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Pro­fes­sion­al pho­tog­ra­phy, as you know, requires sig­nif­i­cant expens­es. Most pho­tog­ra­phers pre­fer not to lim­it them­selves to one cam­era, since the basic rule of a pro­fes­sion­al is to be ready for any­thing. And this implies not only plan A, but also plans B and C. Accord­ing­ly, the for­ma­tion of your own pho­to arse­nal must be approached respon­si­bly.

Main camera

If you ask how many cam­eras a pro­fes­sion­al pho­tog­ra­ph­er needs, most will answer two with­out hes­i­ta­tion. Indeed, the use of two cam­eras is a com­mon move that wed­ding pho­tog­ra­phers and reporters use most often. In this case, one of the cam­eras is designed to be used with a long lens, and the oth­er is designed for use with a wide-angle or stan­dard lens. It would seem that noth­ing pre­vents you from sim­ply pur­chas­ing an addi­tion­al lens, but in dynam­ic work­ing con­di­tions, there may sim­ply not be enough time for a shift. So, in order to nev­er miss a good moment, many pru­dent­ly use two cam­eras.

In addi­tion to con­ve­nience, it is also a very nat­ur­al solu­tion. After all, start­ing a career, the pho­tog­ra­ph­er acquires the first pro­fes­sion­al cam­era, but after a few years the long-await­ed moment of the upgrade comes. If the first cam­era is still in work­ing con­di­tion, you can not sell it, but keep it as a spare or alter­na­tive option, and even rent it out. With this course of events, it is extreme­ly impor­tant to remain loy­al to one brand. It’s no secret that lens­es of dif­fer­ent brands of cam­eras are incom­pat­i­ble with­out spe­cial adapters. There­fore, if the first cam­era was Nikon, then it is bet­ter to stick to tra­di­tion. Then you can use any lens­es for the new cam­era, and do not have to upgrade the entire arse­nal.

Plus, if some­thing hap­pens to the main cam­era, because any­thing hap­pens, you will always have a spare.

The Canon EOS 7D Mark II is a very wor­thy choice to start your pho­tog­ra­phy career. This is not a cam­era for begin­ners at all. The matrix has a res­o­lu­tion of 20.2 megapix­els, and the qual­i­ty of pho­tos remains at a con­sis­tent­ly high lev­el. This cam­era has all the fea­tures that a pro­fes­sion­al would want: ISO 100–16000, expand­able to 25600 and 51200, 3‑inch dis­play, video capa­bil­i­ties and of course inter­change­able lens­es. The matrix of the cam­era is not full-frame, and this should be tak­en into account. How­ev­er, do not for­get that the crop has its advan­tages.

mirrorless camera

If you are shoot­ing events of var­i­ous gen­res, from pri­vate to sports, there is a good chance that soon­er or lat­er you will be puz­zled by the pur­chase of a mir­ror­less cam­era. Such cam­eras are faster, more mod­ern and much lighter in weight than DSLRs. There­fore, they are ide­al for trav­el, for exam­ple. With inter­change­able lens­es and almost all the fea­tures of their DSLR coun­ter­parts, many mir­ror­less cam­eras often serve pho­tog­ra­phers as the main cam­era. In terms of focus­ing speed, they are no worse, and almost all mod­ern mod­els are equipped with a fold­ing dis­play for easy view­ing of pho­tos. Even in terms of image qual­i­ty, mir­ror­less cam­eras do not lose any­thing.

But beyond that, they are sim­ply indis­pens­able for con­tin­u­ous shoot­ing. The num­ber of frames per sec­ond for a mir­ror­less cam­era is sig­nif­i­cant­ly high­er than for a sim­i­lar DSLR cam­era. This indi­ca­tor for mir­ror­less cam­eras reach­es 20 frames, and some­times much more. For film­ing on the move, such cam­eras are much more con­ve­nient than SLRs. And the main argu­ment that serves as a clas­sic DSLR is the bat­tery capac­i­ty and the num­ber of avail­able lens­es. Both of these met­rics sug­gest that pro­fes­sion­als are more like­ly to opt for a pri­ma­ry DSLR.

Mir­ror­less cam­eras, how­ev­er, often have more video capa­bil­i­ties. So it’s worth con­sid­er­ing get­ting a mir­ror­less cam­era if you pre­fer to record back­stage footage.

A mir­ror­less cam­era does­n’t have to be expen­sive. The Canon EOS M100 is a prime exam­ple of this. With all the essen­tial fea­tures such as inter­change­able lens­es, a 24.2MP sen­sor and of course ISO 100–25600, this cam­era from Canon is com­pact and very ver­sa­tile. The weight of the cam­era with­out a lens is only 302g, and the image qual­i­ty is con­sis­tent­ly impres­sive.

Smartphone

You don’t have to use a cam­era to shoot back­stage. Mod­ern smart­phones often cope with 4K video almost at the lev­el of cam­corders, and in gen­er­al, a smart­phone for a pho­tog­ra­ph­er is an indis­pens­able device. In order to keep your busi­ness afloat as a pho­tog­ra­ph­er, you need to con­stant­ly update your pho­tos on social net­works and it can be not only pro­fes­sion­al work, but also sim­ple shots from life, dai­ly activ­i­ties, from film­ing, or even artis­tic mobile pho­tos. Yes, yes, such pho­tog­ra­phy has long become a sep­a­rate genre and reflects the skills of the pho­tog­ra­ph­er no worse than his port­fo­lio. So it is quite rea­son­able to attribute the smart­phone to the num­ber of work­ing tools, such as a cam­era and acces­sories.

Google Pix­el 2 and 2XL are rec­og­nized as the best pho­to smart­phones to date. Not only do both mod­els pro­vide the same fea­tures, these fea­tures can put every oth­er smart­phone on the mar­ket to shame. The cam­era is still one, but it has a res­o­lu­tion of 12MP and opti­cal sta­bi­liza­tion, plus an aper­ture of f / 1.8. Auto HDR takes mobile pho­tog­ra­phy to the next lev­el, deliv­er­ing an almost life­like image. The Google Pix­el 2 and 2XL deliv­er strong low-light per­for­mance and of course, laser aut­o­fo­cus can’t be over­looked. In a word, any of these smart­phones is prac­ti­cal­ly a cam­era.

pocket camera

Why does a pro­fes­sion­al need a pock­et cam­era? The ques­tion is quite log­i­cal, because it would seem that if you have a DSLR and a smart­phone, you can already for­get about small soap dish­es. This is not always the case, as pock­et cam­eras still pro­vide the best results for pho­tos in motion or in low light con­di­tions. The role is played by the size of the matrix, and a more pow­er­ful flash and, of course, the opti­cal zoom. The min­i­mum opti­cal zoom for most pock­et cam­eras is 10x. Smart­phones can­not boast of this yet. The pos­si­bil­i­ties of man­u­al set­tings for such cam­eras are also high­er, and what can we say, smart­phones have not com­plete­ly replaced them. There­fore, if you are going some­where where you will not have the oppor­tu­ni­ty to use a DSLR or mir­ror­less cam­era, it is the pock­et cam­era that will come to the res­cue. This explains the desire of many pho­tog­ra­phers to have such a back­up option in their col­lec­tion.

One of the best com­pact cam­eras of 2018 is the Fuji­film X100F. With a matrix res­o­lu­tion of 24.3MP, it pro­vides excel­lent qual­i­ty pho­tos. The Fujion lens includ­ed in the cam­era design con­sists of 8 ele­ments in 6 groups and has a focal length of 23mm. ISO is 200–12800, expand­able to 100–51200. A three-inch dis­play is placed on the back of the body, and the cam­era itself is equipped with a hybrid opti­cal viewfind­er in addi­tion to the elec­tron­ic one. This cam­era deserves its place in the top for a rea­son, because it pro­vides a wide range of set­tings and con­trol, while at the same time cop­ing with the main task no worse than many DSLRs.

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