to get some great images. 

    Lightroom Bundle Presets



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