Chasing Down Kids

There's another class of Nimble Photography that I rarely discuss: parents photographing young children.

These intrepid souls are perfect candidates for a life of nimbleosity. They already have to schlep more stuff than they ever imagined possible - bags full of snacks, water, extra clothes, books, toys... and things I don't even remember anymore.

And the irony is, even with all of this gear, parents have to move fast.

It's like watching basketball on TV. You don't realize how swiftly players move until you stand court side at an actual game. It's the same with children. Look away for 5 seconds, and they are disappearing on a distant horizon. You have no choice but to hobble after them.

When we're not wrangling, cajoling, or admonishing, we want to photograph these dear angels. That's what parents do. And pushing beyond the smartphone snapshot requires a little practice and some decent gear.

In my opinion, most compact cameras react slower than the children we're pursuing. On the other hand, DSLRs don't fit in backpacks already stuffed with granola bars and jackets.

I think the preferred tool for chasing down kids is a good mirrorless camera. Maybe a Panasonic Lumix GX7 Micro Four Thirds camera with 14-42mm f/3.5-5.6 lens. That tilting electronic viewfinder could come in handy for knee-level kindergarteners.

What I'm driving at is this: I want to officially welcome parents to our world of traveling light with lots of might.

I know you're a bit tired right now. But trust me, you'll feel better

in 20 years or so.

Derrick

Traveling Light with Lots of Might

The first four lines of the Happy Wanderer song go like this:

I love to go a-wandering, 
Along the mountain track, 
And as I go, I love to sing, 
My knapsack on my back. 

Part of the reason why our wanderer was so happy was most likely because all he or she had in their knapsack was a lunch and light jacket. Clearly this tune was composed long before the Nikon F SLR. (...by Florenz Friedrich Sigismund in the early 1800s, actually.)

And thanks to advances in technology and design, the Happy Wanderer these days can pack a high-performance imaging device capable of producing mural-sized prints. Many of the new cameras released this Fall affirm that we can travel light with lots of might.

This is top of mind for me right now because I'm putting together holiday gift guides for publication. As I review new cameras such as the Panasonic LUMIX DMC-LX100 and the Canon PowerShot G7 X, I'm impressed with how much capability can be packed into a case that weighs less than a pound.

It's the return of the Happy Wanderer.

Except now when he walks through the front door,

he comes back with not only a tune in his heart,

but an SD card full of memories.

-Derrick

The Pounding of the Drum

It's my last morning in Manhattan. I'm ready to go.

For me, New York City has one thing in common with Las Vegas. When it's good, it's great. When it's time to leave, I can't get out of town fast enough. 

Guess I'm more country than I realized. 

I'm writing this on my iPad in the Tick Tock restaurant on 8th Ave and 34th St. I need the chatter of a hundred voices to help me write. Everyone is talking, but there are no words. It's a soft blanket of sound.  It's heaven.

In my room on the 20th floor, all I can hear is endless drumming and chanting. Word is the Dali Lama is coming. I like the Dalai Lama. In fact, I think he's incredible. But it's difficult to collect my thoughts against a chorus of which I am not a participant. 

Boom, boom, boom. Boom, boom, boom. 

It's the city. You have to be tolerant. You need to creatively solve the problem. 

There's no tapping the culprit on the shoulder and politely asking, "Can you keep it down? I'm trying to write."  It doesn't work that way. The noise is too big.

Boom, boom, boom. Boom, boom, boom.

For many seekers, the Dalai Lama is their guiding light. 

For me, these 100 souls in the Tick Tock, 

are my saviors. 

-Derrick

RoW

I think I've figured out why so many photographers insist on bringing everything they own on every shoot.

It's a safety blanket.

(I leave mine at home.)

I rarely need more than a couple lenses when I'm working. Before the shoot, I think about the subject and environment, decide which camera and lens is best suited for the task at hand, then bring a logical alternative or two. 

But the fact of the matter is, I rarely stray from the initial plan. And what additional gear I do bring, often remains in the bag. Sure, I'll change a battery or swap out a memory card. I might even add a filter. But that's about it for extra cirrucular activity.

What I've noticed with my Pelican-case-packing-comrades, is essentially the same. Generally speaking, they are using a lens or two, changing a battery when needed, and that's it.

So why so much stuff?

I think it's the same emotion that leads to overpacking a suitcase for a trip. We bring too much because "we might need it." Just in case. It's insurance.

Insurance is based on numbers. So let's look at the math of overpacking. If you carry 30 extra pounds on 10 trips, that's 300 pounds of discomfort. Divide that by the one or two times that you actually use an extra item. Then look at the resulting photos. 

In business, we think in terms of ROI. So my question would be: "What was your return on weight?" I call this RoW.

After this exercise, your conclusion could be that the result clearly justified the bulk. That's great. At least you thought it through. Keep on truckin'.

If your RoW isn't as positive as you'd like, do a test. Think about the next shoot beforehand, carefully select the gear your need, then pack a smaller bag.

If it works out,

this could be the beginning 

of a lighter, more nimble, you. 

-Derrick

Backpack or Shoulder Bag?

It's the most common question in camera-toting lore.

And I think you'd have to be a photographer to appreciate the significance of this decision. Having the wrong bag for the situation is like wearing pants that are too tight or a shirt that's too short. It just feels wrong.

I'm thinking about this because I just switched from a messenger bag to a backpack for my trip to the Eastern Sierra. There's no way I would carry my black Urban Reporter down the streets of Bridgeport. I'd look like someone who got lost on his way to San Francisco.

My blue Photo Hatchback was the perfect choice. It felt right around town, and performed brilliantly while hiking along the Walker River in search of the perfect Aspen grove. With its secure shoulder straps and waist band, I could hop from rock to rock with my gear snugly hugging my body.

Next week I fly to New York City. There's no way I'm carrying a blue backpack down 34th. I'm switching back to my discrete, black Urban Reporter 150. I can easily slide it to my front when riding public transit, it looks good sitting next to me in a coffee shop, and I can quietly pull out my camera for a few quick frames when walking to work in Manhattan.

(I'll be frank. I find giant backpacks very annoying on crowded subways and buses.)

By now, you've figured out the answer to this carrying solution quandary.

You knew what I was going to say all along.

Any photographer worth his or her salt,

has one of each.

-Derrick