Lue sama suomeksi!

The centrepoint of my gear is my Canon EOS 300D digital SLR. Compared with the Canon EOS 300 film SLR I previously used, despite the similarity in names, the 300D brings such control to photography never imaginable with non-pro film cameras.

Before acquiring the DSLR I was often timid in trying to capture a tricky shot, with the possibility of total failure. But now as single shots are basically free, I can experiment until I have achieved to capture the image I have envisioned.

A DSLR brings much more power to post-processing as well. Often lighting conditions are harsh or otherwise challenging. In these cases digital post-processing can bring detail to shadows and highlights as well as correct colour (when the white balance function in the camera falls short of expectation).

At the moment I use Adobe Photoshop Elements 2.0 for most of my image processing. I try to use cell sensitivities that produce the best image quality. To attain ISO 100 I often have to resort to a tripod. Often when shooting in challenged light I have to use high ISO ratings, ISO 800 or ISO 1600. In these cases the resulting image is more or less grainy in which case I use Helicon noise filter, which brings the noise down, in best cases effectively from ISO 1600 to ISO 400.

For panorama work I use Canon PhotoStitch, handy albeit a tricky tool to use. Making sure the tripod is exactly on level and that the swiveling movement is purely horizontal and that exposure settings are locked, one can use PhotoStitch to merge the separate images, just as long as they overlap enough for the program to recognise the matches between pictures. Oftentimes taking a technically good panorama, not say anything about its artistry, is very hard.

I have three very different lenses; a 18-50 mm F/3.5-5.6 Sigma wideangle zoom, a 50 mm F/1.8 Canon lens and a 70-300 mm F/4-5.6 Canon telezoom.

The 50 mm F/1.8 is usually the default lens for me, as the sharpness and fastness of the lens make the zooms pale in comparison. As the 50 mm lens is effectively a 80 mm one with the digital it is often not feasible to use it in landscape photography, as the field of view is very narrow. For my macro work the lens is almost the only one I use –only the 70-300 mm zoom can be considered, but its quality isn’t very good for macro use.

The 18-50 mm zoom, effectively 29-80 mm, is very versatile in normal cityscape photography as well as landscapes or any number of situation where a wider view is required. The zoom is good for an amateur lens, but I have considered purchasing a quality zoom as well.

While the 70-300 mm zoom is an invaluable piece of equipment that I couldn’t do without it is also a cause for much frustration. The zoom is riddled with faults and poor craftmanship. The zoom is very unreliable and extremely slow and often trying to follow moving objects is near impossible. Often when supporting the lens on surfaces, or even when held freely, the lens jams and causes an error in the camera –both in the film and digital SLRs. The lens is quite fuzzy and the colour reproduction leaves a lot to desire.
But on the other hand I use it quite a lot, as for example in animal photography one can’t come too near to the subject. And in landscape photography the telezoom can be used to good effect in creating a layered look when shooting vistas from high places. Due to the high prices of good telezooms it may take a while to replace this zoom.

I use two types of filters, neutral density filters and circular polarisers. At present I only have a Cokin two stop hard grad neutral density filter, which I use when there is a clear distinction of lightness between different parts of the picture. With the filter one can bring details into otherwise overexposed skies. Often the two stops aren’t enough and the pictures either requirer post-processing or just don’t have any details to post-process. In these situations I would require more stops –which means new purchases. As the dark and the light areas aren't very definite, other tools are required- soft grad ND filter works well in such cases.
On the other hand I've begun to shoot double exposures, where correctlt exposed darker and lighter areas are combined by a program, an example being a picture of the Tampere-talo -a concert house in Tampere, Finland.

I have circular polarisers for both of my mounts a 52 mm one and a 58 mm one. A circular polariser is good for eliminating reflections from different surfaces, from water to glass. It can be used to darken skies and saturate autumn leaves as well. It is very easy to misuse polarisers, such as when trying to catch a reflection or trying to capture a vivid sunset. In these cases using a polariser will just have a negative effect.

When shooting in low light and using ND filters a tripod is essential. I use a Slik PRO 330DX tripod, which after two low quality tripods has been a very reliable tool. Being built of alloy metals makes it relatively sturdy while being light (1.5 kg). With a 3-way integral panhead (meaning saparate control over horizontal and vertical levelling) it is very easy to set up, but no too convenient for shooting moving subjects –this would require a separate ball head. It has to be very windy or the surface very soft and uneven for the camera to suffer from shake, especially if one uses a cable release and mounting a regular DSLR.
Using a strap to connect the bottom of its column and one of the levers it is easy to create a very mobile solution that goes far even when cycling or in rougher terrain.
The next step from this tripod would be a carbon fibre one, with the same weight, but with a tougher build.

With a tripod it is often preferable to use cable release instead of manually pressing the shutter, as the ground surface can react to the pressure and the tripod move. My trusted cable release constructed by my brother has enabled me to take almost all of the morning and night time shots in the gallery.

In macro photography the tricky bit is getting close enough to the subject. For this a set of extension tubes does very well. Extension tubes are a way of decreasing focusing distance by extending the lens farther from the camera body. So effectively an extension tube is a hole with electronics. With the 50 mm F/1.8 lens I have been able to capture images I’d never would have thought possible without very expensive gear. I have a set of 12 mm, 20 mm and 36 mm Soligor extension tubes.
On the other hand an extension tube is the scrawny second cousin to the handsome macro lens, which (105 mm Sigma) is on top of my “things to get” –list.

A flash is often required when shooting moving subjects in low light, most often in people photography. I have a Sigma EF-500 ST flash, which unfortunately isn’t compatible with digital cameras, leaving me with the built-in TTL flash, which I very seldom use. For this reason I shun away from indoor people photography as it just doesn’t work without a proper flash. On the other hand using natural light can be surprisingly rewarding, as often it is the light that makes the subjects worth taking a picture of such as in the case of the bass player of the Juha Tapio band.

I have considered buying a ring flash for my macro photography as it requires quite a lot of light.

A proper camera bag is an important factor especially considering covenience. I use a Lowerpro Nova 2, which is just big enough for my current needs. It holds all of my lenses, extension tubes, filters and my cable release. With this set the bag is completely full, but easily manageable. Though new additions to my gear might tempt me to purchase a photo rucksack with shoulder straps that can also hold some other gear as well and can hold a tripod strapped to the side.
A camera bag is a very personal item and people have individual views on what works the best in different situations.
As I often cycle to my destinations and keep close to the roads I find a small bag with a shoulder strap to be handy –inside the city as well.