After the honeymoon period, where we obsess over every new technological innovation the camera market has provided, what matters when we get to set?
Because I write for this outlet, I do find myself spending an inordinate amount of time reading over camera specs. And naturally, when I’m asked to review a new camera, the specs are often the thing that draws the most interest. They are objective numbers. And people like to try and compare products based on whatever objective facts they can lay their hands on. Makes sense.
Of course, art doesn’t always make sense. And making a career from your art doesn’t always follow the most logical path. And I can say from experience that when it’s game time and you’ve got a client who’s paying you a lot of money standing over your shoulder watching everything that you do, the very last thing you should be worried about is how many megapixels you have in your camera or whether or not your Canon has better eye autofocus than Sony. You’re there to get a job done, not to geek out on tech.
Som when your reputation and bank account are on the line and creating photography and video is not only your passion but how you put food in your dog’s bowl, what are the things to look for when buying a camera that will be worth their weight in gold?
All the technology in the world isn’t worth a hill of beans if you can’t depend on it. I’m not going to call out any particular camera here as I don’t want this to devolve into a shadow review or a bashing of one particular product or another. But, as I’ve bought multiple cameras over my two decades in business, it’s safe to say that some have fared better than others.
One in particular that comes to mind, without saying any names, was and is still a technological marvel. What it is capable of is nothing short of amazing. Unfortunately, it is the singular most buggy piece of gear I have ever owned. When it gets things right, it gets things right. But it’s just as likely to mysteriously decide to change focus modes on its own as it is to nail the perfect shot. It seems like every time I take it out, the settings in the camera seem to have changed as a result of what I can only imagine is some mythical fairy who lives inside my Pelican case. And while it’s incredibly possible that I would forget having changed a setting here or there; in general, I’m a “set it and forget it” kind of person. So, things like suddenly realizing I’m only shooting in JPEGs when I haven’t set a camera to shoot anything but raw since the early 2000s is something I’m pretty confident is not the result of my fiddling. As I said, when the camera works, it’s brilliant. But it has so many little buggy issues that crop up at least once per shoot that I simply can’t trust it in do-or-die situations. It may work perfectly fine. But because it’s been so buggy in the past, I can’t in good faith trust it when my name and livelihood are on the line.
This concept was put into concrete form just last week when I was shooting a video piece for a client. It would require two cameras and be shot in one very long uninterrupted take. The show was happening in real-time, meaning that there was zero room for error as the task the subject was performing was not the kind of thing you ask someone to do twice. Both my cameras were from the same manufacturer, but one was a higher-end cinema camera while the other was a smaller but still super-capable mirrorless camera. Because I would be operating solo, I needed at least one of the cameras to operate itself. The mirrorless camera technically had more bells and whistles. I'd even give it the edge in autofocus. But the cinema camera had a bit more durability. So, which would be the A camera and which would be the B? Naturally, I opted for the cinema camera as my A camera and the one that, once I’d framed my master shot, would essentially be left to its own devices while I floated around with the B camera throughout the take. It didn’t take long for my decision to be vindicated, as throughout a multiple-day production, my A camera kept shooting for hours on end without a hitch. The B camera performed admirably, but, over multiple days, did have a hiccup or two which required it to shut down mid-take. It was the B cam and I was still covered by the A, so it’s not like it was the end of the world. But had it been my only option, I might have found myself up a certain creek.
Ease of Use
As a photographer and cinematographer, I love nothing more than doing camera tests. I love to try out different combinations and put a camera through its paces to learn all the wonderful things that it can do. Technology is such at this point that the options can be endless. And it’s a joy to learn new things.
When I’m on set, however, I couldn’t care less about learning new things. On set, I want a practical tool that is going to give me maximum performance and reliability with a minimum amount of fuss. I don’t want to spend all day in my menu settings trying out different combinations to achieve the image in my head. Photography, at its core, is a pretty straightforward operation. Read light (or create it), then set your camera in the best way to capture it.
A few weeks ago, I was shooting a commercial. The camera I was using is pretty much the industry standard for about 85% of productions. In sticking with my theme of not naming names; I’ll just say that the brand name that, depending on your accent, can rhyme with the word “sorry.”
At any rate, if you look at this camera on paper, you might be forgiven for not thinking it’s all that special. I mean, the sensor isn’t even 4K in a world where 8K is the new buzzword. The sensor itself hasn’t changed much in nearly a decade. So, why is this camera still the most used in Hollywood and the commercial world? Because the darn thing just pumps out beautiful images. Whatever the numbers say, the image quality is simply amazing. And more importantly, for today’s discussion, that amazing image quality is only a starting point. Basically, at its worst, the image quality is going to be amazing. Yes, for the resulting image to be good, it requires lighting, composition, artistry, and so much more. But if you fail when shooting with that camera, it’s your fault, not the camera’s. And what I love so much about it is that you get that image quality in a camera that takes all five minutes to learn how to use. There are a lot of cameras these days that can deliver excellent results once you’ve cracked the code of their menu system and know what settings to combine with which. This camera’s footage, on the other hand, just looked good already without me having to do much of anything in the menu system other than decide on the same exposure triangle settings that have been the hallmark of photography since its inception.
So, while other cameras might have superior specs on paper, that camera remains the main object of my desire because it allows me to stop tinkering in the menu and just get to shooting.
Now, I quite often repeat the refrain that specs don’t matter at the top of my lungs to anyone who will listen. What I mean by that is that what you are shooting and your creative voice are always more important than having the latest technology. Yes, certain types of photography greatly benefit from certain specs like a higher frame rate or better face tracking. Those things can be really important depending on what genre of photography you have chosen. But if, for example, you shoot still life, then it’s unlikely that you will see many benefits from investing more in a camera because it can shoot 30 fps. Or if you are shooting for newspapers and magazines, the advantages of high-megapixel cameras are far less impactful in your day-to-day.
But there is something to be said for a camera that offers a few benefits that you might not find yourself using regularly but can come in handy. Going back to my early example of shooting the long uninterrupted takes, the battery life on my cinema camera is outstanding and allows me to shoot pretty much all day. But what if, despite all that, the take ended up lasting just a wee bit longer than I was planning? What would happen if I suddenly found myself running out of juice mid-take? Not so great. So, one thing that my camera offers and many larger cameras offer is the ability to plug it into a wall socket and stay on all day. Even though I had plenty of power, I opted for this steady stream of power to ensure that I didn’t have to worry about the camera unexpectedly turning off. Not a feature that will make it into the brochure, but something that in the real-world use can be invaluable.
And that’s just one example. Perhaps you are a photographer and your client suddenly decides mid-shoot that they want video content. Well, first things first, hopefully, you have negotiated extra money for this extra task rather than simply offered to throw it in free. But, assuming you’ve done that, you are now responsible for delivering the best video quality possible. So, while you might not have arrived on set that day thinking you’d be shooting video, having a camera that allows you to capture high-quality video in a pinch can be a major practical advantage.
As I said, I’m a “set it and forget it” kind of guy. So, I’m not someone who always puts to use every single function that my camera is capable of. But, to me, versatility in a camera is something of a “get out of jail free” card. It’s part of your job as a professional to plan for contingencies. But even the most experienced photographer will eventually encounter unforeseen circumstances. A great camera will have just the right amount of flexibility that it can not only perform those tasks you acquired it to do but also offer you a bit more flexibility to adapt when necessary.
There you go. Those are the three most important qualities I’m looking for when shopping for a camera. I realize it’s not as sexy as talking about megapixel counts or dissecting pixels punched in at 400%. But, in actual practice, these are the features that I depend on every day to perform the work that my clients demand.
“ But it’s just as likely to mysteriously decide to change focus modes on its own as it is to nail the perfect shot. It seems like every time I take it out, the settings in the camera seem to have changed as a result of what I can only imagine is some mythical fairy who lives inside my Pelican case”
- check the battery connectors, they must be clean and in a position that they press against the battery with enough force.
- The “mythical fairy” doesn’t live inside your Pelican case. It’s called EMF (electromagnetic field) and can come from anywhere. Where I live I had to disconnect the garage door opener from the main supply otherwise it opens by itself, like does the trunk door of my car. My touch sensitive bedside lamp also used to turn on by itself in the middle of the night until I disconnected the touch sensor. Other devices also had troubles. I made a complaint for radio interferences and now it’s better. You may consider shielding your cameras, they are not devices made to be used in industrial environment where strong EMF exist. Check also your own devices like photo flashes whose internal inverter may be the source of the troubles, it’s possible that the “mythical fairy” really live inside the Pelican case…
There are no "professional cameras". There are only cameras used by professionals.
Other than that, the article's emphasis on dependability, ease of use and versatility are sensible and match my 20 years of experience as an event pro.
I totally agree with you, and my Nikon D750 may seem archaic to some, but for me it's the perfect camera that pushes me to my limits to discover its potential more every time I use it. I haven't scratched the surface but I keep on producing better image quality and next to a great camera are great editing skills. Together, with practice they can make anyone look like a pro.
The D750 remains a very capable camera - my colleague makes fantastic images with one - as do even older cameras like the Canon EOS 1Ds MkII (which I used for years). On the subject of "professional cameras", I'll also note that I had great success shooting a small networking event (I'm an event pro) with a Flashpoint Zoom Mini flash on a Panasonic LX100. I brought my ILC kit just in case, but didn't need it. Nobody would call a fixed-zoom compact a "pro camera", but the LX100 had what the job required - clean images at ISO 1600, a hotshoe, a sharp lens, an EVF, and excellent controls and customizability.
I'm going to be the devils advocate here and respectfully disagree with you on that topic. There are absolutely cameras designed for professionals. Cameras that offer the file formats and codecs needed for serious production work, mic inputs, I/O slots, built in a way that allows a rig set up for video, the list goes on and on.
Yeah you can put an iphone in the hands of a professional, but put a well-equipped RED or Alexa in the hands of the same professional, and the results will be night and day.
One could argue that you could put an Alexa in the hands of a beginner and it wouldn't look very good, and you'd likely be right, but to say professional cameras don't exist? I can't stand by that statement.
That said, that's just my thoughts on the matter!
You're not being "the devils advocate". Quite the contrary. You're toeing the conventional line, and marketers love you for it.
I tend to agree with you. It's hard to describe what makes a camera 'for professional use', but you'll recognize it when you see it. Although it has become a blurry line, I wouldn't recommend my H6D or my associates iQ4 to 'amateur' photographers.
Wouldn't the term professional camera help imply it is for a certain segment of the population. How else would you differentiate say a Nikon D3000 to a D6 so that it gets targetted towards the right segment of the photographic community? If I am an amateur starting out in photography, I would not want a salesman showing or even mentioning a D6 or its benefits.
Labels sometimes obfuscate rather than clarify.
I would add: Professional Support! That would include overnight repair service based on collect/return, loaners in case of repair, customer support, rental service and event support. Possibly also insurance, but sometimes that is better handled yourself.
I'm in fashion and (make-up) portraits and unfortunately have experienced hands-on that not all so-called Professional Services are truly aimed at people who have to depend on their gear.
Obviously, you should never end up with a single point of failure, like bringing one camera body only, but good PS is essential.
In my work, I found that having multiple backups was more valuable than "pro support", and with cheaper cameras I could afford this easily. In 20 years of professional work, I have only once required repair of a camera & lens. Flashes are another story...
Professional support is only worthwhile in some genres.
If I'm tramping through a jungle in Borneo (wildlife or landscape), professional support is worthless. Having a spare is worth it's weight in gold.
The point - Horses for courses.
I would agree with you on dependability, however, the other two are also a function of the camera's capabilities. A camera, popular with various professional photographers, normally has the more common control functions on the outside as buttons, while more consumer-grade cameras rely on menus for some of the same functions. Several things I could easily and quickly do with my "pro-grade" camera (by pushing a button and turning a dial), were buried in menus on the consumer-grade and significantly more awkward!
Secondly, the learning curve won't help you much if one camera simply can't do what the other camera can, such as more accurate focusing in low light, etc. or a high fps burst rate.
I purchased what I had considered a buggy Fuji GFX 50R. Though subsequent firmware seemed to fix the problem, my initial tests were made in the close vicinity of a slow moving ferris wheel. The problems included light settings suddenly changing to tungsten or even more exotic presents by just turning the camera off and on within 10 seconds. Sent it back to Fuji Canada and ended up speaking with a very smooth-talking Fuji rep who is employed to deflect responsibility. I wanted a replacement and he refused.
Could it be possible that the cheaper plastic body of the 50R is more susceptible to electromagnetic frequencies? BTW: These bugs did not deter me from further investing in Fuji as these medium format sensors clearly capture more detail than my full frame Sony system. I now love the GFX system despite these initial problems. The GFX 100s is a wow-system for street photography.