War Photography - One Lens Only

[Savva Svet]

While not war, when I've rigged up for festivals where I needed to be mobile, I've gone with still glass that I put focus gears on.

However, if I was going to go PL for this type of subject matter I'd would likely focus on the Canon CN-E 30-105mm or the Fuji 19-90mm.

The Canon is an interesting choice and fairly lightweight, 4.8lbs. Also that bit extra reach at 105mm might allow for more intimate frames where you can't get too close when compared to say a mid-range zoom.

On the Fuji front, well the Cabrio has the motors and controls for iris, zoom, and focus. It's pretty much designed for work like this. It's got it's quirks, but is a hell of a lens.

If you want a "banging" two lens kit adding a Zeiss CZ 70-200mm would get you that reach. Or going with say the Canon 70-200mm and having the IS on the lens might help keep this steady if you're on the monopod or shoulder.

Was going to say the exact same thing...but I'd push the Fuji even more for it's weight and image.

 

[Brandon OLarey]

I second the Canon 24-105 recommendation. That thing is versatile and the IS has never let me down.

 

[Rob Gardner]

Speaking for myself, any time I have been told I should wear body armor on a shoot, I declined to shoot it. There are a few things worth dying for—your children, the survival of your country, for instance—but television is not one of them. I hope you have really considered that journalists are regularly killed in warfare and more recently, given the increase in military and political upheaval throughout the world, this seems to be on the increase. I'd sit this one out.

 

[Tommaso Alvisi]

Rent/buy the right camera for the job!

Small

Compact

CCD instead of CMOS if action could be present in most of the footage, less Rolling Shutter AKA Jello BUT they're not so sensitive...

 

[Scott Crawley]

That is a good point, and a rule that I too live by. I would also point out that is the main reason why war zone journalism is particularly noble. I use the term journalism in the most strict sense. I personally would not choose to risk my life to sensationalize war, produce puff pieces or serve the interests of either side. Again that is just my sensibility, but it brings the question of the Epic choice back to the fore.

Is it really necessary to capture your subject in the highest possible resolution, particularly if it means weighing you down, distracting you or making it in any way more difficult to execute well? To me the best choice would be the lightest and most simple. In a word; quick. The most stripped down option would be a video capable DSLR and a 50mm. That might be more restriction than you like, but how much risk are you willing to take for a little more reach? Kept in that perspective, requirements and parameters for "The Shot" get pretty loose. That is to say, the closer you get to actually killing yourself in order to get the shot, the lower acceptable standards tend to drop. In those kinds of situations, getting anything is a fete.

I believe that war zone journalism is the primary reason why video was incorporated into DSLRs in the first place, and for that it seems a perfect fit. It is cool, quiet, sealed and has fewer moving parts. Epic is reliable and words like "tank" have been used to describe it, but how long will it function in the dirt? Think of your camera like a soldier does his rifle. An AK-47 is popular because it is simple and has fewer moving parts. You can drag it through the mud and it is less likely to jam than most others. You don't have to be a crack shot for it to be effective. It seems to me that is what you want for a camera out there.

All this talk is getting my curiosity up. Just what are you planning? Is it really war that you are heading into Will?

Speaking for myself, any time I have been told I should wear body armor on a shoot, I declined to shoot it. There are a few things worth dying for—your children, the survival of your country, for instance—but television is not one of them. I hope you have really considered that journalists are regularly killed in warfare and more recently, given the increase in military and political upheaval throughout the world, this seems to be on the increase. I'd sit this one out.

 

[Marcos Montenegro]

I vote for the 24mm-70mm Nikon or Canon. It's a fantastic all around lens. The IQ outweighs (pun intended) it's heavier weight.

Although it has been mentioned before, I wouldn't necessarily think an Epic is the best camera for an assignment in a war zone (power and weight being the main factors for me); a DSLR would be better suited, but I'm sure you know what you're doing and you've contemplated all other options.

 

[Scott Crawley]

I vote for the 24mm-70mm Nikon or Canon.

I don't know the Nikon but I wouldn't recommend the Canon. Any telescoping lens would be too susceptible to dirt and damage. Don't you think?

 

[Jake Wilganowski]

The canon L's are weathersealed for what that's worth.

 

[Scott Crawley]

My understanding is that the weather seal is at the mount. I know nothing about the seal around the telescoping portion of the lens. I do know that it is NOT impervious to dirt at that point.

Funny coincidence: immediately after typing that my 24-70 and I headed out into the rain. ;-)

The canon L's are weathersealed for what that's worth.

 

[Ted Parkes]

A couple DSLR cameras. One with a short zoom the other with a long zoom and never take them off. Cameras small and cheap, media small and cheap, batteries, small and cheap. To me its the beat tools for the job.

 

[Mark Phelan]

A couple DSLR cameras. One with a short zoom the other with a long zoom and never take them off. Cameras small and cheap, media small and cheap, batteries, small and cheap. To me its the beat tools for the job.

That's the best bet for many reasons. Also reminds me of the lesson I learned from a wartime shooter friend, Burk Uzzle, who only shot Leicas. No mirror slap, no noise. Pretty important when things need to be quiet.

 

[Will Keir]

Rob,

I appreciate your compassion and humanity and I appreciate your take and value on life. I'm right with you there.

A few days ago, a lady was killed not far from me. She was driving one way, the guy going the other way hit her when his wheel fell off... We live in a culture that tries to make us feel that we are safe but it's bullshit. This world is a dangerous place and I've been searching for my own truth. I think we are fighting for the survival of our country, the writing is on the wall and I'm doing my part.

I'm not looking to publish something on television, I'm not looking to make money. I'd go without my camera but then it would be just for me and I'd like to do more than work for myself.

Like many on this forum, I've been in some places few have gone, without fear and found love and brotherhood. Only because I was ready, years before I couldn't have done it. I've taken so much from these experiences and found the LIFE in them. I feel I'm working towards a way to share them, it might take some time, it will take some risk. I'm okay with both.

The Epic is the right choice for so many reasons, I'm looking forward to the challenge, to pushing myself out of my comfort zone. I'll get something to bring back if my request if approved. Maybe not this first time around, eventually I'll get something. Thanks for the advice.

Speaking for myself, any time I have been told I should wear body armor on a shoot, I declined to shoot it. There are a few things worth dying for—your children, the survival of your country, for instance—but television is not one of them. I hope you have really considered that journalists are regularly killed in warfare and more recently, given the increase in military and political upheaval throughout the world, this seems to be on the increase. I'd sit this one out.

 

[Will Keir]

Les. If my request is approved I'll be glad to share my work. Until then, none of that matters.

Which 'War' ?

 

[Will Keir]

I'll use 90 degree only when I need the light. I'd like to film most of my work in 45 degree because of it's staccato feel.

What is the pola for? Haze?

Not my favorite lens because its a T4 but the CANON 24-105 with IS is what your looking for.. Hands down.. It's light, and still good glass.. Screw on a VARI-ND and your set.. I'm guessing you will be using a 90 deg shutter for action, so keep a Pola with you too..
The IS works GREAT on the EPIC!

Good luck

 

[Will Keir]

Is there a 4K requirement? If so, then your Epic is the best choice. If not, I recommend a different camera.

Yes, future proofing. I'd like to use pieces of the footage for projects down the road.

something tells me the Epic will be your choice, and if you can pull it off the footage will probably be amazing.

That's the idea.

the key will be how to make it so you can handle the camera rig.... You will need to configure your Epic rig based around that and it may require some customization to make it versatile and useable over long periods of time. A great range would be 24-105mm for the lens. If you are really good with handheld, then perhaps up to 200mm. That gives you plenty of range to change focal length on the fly. Think through every component, from the camera support to powering the rig. Each piece you add potentially adds detrimental weight unless it is counterbalance weight.

So you'll really need to plan this out.

Indeed, thanks Steve.

Do you have others assisting you?

My instinct is to be self sufficient, alone.

Have you considered a battery belt that can last a few hours at a time?

No. I have to be able to drop the camera without a tether if need be. Especially if I have any opportunity to shoot inside a helicopter.

 

[Will Keir]

In my experience with wildlife, a rare owl in this case, this doesn't work. In terms of quality, shooting 2k is the same as cropping from a 5kFF. The quality looked equal in the final print. Gotta have the distance closed by the lens. I was lucky then, I was able to shoot a few seconds in 2k, then in 5k. I ended up not using any of the 2k work and only a small piece of the 5k since it was so far away with a 50mm. Yes, the frame size looked like I was using a zoom. But 2k on the Epic sensor looks pretty bad compared to 5k because it only uses a portion of the entire sensor.

One nice thing about shooting with the epic if you really need that little extra out of the lens you can just down to 3k.

 

[Will Keir]

18-270 is damn impressive. I'll look into it, thanks.

I once played around with a friend's tamron 18-270.

 

[Will Keir]

Well put Robert, a good summation of my feelings toward the project and why to choose the Epic as my tool.

an enduring record of the highest quality for the future.

 

[Will Keir]

I could go both ways, I wish I had time to put this rig together, when it's come to go, I'll grab what I got.

Well from your post, I assumed you would be renting glass.

Nothing wrong with renting a couple of lightweight bodies and IS zooms. Just saying.

 

[Will Keir]

It's hard once you've gone Epic to go back. I'm just being stubborn...

Rent/buy the right camera for the job!

Small

Compact

CCD instead of CMOS if action could be present in most of the footage, less Rolling Shutter AKA Jello BUT they're not so sensitive...