What's in the Bag?

The contents of a camera bag are in constant evolution. We buy and sell gear, adapting to new technologies and techniques. We learn along the way what works and what doesn't work. Each of us go through the phase at least once in our lives of having and carrying EVERYTHING with us. Usually we outgrow that gear thing, but sometimes we don't. There was a time where I participated in the “he who has the biggest camera bag, wins” mentality. I've also gone through the phase of just carrying a single camera-lens around too. Somewhere there is a happy medium that works for each one of us.

The digital revolution has caused nearly all of us to replace our tried-and-true systems with all new systems. Cameras and lenses are larger and heavier than we ever had before. The average digital system has more mass than most medium-format systems. For those of us that also do outdoor photography, the bulkiness and weight is forcing us to rethink what we carry around with us and use.

Through the years of shooting film, I had developed a three-tier system. An Olympus IS-3, which is a non-interchangeable 35-180mm lens SLR became my “go anywhere” system. No camera bag required. The second tier was an Olympus OM-2S body, with three basic lenses in a small bag. The third tier included more OM gear and a medium format camera all in a large bag. Depending on what I was planning to shoot and how I was working, I'd grab one of the three setups. With the exception of a handful of items, the bags were pre-packed and self-contained. Now, with digital, things have evolved a little bit. A Minolta A1, with a 28-200mm equivalent lens, is my “go anywhere” system. An Olympus E-1, with 14-54 zoom, an OM-2S and an assortment of Zuikos now rests in a backpack bag and the IS-3 and flash gear rest in another bag.

In comparison to the bulk of working pros today, my equipment selection is rather humble. Almost minimalistic. That's fine, as mine is paid for and does the job. By staying a step or two back from the bleeding edge allows me to improve my own techniques instead of relying on technology to make my photography better. It's a whole lot less expensive too. The hardest part of this methodology is “gear envy”. But as a longtime Olympus user, I'm used to being considered the “poor cousin” in photographic circles.

Let's look at the gear selection and how it is utilized.

1. The go anywhere kit: The Minolta A1 is an outstanding portable camera in that it takes very good pictures (using the latest RAW converters), has a built-in flash, an excellent zoom lens and is quiet. Overall performance of the camera is very near to most lower-end DSLRs, but has several features not found in DSLRs, such as timers, live monitor/EVF, movie mode and a wide DoF. I use this camera extensively for industrial photography where pictures of equipment racks or wiring in tight confines are the norm. It is a rare moment when the A1 isn't with me. Whenever using the other equipment tiers, this A1 is always a part of those kits.

2. The backpack: This is a Canon 200EG which can be purchased for the EXTREME bargain price of $39.99. Frankly, if you can't fit it in this bag, you shouldn't be hiking around with it. I have the camera bag pictured at the bottom of this page. Contained in this bag is the Olympus E-1, 14-54DZ lens, occasionally the A1 (with battery grip), an OM-2S, 200/4, 100/2.8, 50/3.5, 35/2.8, 24/2.8 and even a 35/shift lens. Try that with any other brand! There is also a wide assortment of films, filters, extension tubes and batteries in the bag. Oh, I almost forgot—there is a handheld meter and compact binoculars in the side pockets. With this kit, a monopod and a tripod I can go almost anywhere and shoot almost anything. There are some redundancies, but each item has a specific purpose or reason to exist. If I substitute the IS-3 for the OM kit, I'd pack just the 35/shift, 100/2.8 and 200/4.

3. The wedding/event bag: The wedding bag contains the IS-3 with G40 flash, Stroboframes, Vivitar flashes and other ancillary items just as chargers and additional batteries. I normally do not carry this bag around except when shooting those assignments, such as weddings or events. My assistant and I carry the cameras on-neck and try to just use the bags for transport only. I use film for backup or special purposes, but most customer-based photography is digital now. Usually, though, I use B&W in the film cameras.

Random thoughts:

I'm still shooting film. Not nearly as much as I did prior to getting digital cameras, but with a new Nikon 4000 dpi scanner, I can achieve results that were previously not easily attained. Furthermore, by using techniques learned with shooting DSLRs, I am able to get better film scans than ever before. Film is definitely not dead yet. I shoot Velvia, Provia and XP2 depending on the application. Keeping the 35mm kit allows me to shoot those things where 5MP just isn't enough. With proper technique I am able to get high-quality images without spending $8000. High quality imaging didn't start with the advent of the 1DsM2n.

The contents of my backpack do evolve a little. I'll take out a few lenses or substitute the OM gear with the IS-3 and the flashes for location portraiture, but these are specific applications. With the release of cameras such as the E-330, I can foresee that taking the place of something—maybe the A1 in the backpack. Acquisition of new lenses, like the DZ 50-200 would easily replace the 50/3.5 and 200/4.

Obviously, my kit is predominantly the big “O”. The list of Olympus brand equipment and components is quite extensive. By mixing and matching old with new, I feel as though I can attack almost any assignment. For wedding, portrait and event work, the equipment meets and exceeds the requirements. For high-end landscape photography, an argument could be made that the equipment is woefully inadequate, but strangely enough the prints still sell. Must be something to do with content. Essentially it has less to do with equipment and more to do with creative vision and the ability to deliver that vision.