Go right ahead and love your gear


I was in San Francisco last week for 5 days of photography, where I had an interesting conversation with another photographer I encountered in Chinatown.  He had initially stopped me to talk because he saw me shooting with the Fuji X-Pro2 and the 35mm f/2 lens (currently my favourite set up, pictured above), and he had some questions about the Fuji X system.  He then went on an unsolicited rant about how photographers are too obsessed with gear these days, and how there are people making great work with their iPhone.  Ok, fair opinion.   Interestingly though, when he was done ranting he pulled out a Leica (that is probably worth more than the current value of my car) and made his way down the street to continue shooting.

This conversation was not a one off.  It is fairly common to hear someone say the phrase:

“It’s not about the gear”

I have heard these comments from minimalists who truly follow the one camera, one lens philosophy, and from people who use the minimum they need to make the photographs they want to make.  For many of these people it is all about “the vision, the art, the creative process” and that is awesome… for them.  I truly believe their comments are altruistic, and that they want people to be focused on their art and not on their tools.

Where I struggle a little is when I hear these comments coming from people who always own the latest camera bodies, who own multiple $1,000 to $2,000 lenses, and who own a bag full of accessories.  Often the bag is worth a few hundred dollars too… and all they shoot are ducks.  In the local pond.  At noon.  You have to admit there is a bit of hypocrisy there.   At the end of the day, shouldn’t it really just come down to this:

“Are you happy, AND are you enjoying producing the work that you and/or your clients love?”

To me that is really all that matters.

Now, I produce a lot of work in multiple genres.  I travel often, I shoot street, I shoot portraiture, I shoot weddings.  Sometimes I get an image that I’m absolutely in love with, and much more often I feel like I can do better (and I hope that never changes because that is how we grow).  I can say with absolute certainty though that I love the process of photography as much as I love the product of it.  I love standing in front of a magnificent vista, my camera mounted on a tripod, waiting for the light to change.  I love the feel of an X100t or an X-Pro2 in my hand, standing on a street corner in perfect afternoon light, waiting for the right subject to enter my frame.  I like the way these cameras fit my creative process.  Truth be told, I just love the way they look.  I am often inspired to go out and shoot because of these cameras.

… is that a bad thing?  Am I “too focused on gear?”

I don’t think so.   I own the gear that I need to make the images I see in my head.  I own gear that makes me happy, which in turn motivates me to practice my craft more.   It’s all good.

Focusing a lot on gear only becomes a problem if you constantly feel that the solution to making better photographs is to buy a new camera or lens, because 99% of the time it isn’t.  If you find yourself saying things like:   “If only I could upgrade to that latest camera body… THEN I would be a rock star photographer”, or “I’m going to buy the same cameras as Kevin Mullins and then I will be an amazing wedding photographer” then there is a problem for sure.  The truth is that most of the photos we take could probably be made with gear we already have, but that doesn’t mean we can’t still enjoy unboxing that new lens we have been so excited to get.

When it comes right down to it I think David duChemin said it best:

“Gear is good, but vision is better”

Get the gear you need to do the job, without going into debt.  Heck, get the gear you want if you can afford it…. just get it for the right reasons (i.e. a specific job calls for a specific piece of gear, or you have saved for a new lens and are really looking forward to using it) and not because you think it is the way to become an amazing photographer.   The next time somebody with a $5,000 – $10,000 rig tells you that gear doesn’t matter just smile and keep shooting with the gear you love.   Let it inspire you to go out and take pictures.  Then, at the end of the day, ask yourself this question:

“Am i happy?”

If you are, be it from the gear, from the process of photography, from the photographs themselves, or from all three things I just mentioned, that is all that really matters.   Honestly, life is too short for it to be any other way.



Photographing New York City from the Top of the Rock


New York is a beautiful city.  It is immense, exciting, vibrant and at times overwhelming.  As a photographer it can often be hard to capture the enormity of a place like New York, and one of the best ways to do this is to find an elevated platform to shoot from.  Thankfully these platforms are common in many major cities:  Vancouver has the Lookout.  Seattle has the Space Needle.  London has the Shard.  Paris has Montparnasse Tower, the Eiffel Tower, Notre Dame and the Arc De Triomphe.  These platforms provide the photographer with  great options to see and photograph the beauty and grandeur of a city.

New York City offers us two main viewing platforms:  The Empire State Building and the Top of the Rock (found atop Rockefeller Center).  Like the Eiffel Tower in Paris, many people choose to go up to the top of the Empire State Building because it is so iconic.  The viewing platform at the top of the Empire State Building is a great experience, one not to be missed, but when you make a city skyline shot of New York City you want the Empire State Building IN your photograph!

The Top of the Rock is located atop 30 Rockefeller Center, occupying the 67th, 69th, and 70th floors of the tower.  The 67th and 69th floors have outdoor terraces surrounded by transparent safety glass, while the 70th floor is completely open air.  The experience is curated extremely well for photographers, however, as there are slits cut in the safety glass that you can position your lens through.  Tripods are not allowed, but it is easy enough to brace yourself against the railings or glass to stabilize your camera.  There are no time limits or restrictions on how long you can stay, allowing you to arrive early before sunset and shoot well into blue hour.

Before we get started talking about an evening spent shooting the New York City skyline I’d like to mention that this blog post is part 5 of a 5 part series featuring photography from New York City:

With that said, let’s get started…

When I go to the top of one of these viewing platforms I try to time it so I am on deck 60-90 minutes before sunset.  I feel this provides me with the best opportunity to capture a variety of interesting images because I can shoot through the changing light from sunny blue sky, through the sunset, into the post sunset blue hour, and finally deep into night.  These are popular places though,  and they often have long lines so it is best to pre-purchase your tickets if you can and arrive early to leave yourself plenty of time to find your spot and start shooting.


When I arrived at the top deck this was the view I first saw.  It is an amazing skyline that puts the Empire State Building on full display, but also has the Brooklyn Bridge, Freedom Tower, and the Statue of Liberty in the background.  It is everything you would want to see in a New York City skyline shot, and I knew it was only going to get better as the light changed.

This photo is taken looking to the south, but you can walk almost all the way around the viewing deck so I wandered over to the north side to see what the view looked like.  It was quite nice too:


Looking north from the Top of Rock gives us a commanding view of Central Park.  I loved this view, grabbed a few images, but quickly realized that the money shot I was after was definitely going to be taken looking south.

Both of these photos were taken with the Fujinon 10-24mm f/4 lens on a Fuji X-Pro2.  This is the equivalent of 15-36mm on a full frame camera, and is a perfect focal length to capture skyline shots like this.  If you have a wide angle lens and are coming to places like this you definitely want to bring it.  Don’t despair if you don’t have a wide angle lens, however, as you can always shoot 2 or 3 frames with a 35mm or equivalent lens and stitch them together in post.

I knew I had an hour or so before the sunset was going to look its best, so I put the Fujinon 55-200mm telephoto lens on my camera and started looking around.  I already had a few frames of the city skyline with a beautiful blue sky behind it, and nothing was going to change until sunset.  To fill the time I love to put on a telephoto lens and start hunting around the city.  I’m looking for interesting compositions, interesting architecture, little detail shots.  Working your way around a city with long glass while you are waiting for the sunset is a great way to spend some time, and I was able to grab a few frames like these:






I especially enjoy shooting these detail shots as sunset approaches and the beautiful golden light comes in from the side of the frame.

The sunset this evening was truly beautiful, with the sky erupting in colour as the sun got lower and lower.   Remember to keep shooting through these changes.  Always edit when you are on your computer, not while you are in the moment.  You are better to keep shooting through the changing light and give yourself as many options as possible in post.    Here are a few frames as the sunset progressed this evening:




Now, there is always a period that happens once the sunset is fading where I slow my shooting down for a bit.  The sky often still looks beautiful during this time, however there are few lights on in the buildings so the photograph looks unbalanced to me.   Here is an example of what I am talking about:


Those city lights will come up though, and your sky will keep getting darker and darker which saturates the rich blues.  There will then be a short period of time where the city lights will balance with the sky, and you can grab a frame or two like these:



This is definitely when the no tripod rule can come become “a thing”.  There is a very low quantity of light during the few minutes where everything is balanced like this, and you really need a tripod to capture these scenes properly.

In lieu of having a tripod, however, there are a few things you can do:

  1. Use stabilized lenses.  The image stabilization in the Fujinon lenses I use easily buy me another 3-5 stops of shutter speed when I have to shoot hand held in low light.
  2. Crank your ISO!  Sure, it would be perfect if we could always expose these images at ISO 100 or 200 to maximize how clean our file is but we usually need tripods to do this.  In lieu of that, use your ISO to maintain an acceptable shutter speed to prevent image blur.  I am very comfortable shooting at ISO 1600 or 3200 with my Fuji cameras if I have to.
  3. Have clean technique:  Elbows in and braced.  Proper breathing when you take a shot.  Brace against something.
  4. Use your camera’s timer to trip the shutter, so you don’t shake the camera by pushing the button.

One final important thing many people forget is to put the camera down when it gets much darker than this.  Once your blue hour is gone you already have the great photos in the bank in my opinion, so just take the time to enjoy everything with your eyes.  Breath it all in.  It is magical to see a city at night like this.

Once you are back on your computer at home, edit through your images with a critical eye.  Maybe you shot 100 or 200 frames.  Keep 10 or 15.  Learn to edit your work to only keep your best frames.  From the 2 or 3 hours I spent atop the Top of the Rock I will probably add 2, maybe 3, images to my travel portfolio.  Work hard in the field to give yourself a lot of options, then edit and edit to the point where you are only showing your best work.

For me, I think this was my favourite image from the shoot:


I love the colours, and I love the dichotomy of old and new that you can see with the Empire State Building in the front, the brand new Freedom Tower in the middle, and the classic Statue of Liberty in the back of the frame.


With a little pre-trip research and a bit of time you can almost always leave a city with a trophy skyline shot that will look beautiful on your wall at home.  I have to say though that as much as I love capturing an image that I am happy with, I especially love the process we have talked about in this blog post:  Getting to the destination, exploring my options, finding my shot (or shots), and then patiently shooting through the changing light.  It is a perfect way to spend a few hours.

I hope you enjoyed this series from New York City.  It is a remarkable place to spend time as a photographer, and should definitely be on everyone’s list if you love photographing cities.

Until next time!



Street Photography with Valerie Jardin


I have had the pleasure of working with Valerie Jardin on several occasions over the last year, guesting twice on her Street Focus podcast (more on that below), and also assisting her on one of her street photography workshops here in Vancouver.  Throughout the process Valerie has come to be a good friend, and as a long time educator myself I have come to value the passion with which she teaches.  With that in mind I thought I would take some time to write a brief review of the workshop I assisted her with in Vancouver.

During my twenty years of teaching I have found that there are two different types of educators:  Those who passionately love to share knowledge and help their students grow, and those who are in it for the pay cheque.  Thankfully  the former group vastly outnumbers the latter in my opinion.  Education, done properly, is not easy.  It requires subject matter expertise, an understanding of how people learn, course and lesson plan development skills, communication skills, people skills, adaptability, problem solving, patience, and many, many other things.  I think this is why pay cheque educators tend not to last that long:  The amount of effort required to deliver a quality educational session will eventually tire most of them out.

In Valerie’s case I think her work speaks for itself:  Her workshops often sell out in hours.  Yes, hours… I watched it happen with one of her San Francisco workshops.  Right now she has a workshop in Rome that is scheduled for April 2018 (about 19 months from now).  It is already 1/2 full.   She has Paris workshops scheduled right through until September 2017 that are already sold out.  This just doesn’t happen if your product isn’t top notch, or if you don’t care about your teaching.  It is clear to me as an educator that Valerie’s passion and commitment to her students are why her workshops sell out like this.  With that said, let’s discuss the Vancouver workshop.


A lot of prep goes into a great educational offering, and in the case of Valerie’s Vancouver workshop this started with pre-course communication.  Valerie sent out emails often and also created a Facebook group specifically for the 10 people registered for this workshop.  Questions were answered quickly and efficiently, and I think everyone that attended was made to feel welcome.

The photo above was taken at the beginning of day one of the weekend workshop, and I think it really sums up the mood throughout the weekend.  We laughed.  A lot.  Valerie begins her weekend workshops with a presentation on street photography that covers conceptual ideas about shooting street, a brief discussion on the legalities and ethics involved, and a lengthy discussion on compositional concepts and techniques to capture great images on the street.  Each concept is illustrated with one or more of Valerie’s images, which provides the students with strong visual examples that highlight each concept being discussed.  The presentation was interactive and discussion based, and there was a fun and positive mood in the room right from the first minute of the workshop.


Once the initial presentation was done the group had a short lunch and then walked to our first area to begin shooting on the streets.  There are many things Valerie does well while teaching on the streets that are worth mentioning:

  1. Before the street shooting begins, each student receives a handout providing them with a list of the compositional techniques discussed earlier in the day.  This “cheat sheet” is a great reference for the new street shooter.
  2. Valerie ensures that everyone has phone / text communication with her, and her with them, in case anyone gets lost.  She also has the students pair off when they are out shooting.  This provides them with a buddy to shoot with if they like, and also to ensure no one gets lost on their own.
  3. She sets firm times and locations for the groups to meet back up after shooting.  This keeps everything running smoothly throughout the day.
  4. Each pair gets individual attention from Valerie during the shooting session.  I was impressed with her ability to move through the groups, provide advice and answer questions.
  5. The education does not stop while in transit between shooting locations (we usually spent 1-2 hours in each location and then walked to our next spot).  A good educator learns to seize the “teachable moment” and Valerie provided many impromptu lessons when the opportunity presented itself.


Day two of the weekend workshop started on the street, with another 3-4 hours of shooting as described above.

After we had a quick lunch, the students settled back into the classroom for the afternoon editing and critique session.  As each student worked on editing and post processing their images, Valerie was available to offer advice.  Once the editing and processing were complete, each student provided Valerie with 5 images which provided about 50 images or so for a group critique.


I am a firm believer that receiving well intentioned critique from your peers, and from educators, is one of the best ways you can grow as an artist.  It is so easy to become emotionally attached to the art that we create.  Hearing objective and constructive opinions on your work  provides significant value and information that you can use to improve your practice.  I think the students greatly benefitted from this final session in the weekend workshop;   I know I did for sure.

Once the weekend was over the students returned back home (they had traveled in from all over the world).  Over the next few weeks, however,  images continued to be edited, uploaded, and discussed on the Facebook page that Valerie had created for this workshop.  I think it is also safe to say that friendships were made… I know I continue to have conversations with many of the participants.  I think this is one of my favourite things about the arts and about education:  I view art as a collaborative process, and I greatly value the relationships I make through it.


For the last two years Valerie has also  been the host of This Week in Photo’s Street Focus podcast:


This month, however, Valerie has launched her own podcast called “Hit the Streets with Valerie Jardin”.  This new podcast will continue the work she did in the 104 episodes of the Street Focus podcast, but also provides the opportunity to expand the discussions and explore new directions.  I am an avid listener of podcasts in the car, when I am out walking / running and when I am out shooting on the streets.  I’m excited that I now have another one to listen to, and I look forward to seeing what Valerie does with it.

You can find more information on this new podcast on Valerie’s website here:


Episode one is now live, with a great discussion with Official Fuji X Photographer Bert Stephani.

Final thoughts…

Clearly from this post you can tell how much I value education and that I have enjoyed working with Valerie this year on her podcast and in this workshop.  If you are interested in attending one of Valerie’s workshops please go to her site here:


And, of course,  you can find out more about my own educational offerings at the following links:

I hope you enjoyed this post and that you consider taking a photography related workshop soon (in whatever genre you enjoy shooting).  The right workshop can accelerate your learning significantly and is totally worth it.

Now, it’s back to our New York series!

Until next time,