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See related pages: The Best Travel Cameras ~ What's New / Tom's Blog ~ Digital versus Film How to Take Better Pictures: How to Compose an Image , How to Use Fill Flash , How to Optimize Shadows and Highlights For my travel & nature photo subjects, I look for
compact, lightweight,
high-quality imaging equipment on a moderate budget. I am
an independent
photographer with no affiliation with any camera or film manufacturer. All opinions stated on Photoseek.com are mine. |
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Tom's latest travel camera |
Nikon
D40X SLR with Nikkor 18-200mm VR
Lens = 38 ounces (18 ounce
camera body including battery & strap + 20
ounce lens,
up to 4-stops-image-stabilized!) This is a great camera system for traveling, with an all-in-one lens light enough to carry all day in my chest bag (plus my wife uses a shirt-pocket sized Canon SD700 IS, which serves as my backup that adds movies & sound recording). Nikon D40X features: 10 megapixels = 3872 x 2592, makes good prints to 23 by 30 inches or larger (see "Maximum Print Size" discussion). Excellent quality to ISO 800, and ISO 1600 is usable for smaller prints. Same image quality as the higher priced Nikon D200. CCD sensor size on the D40X is 23.6 x 15.8 mm (six times the light gathering area of the sensor in my Canon Pro1). The D40X has a bright 2.5 inch LCD and shoots a generous 300 to 420 images per charge (using a Digital Concepts 1200 mAh battery, at 40 to 70 degrees F, using the LCD briefly on most shots; most shots using VR and 10% using flash). The D40X batteries last 2.5 times longer than my Canon Pro1 batteries and weigh an ounce less per battery. The D40X's long battery life is important for trekking away from electricity such as in Nepal, where six batteries lasted for two weeks shooting 2800 images without recharging. Great travel lens: I mount the D40X with the Nikkor AF-S DX VR 18-200mm 3.5-5.6G IF-ED lens (20 ounces / 560 grams; new in 2006) which lets you hand hold images in up to 4-stops dimmer light, using Vibration Reduction (VR). This lens is equivalent to a 27-300mm lens in 35mm film terminology. It conveniently focuses as close as 18 inches (0.5 meters) throughout the zoom range, and the largest magnification at full 200mm telephoto makes a good closeup of subjects 3.5 inches wide (or an area of 93 x 62 mm). I prefer an all-in-one lens like this for travel -- avoiding lens-changing saves time, promotes creativity, and gathers less dust on the sensor. Using the image-stabilized lens combined with good D40X image quality up to ISO 800 means that I can improve hand-held photography by about 6 f/stops compared to my earlier Canon Powershot Pro1 (which was noiseless to ISO 50 or 100). Reduced tripod setup now cuts my shooting time in half, which makes more time for other shots, thereby increasing my creativity. On hikes where I leave behind the tripod, I now save 32 ounces in travel tripod weight. However I still carry a tripod on a hike when I anticipate blurred water & night shots. By being so incredibly versatile, this Nikkor 18-200mm VR lens does suffer from some quality compromises, so I sharpen results from 70mm to 200mm by shooting between f/8 to f/16. At 135mm, the weakest point, shoot between f/11 and f/16. When shooting flash on the D40X with this 3.9" lens, shoot wider than 24mm and remove the lens hood, or else a lens shadow will appear in the bottom of the image; or just mount a higher add-on flash. Using VR on, I can sharply hand hold from about 1/8 to 1/30th second for respectively 18mm to 200mm. Lens Reviews: Most reviewers say this Nikkor VR 18-200mm lens is one of the best ever invented for travel: 1) Ken Rockwell's review, 2) Thom Hogan's review, 3) Cameralabs. However, dpreview.com notes the following caveats for the Nikkor VR 18-200mm lens: Architectural photographers (who need straight lines) won't like the barrel distortion at 18mm wideangle (hard to correct for this lens), or the pincushion distortion between 35mm and 70mm (easily correctable in Adobe Photoshop). Macro photographers should get a sharper dedicated macro lens. Lens Alternatives: Serious sports and wildlife/birder photographers (who often shoot wider apertures below f/11) will get sharper results by instead using the 70-300mm F4.5-5.6G ED-IF AF-S VR Zoom Nikkor lens (26 ounces; 5.6" length; 4.9 foot minimum focus; also compatible with full frame Nikon D3 DSLR); and if you add this 70-300mm VR to the good Nikkor 18-55mm 1:3.5-5.6G AF-S VR lens (external dpreview) (with better macro area 63 x 42 mm) provided as standard kit with the Nikon D60, you get a higher quality extended travel range, much cheaper than the all-in-one 18-200mm VR lens. See my "What's New" blog for more details why I chose this Nikon D40X system versus a compact camera. |
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Favorite Computer software |
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Favorite backup travel camera |
Canon
Powershot
SD700 IS Digital ELPH, ultra-subcompact digital
camera = 7 ounces (with battery). This amazingly tiny and lightweight camera can be carried in your pocket, takes still shots with publication quality up to 12 by 16 inches (see "Maximum Print Size" discussion), and serves as a main camera for my wife and backup camera for me. Features: 6 megapixels (2816 x 2112 pixels). Image-stabilized zoom lens 5.8-23.2 mm, f/2.8-5.5 (or 35-140 mm lens in 35mm-film-camera terms); 0.79-inch macro focus. Movies can be 15, 30 or 60 frames per second, with dynamic exposure and digital zoom as you shoot, which is better than the Pro1.Great DIGIC II processor. We bought the optional housing for shooting underwater. Disadvantages: No RAW file mode. It has good exposure +/- compensation, but cannot set or view the F/stop aperture or shutter speed (except shutter speed thankfully displays live when the camera shake warning also displays). The SD700 was succeded by the SD850. Excellent alternatives to the SD700 IS: Sony Cyber-shot DSC-N2; or Canon SD800 IS ELPH. Larger, higher quality alternatives: Canon Powershot A710 IS, or Powershot G7. |
| December
2005-2007 Favorite digital projector |
Canon Realis
SX50 Multimedia Projector Displays fantastic multimedia presentations using Microsoft Powerpoint run on a notebook computer, dynamically brighter & better than slide film. Very well optimized to show images in sRGB mode, as the camera captured them. For projecting motion picture DVD's from a Progressive Scan DVD player, the Canon SX50 creates a spectacular movie theatre experience, especially if you have a 6-speaker Surround Sound system. Features: SXGA+; 1400 by 1050 pixels; great 1000 to 1 contrast; 2000 actual lumens; true 720p HD broadcast for movies. $4000 in December 2005, then price dropped to $3500 in October 2006. This digital Canon SX50 projector has keystone correction, a great dynamic range (from highlights to shadows), and sharper focus than slide film projectors such as the Kodak Carousel 4600. On my old Kodak Carousel 4600 film projector, the contrast ratio is smaller, requiring a darker room than the SX50; and you must wait for the curved film in each slide mount to warm up and pop into focus, which still annoyingly leaves the edges or center out of focus, even with the compensating lens and autofocus. In contrast, digital projectors focus crisply & brightly across the entire image! |
| 2006-2007
Tom's 35mm-film scanner |
Konica
Minolta DiMAGE Scan Dual IV Scanner NOTE: Konica Minolta no longer sells or supports scanners or cameras, so you should now buy another brand. See Ken Rockwell (external link) for advice on shopping for a scanner. My "Konica Minolta DiMAGE Scan Dual IV" makes much better scans than my former Nikon LS-2000 (below), requiring little extra Photoshop adjustment [except for laborious manual dust removal required on 12/16-bit mode scans -- where a workaround is to use Photoshop's Filter>Dust & Scratches feature, but that often reduces image detail]. If you will be making lots of scans, get a different scanner that supports automatic dust removal using ICE or a similar infrared technology. Features: $240 in 2006; 3200dpi, or ~2892 x 4284 pixels from a scanned slide. Dynamic range higher than film, so it captures all shadow & highlight detail. This 3200 dpi resolution sufficiently captures all the clarity in 99% of my images taken on a tripod with consumer-quality SLR lenses. (I feel that 4000 dpi on a different scanner wouldn't get any more useful information out of 99% of my film slide images). Universal USB connection. Unattended batch scan of 4 slides, each with custom settings. Requires Windows XP (which I run on a Notebook computer). I could not get this scanner to work with Windows Vista. Selling my old Nikon LS-2000 scanner (below) more than paid for buying this superior new Konica Minolta DiMAGE Scan Dual IV scanner. 2000 - 2005: Nikon LS-2000 Super Coolscan scanner (2700 ppi, makes ~2400x3600 pixels from slides, dynamic range=3.6, $1330 plus $430 stack loader; SCSI interface; can automatically batch scan 30 slides, all at the same setting). I have made prints 28x42 inches at 240dpi (which look great at a viewing distance of about 36 inches), scanned from Fujichrome Velvia slides (digitally enlarged from 2400x3600 pixels in two stages in Photoshop). By 2003, this Nikon LS-2000 workhorse was antiquated by cheaper & better scanners, but instead of upgrading to the Nikon LS-4000, I chose to invest that money into new digital cameras, which offer more flexibility, higher quality, much faster work flow, and "scan" subjects directly. The SCSI connection on the Nikon LS-2000 was incompatible with my new Dell 9300 Notebook computer purchased in 2006, so I sold the LS-2000 scanner with stack loader (for $405 on e-Bay) , and purchased the above superior Minolta scanner for only $240 . |
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Favorite printer |
Epson Stylus Photo
2200 Printer makes wonderful prints (equal to or better than the typical chemical photographic process) up to 13x44 inches, rated at 80-year longevity on special Epson papers (when mounted behind glass). Features: 7-color Ultrachrome inks, high quality ink jet printer. Combination of Photo Black (or Matte Black) and Light Black improves neutral and Black & White tones, and extends the dynamic range of prints. [I upgraded to the 2200 from the earlier but excellent Epson Stylus Photo 1270, for which ink costs about 25% less.] Better printers have since been released:
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Favorite travel tripod |
Slik "Sprint Pro GM"
Tripod
($90), with Manfrotto
3299 Quick Change Plate Adapter ($35, quick release) weighs only 2 pounds and is great for travel, superior to other travel tripods that I'm aware of (including Velbon MAXi343E, Manfrotto, or even Gitzo tripods costing three times more). Features: The stiff aluminum legs are sufficiently stable for cameras up to 3 or 4 pounds (especially if you don't extend the bottom leg section; or if you hang on extra weight) and have very fast locking levers (of sturdy plastic). This tripod rises to eye level (64 inches), collapses to 19 inches (or 16 inches if you remove the quick-release ball head). The metal ball head swings 90 degrees each way, to two vertical positions, and turns freely around, all tightened with one effective lever. Legs can optionally splay out independently in 3 locking positions down to 6.4 inches off the ground. For macro, the center column can be reversed underneath for great shooting flexibility at ground level, and unscrews into a short section (saving 3.5 ounces). Leg tips convert from spike (outdoor) to rubber (indoor use) with a simple lockable twist. |
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Dates
of my equipment usage, ordered
by purchase date
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The above modern technology surpasses the following older equipment which I no longer use: |
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classic travel camera |
Canon
Powershot
Pro1
compact
digital camera = 25 ounces
(including battery & strap). The Canon Powershot Pro1 is a great all-in-one camera for traveling. [But in 2007, the discontinued Canon Pro1 was outclassed by the more capable Fujifilm FinePix S9100, which is the same weight but physically larger.] Features: 8 megapixels = 3264 x 2448, makes good prints to 23 by 30 inches. Professional "L series" 7.2-50.8 mm zoom lens, with fast f/2.4-3.5 widest aperture, or 28-200 mm, in terms of 35mm-wide-film cameras (horizontal angle of view from 65.5 degrees wide, to 10.3 degrees at telephoto). Close macro focus to 1 inch (using 5 megapixel Super Macro, f/3.0 at 90 mm). The electronic viewfinder EVF is great when the LCD is hard to read in bright sunlight. High resolution Movies. JPEG images require little Photoshop touch up; and the RAW format preserves superior image quality. Battery life is half of my earlier Canon G5, so I carry a few more batteries. See "Camera Comparison Table: Film versus Digital". Using the Pro1’s wide angle lens at maximum f/8, everything is in focus from 1.4 feet to infinity when you focus at 2.7 feet (the “hyperfocal point”; all objects at distances from half of the hyperfocal distance out to infinity will be acceptably sharp). Using the Pro1’s 50.8 mm telephoto at f/8, if you focus 132 feet away, then everything is in focus from 66 feet to infinity; and focusing the same telephoto at 20 feet, you get 6 feet of total depth of field from front to back. April 2005 upgrade: Canon Pro1 Firmware version 1.0.1.0 (free on Canon Support Web Site, released December 2004) doubles the shutter release speed, reducing shutter lag from about 0.6 to 0.3 seconds. |
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good backup travel camera, pocket-sized |
Canon
Powershot
SD500 Digital ELPH ultra-subcompact digital
camera = 7 ounces (with battery). This amazingly tiny and lightweight camera can be carried in your pocket, takes still shots with publication quality up to 12 by 16 inches, and served as a main camera for my wife and backup camera for me for 1.5 years. Features: 7 megapixels = 3072 x 2304 pixels. Zoom lens 7.7-23.1 mm, f/2.8-7.1 Wide, f/4.9-13.0 Telephoto (or 37-111 mm lens in 35mm-film-camera terms); 2-inch macro focus. Movies can be 15, 30 or 60 frames per second, and now with dynamic exposure and digital zoom as you shoot, which is better than my Pro1.Great DIGIC II processor. Drawbacks: No RAW file mode. Has good exposure +/- compensation, but cannot set or view the F-stop aperture or shutter speed. To maximize depth of field, set the SD500 mode dial to Manual and toggle the Infinity button (until you see the mountain symbol). Using the SD500's 7.7 mm (37 mm equivalent) wide angle lens at maximum f/7.1, everything is in focus from 2.3 feet to infinity when you focus at 4.6 feet (the “hyperfocal point”). At the 23.1 mm (111 mm equivalent) telephoto maximum f/13, everything is in focus from 11.5 feet to infinity when you focus at 23 feet. We bought the SD500 for $450 in May 2006, and sold it on e-Bay 1.5 years later. In October 2006, we upgraded to the well-reviewed Canon Powershot SD700 IS ELPH above (which introduces excellent image stabilization in a longer zoom 35-140 mm f/2.8-5.5 lens, which helps compensate for the lower resolution of 6 megapixels; and shutter-button lag is now reduced to a very fast 0.1 to 0.3 seconds). |
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My first compact digital camera encouraged me to quit using 35mm film. |
August 2003 camera upgrade: Canon
Powershot G5 compact digital camera (19 ounces) +
telephoto
lens (9 ounces) = 28 ounces. The G5 camera was so good that it convinced me to stop shooting film! The G5 was half the size and weight of my Nikon SLR outfit, yet doubled or tripled the light gathering power and rivaled the quality I got from scanning film using the Nikon LS-2000 film scanner (which was later superseded by better scanners). G5 Features: 5 megapixels = 2592 x 1944, 35-140 mm zoom (equivalent), f/2.0-3.0, + fixed 245 mm or 1.75x attachment lens. Its great flip-out-and-twist LCD became a critical feature that I never knew I needed before, for macro & people shots. For more details about the G5, see Digital versus Film. |
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My favorite 35mm color slide film |
Film upgrade: The new Fujichrome Velvia 100F color slide film is more realistic and not quite as vivid as Velvia 50, but has twice the speed, and could have become my new mainstay film, except for the superiority of a digital camera for my travel and nature photography. |
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Film upgrade: I am very happy with the vivid Kodak Ektachrome 100VS color slide film when I need one stop faster than Fuji Velvia. (Note: I dislike the flat colors of Fuji Provia 100 or 100F.) |
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Epson Stylus Photo 1270 Printer makes wonderful prints up to 12x44 inches, rated at 25-year longevity on special Epson papers (when mounted behind glass). 6-color high quality ink jet printer. My home prints on the Epson 1270 now exceeded the quality of professional chemical silver-based prints. (The 1270's successor was the similar Model 1280; and after 2004, nicer 7-color printers became available such as the excellent Epson Stylus Photo 2200 above, & 4000.) |
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Film upgrade, classic: The spectacular Fujichrome Velvia 50 color slide film became my new mainstay, until I switched completely over to a digital camera in 2004. |
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1998 camera
upgrade: Nikon
N70
SLR 35mm-film camera + 2 lenses = 54
ounces. I doubled my light
gathering
power and gained a nice built-in flash, at the cost of slightly more
bulk
and weight. Fully automatic + manual. In April 1999, I upgraded
lenses to the following: Sigma 28-105 mm f/2.8-4
Aspherical Zoom; and Sigma 70-210 mm f/3.5-4.5 APO Telephoto Zoom Macro
(2:1
magnification). The Nikon N70 released in 1996. |
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1998 tripod upgrade: Gitzo
"Weekend
Compact Performance" tripod,
2.9 pounds with lightweight ballhead, plus Kirk quick release plate.
When the camera is not attached, the Kirk plate can lose its release
knob
unless you screw it all the way down, which partly defeats the quick
release
purpose. The screw-locking legs on this Gitzo model are very slow to
set up and take down, and the small ball head constantly came unscrewed
(a design flaw). I upgraded to a lighter,
faster & cheaper yet equally sturdy tripod above. |
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Film upgrade: Fujichrome 100 Sensia I & II film became my new mainstay: fast & sharp with adequate color. |
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Film experiment: I occasionally used Kodachrome 200 film, but was usually unhappy with the grainy results. |
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Film experiment: I occasionally used Kodachrome 64 film which is faster than Kodachrome 25, but color is not as vivid. |
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Film classic: The
classic Kodachrome
25 film was my mainstay, plus I occasionally
used
Kodak Ektachrome 200 film with good, sharp results. Even though it is
one of the longest lasting films, some of my Kodachrome 25 slide images
are fading after 25 years. Ektachrome fades quicker than Kodachrome. |
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1978
classic camera: Olympus
OM-1N SLR 35mm-Film camera + 2 lenses = 48
ounces. Trusty and rugged. Fully manual camera. Attachable flash. I started with fixed 50 mm and 135 mm Zuiko lenses, then upgraded to a Tamron 28-70 mm f/4 zoom, and a Sigma UC II 70-210 mm, f/4-5.6, 1:4.7 macro, telephoto zoom lens. From 1978 to 1997, I used lightweight SLIK 500G and other tripods for travel. The OM-1 can take 8-hour night sky star-trail photographs, one of the few things not possible with most modern battery-intensive cameras (such as the Nikon N70 film camera, and especially digital cameras). |
