Much Ado About Lenses

We need it, we are always wanting more, we sometimes drool over the big fancy ones, and sometimes we can be jealous at what other's are carrying around.  Let's face it, it's not about the size of the lens but how you use it.

Today I am going to provide a detailed brief about all of the important things you need to know about lenses: the basic differences, how to choose the right one, and why you might have to sell a kidney to afford some.  

Many of us have that "dream lens" but another equal portion have no idea what's so special about the seemingly infinite number of lenses out there and how to pick one to upgrade to.  (Don't worry, it wasn't that long ago when I had no idea what an article meant when they were discussing "glass.")  "Kit" lenses, the ones that typically come with your DSLR, will get the job done and you may feel that those are really the only lenses you'll ever need, but prepare yourself for: life after the kit lens.

Sure, the old adage about it's not the camera, it's the photographer is true to an extent, but the lens will "control the image that's projected onto your imaging sensor, and ultimately what photos you are taking home. As such, many photographers would prefer to shoot with an okay camera and a great lens, than a great camera with ho-hum glass attached."  So, what is a great lens? 

First, you need to understand how these different lenses might improve your current photos and finally allow you to take ones that you currently can't.  There are three main categories of lenses: normal (50mm-range), wide-angle/short, (10-35mm), and telephoto/long (55+) and all of those have confusing letters and numbers that provide detailed information such as:

Focal length - expressed in "mm", smaller numbers are wider angles and higher numbers are bigger zooms.  (Reference, the human eye has a focal length equivalent to 30-50mm.)  If the lens has a set of focal length numbers, such as 18-135, that means that it can zoom in and out between those focal angles.  If there is one number, such as 50mm, then this is called a prime lens and it will force you to stop being lazy because your feet will be what zooms it in and out; it forces you to think more about composition and perspective.

Maximum aperture - The lens aperture is shown in several ways, but "whether it's f/2.8, F2.8, or 1:2.8, it all means the same thing and refers to the the maximum amount of light which the lens can gather" at its widest maximum aperture.  You will see lenses with very small numbers such as 1.8, 1.4, and I have even seen 1.2, and this just means it is capable of letting in a huge amount of light through the camera aperture so you will likely have to work with a very fast, maximum shutter speeds to get a good exposure when using it.  They differ in low-light capture abilities, weight, size, close-focusing range, and price and give you that incredible selective focus with shallow depth of field called bokeh.  

There is also a variable maximum aperture meaning that it changes depending on the focal length.  Take, for example, an 18-200mm f/3.5-5.6 lens.  It would have a maximum aperture of f/3.5 when it is at 18 mm and would be maxed at f/5.6 when zoomed out to 200mm; as you zoom in, less light gets to the sensor.  Variable-aperture zoom lenses lose their ability to transmit a constant volume of light as the lens zooms in and out, which is why a zoom starts off wide at f/3.5, but will max out at f/5.6 as the widest aperture.

Constant-aperture lenses, which maintain a consistent maximum aperture, regardless of the focal length, tend to have the wider maximum apertures.  Constant-aperture zooms lenses also tend to be larger, heavier, and typically more expensive.

Lens mount type - Plain and simple, you can't mount a Canon lens on a Nikon camera and vice versa.  This is because of their mount type.  Yes, you can buy adapters, but for now let's just stick to the basics.  An example of the common lens mount types for DSLRs are the Nikon F-mount, Canon's EF or EF-S, the Pentax K, and the Sony Alpha (A) mount.  This is your camera's special receiving end for the lens you will mount to it.  

Format type - (This is where it tends to get complicated so hang on!)  There are about seven different formats but I will cover the most common two: full frame and crop sensor format types.

Canon:  EF lenses cover both full frame and APS-C sensor DSLRs and EF-S lenses are specifically for APS-C "crop" sensor DLSRs such as the 70D, Rebel 2Ti.  

Nikon:  FX lenses cover the full frame sensor in full frame DSLRs like the D610, D810 and DX lenses cover the APS-C "crop" sensors in DSLRs such as the D90, D3200.  The sensor/format difference can be seen in the image below.

Lens manufactures give a 35 mm-format equivalent on lenses designed for cameras with smaller sensors, therefore, if your camera has that smaller APS-C (DX) sensor, you will need to consider the following calculation when deciding which lens you need:

"If you're using a full frame camera there's no calculation needed, a lens will give you the field of view you'd expect from its number. If your camera has an APS-C sensor it has a crop factor of 1.5 - meaning you multiply the lens focal length by 1.5 to get its equivalent 35 mm-format focal length. For Canon APS-C cameras that number is 1.6." (Wilkinson)

Ok, so how do you choose what's right for you?  Ultimately you need to consider how set you are on your current DSLR.  If you plan to upgrade from an APS-C to a full frame camera body sometime soon you should consider upgrading to a lens that's meant for a full frame camera.  Allan Weitz sums up the difference between choosing a prime and variable lens:

"The down side of fixed focal length lenses is that they are not as versatile when shooting subjects that move quickly toward or away from your camera position . . . When shooting with zoom lenses, it's easy to get lazy. When shooting with a fixed focal length lens, you have to physically approach your subject in order to frame the picture properly. With a zoom lens you see something and you zoom in on it. And while there's nothing wrong about shooting that way, one of the benefits of a zoom lens is that it makes it extremely easy to photograph a subject from a variety of vantage points, distances, and focal lengths without having to pause and switch lenses . . . If there were a downside to shooting with zoom lenses, it would have to be that none of them opens up wider than f/2.8, and if they did, they would be quite hefty."

        

For casual photographers, the slower, least expensive 50mm f/1.8 is sufficient for almost every need. For others, including pros who require even better low-light shooting capabilities, the f/1.4, which is a 1/3-stop faster, may be preferable and even still affordable.  That 85mm f/1.4 seems to be high on the dream-list of "portrait" lenses but it comes with a hefty price tag.  It is the Goldilocks of prime portraits lenses; not too wide, not too long - you don't have to be uncomfortably close to your subject, and it won't compress the depth and make your image look flat.  

"Wide angles lenses should be used when prominent foreground objects are present. The primary mistake made by new photographers is to use wide angles incorrectly - by not being close enough, having no interest in the foreground, or by trying to include too much in the scene. Wide angles are also handy in tight areas, like small rooms, cars, caves, etc. They can give volume to the small area. Wide angles have the potential to drastically change your photography." (Berk)

Standard zoom lenses work well as “walk around” lenses.  They offer versatility between wide or zooming, landscapes and portraits.  These are generally your "kit" lenses: 18-55mm, 18-135mm, 24-105mm for example.  Zooms/telephoto lenses allow you to stand back a little like when the subject is not exactly approachable.  These can also be useful for portraiture, but keep in mind Robert Capa’s words, “If your pictures aren’t good enough, you’re not close enough,” as it is easy to get lazy and let the lens do all the work.  These are also excellent for sports, nature, and wildlife.  With sports though, you need to be able to freeze action sharply which requires a fast shutter speed and faster (larger maximum aperture) zoom lenses are required.  "If sports is one of your primary subjects, a telephoto zoom such as a 70-200 f/2.8 is an excellent choice.  If you really want to shoot like the pros, you’ll want a 300mm f/4, or 300mm f/2.8 or 400mm f/2.8. " (Berk)

Long, even extreme focal lengths and large maximum apertures mean bigger and heavier lenses,

which, along with the bigger price tags, is why they are typically used by professionals who can ultimately justify purchasing them.  Build up to these lenses as you grow as a professional so you don't have to sell an organ on the black market just to add one to your collection.  If you think it is a necessary business expense then that is always a justification too.

This post just covers the basics; I could go on for days about lenses.  There are a variety of other special lenses on the market like a macro lens if you like shooting tiny things or a tilt-shift or perspective correction lens for architecture.  There is a lens to suit every purpose so I hope I have been able to provide some good direction when contemplating purchasing a new tool for your photography endeavors.

Works Cited

"85mm Portrait Philosophy." photo. NameMedia, Inc., 21 May 2011. Web. 23 Sept. 2014. <http://photo.net/nikon-camera-forum/00YlSn>

 Berk, Rick. "Choosing Lenses: When to Use Which Lens and Why." digital-photography-school. Digital Photography School, n.d. Web. 23 Sept. 2014. <http://digital-photography-school.com/choosing-lenses-when-to-use-which-lens-and-why/ >

"Black Market." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

<http://quest.eb.com/#/search/115_2729832/1/115_2729832/cite>

"Hispanic boy thinking at school desk." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

http://quest.eb.com/#/search/154_2899196/1/154_2899196/cite

"Hungary, Budapest, Jealousy, 1892." Photopgraph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. <http://quest.eb.com/#/search/126_3739316/1/126_3739316/cite>

"Monarch Butterfly." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

http://quest.eb.com/#/search/149_2081893/1/149_2081893/cite

Weitz, Allan. "The Canon Lens Experience: Everything You Need to Know about Canon Lenses." bhphotovideo.  B & H Foto & Electronics Corp., Aug, 2014. Web. 23 Sept. 2014. <http://www.bhphotovideo.com/explora/photography/tips-and-solution/canon-lens-experience-everything-you-need-know-about-canon-lenses>

Wilkinson, David. "The DX/FX distinction." Photograph. switchbacktravel. Switchback Travel, n.d. Web. 23 Sept. 2014. <http://www.switchbacktravel.com/camera>

Photography is Killing You: Bad Habits to Fix Now

We all tend to pick up bad habits over time whether it be technical or physical.  Oftentimes, after a long day of shooting, you may feel wiped out and maybe even a little brain-fried being on-point for so long, but there are likely several other reasons why you're ready to collapse at the end of your work day.  You, your camera bag, and your gear might not be working together effectively.

"Slipped discs, muscle spasms, rotator cuff syndrome, tendinitis and carpal tunnel are just a few of the occupational hazards that can come from lugging around a heavy bag of gear and turning yourself into a human tripod for a living." (Moses)

Now is the time to re-evaluate your shooting habits because you might be one assignment away from a serious injury.  Here is some expert advice on staying pain- and injury-free.


You might select your camera bag based on style or efficiency, maybe even cost, but you also need to consider what's really right for you.  Dr. Gerard Varlotta warns photographers about carrying any bag with an asymmetrical design such as over-the-shoulder and messenger bags.  This causes unbalance, twisting, and tilting.  Backpacks are not necessarily the better choice here either if you pack it with one side heavier than the other.  So, don't overload your bag either.  This, again, will end up causing some asymmetry in how you carry it.  It is recommended that you carry no more than 10% of your body weight in your bag.

The fit of the bag is also very important.  Dr. Varlotta says, “The closer to the body the better.”  Dr. Karen Erickson, DC, another expert, recommends wearing your backpack like this:

• "The backpack should end near your ribs, with the weight being distributed between your shoulder blades.  If the backpack hangs too low on your body you can put a lot of tension on your low back."
• "Look for straps that are wide and padded.  The straps should be snug enough to bring the material of the bag close to your body."
• "A backpack with a waistband that sits on the hips can take stress off the shoulders, neck and low back."

You might also be at a greater risk of potential injuries and ailments if you have bad physical habits such as poor posture, being overweight/not exercising, and smoking.  Here are a few more tips to reduce the development of pains and strains:

• Use rolling bags when possible
• Limit the equipment that you carry around your neck
• Use a monopod with heavier outfits (such as a heavy lens and/or speedlight)
• Wrap your camera strap around your wrist to carry
• Avoid dehydration

"Photographers are just like athletes who need great physical demands and fitness to carry out their job tasks.  They should be fit and healthy in order to prevent/reduce injuries and disability that can limit or end their shooting careers." (Loon)

Sundial Clinics recommends doing a number of stretches either before, during, and/or after your shoot to help reduce the accumulation of muscle tension and fatigue.  These basic stretches are listed below and can be found in detail here.

Neck

• Upper trapezius stretch
• Shoulder stretch
• Chest stretch
• Thoracic stretch                 

Lower Back

• Trunk rotation
• Toe touches
• Wall Roll
• Lateral flexion
• Standing cat stretch

I'm not here to give you a lecture on taking care of your physical health but I do hope that you can take away a few tips to keep yourself safe from long-term injury.  I find it inspiring to think of myself as an athlete with a camera!  To be the best athlete, um, photographer that you can be it is important to do it all right.  Right?  Have you been injured or almost injured taking photos?  Tell me about it in the comments.  

Those crazy positions we get ourselves into and hunching over for long periods of time can take its toll.  Please take care of yourself like you do your equipment (if you're like me).

Works Cited

"A photographer carrying a tripod in silhouette at twilight." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/137_3089694/1/137_3089694/cite>

"Back Pain Woman." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/300_346940/1/300_346940/cite>

Loon, Teong Kar. "Common Injuries in Phootographers and How to Prevent Them." ntuchealth. NTUC Health Co-operative Ltd., n.d. Web. 15 Sept. 2014. <http://www.ntuchealth.com.sg/health_info/common_ailments/common_injuries_in_photographers.php>

Moses, Jeanette D. "Photography is Killing You: Health Tips For Photographers." popphoto. Bonnier Corp., 10 June 2014. Web. 15 Sept. 2014. <http://www.popphoto.com/gear/2014/06/photography-killing-you-health-tips-photographers>

"Mount Assiniboine Provincial Park, British Columbia, Canada." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/137_3122378/1/137_3122378/cite>

"Tips to prevent back and shoulder pains in photographers." sundialclinics. Sundial Clinics, 11 Oct. 2010. Web. 15 Sept. 2014. <http://sundialclinics.co.uk/conditions/backpain/tips-to-prevent-back-and-shoulder-pains-in-photographers/ >

"Young woman stretching in field." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/154_2894530/1/154_2894530/cite>

Covering Your Bases: Equipment Insurance

Source: Terry White's Tech Blog.

A few weeks ago I wrote about safety when it comes to setting up a shot in public places, but there's another, equally important aspect about safety that deserves its own post. Your gear is what allows you to capture the best images for your clients, so insuring that equipment may just save you from a major financial setback if something should happen. You may find that your homeowner's insurance won't cover equipment that you use to make a living. Talk to your agent to find out, and if you need to add more coverage for your photography gear, check out the options below!

• Start with basic coverage through an association membership. Groups like PPA offer coverage up to a certain dollar amount once you join (in this case, up to $15,000). More coverage can be added up to $100,000.00 with their PhotoCare Plus plan.
• Package Choice through Hill & Usher is a popular plan in the photographic community. The site allows you to easily add or delete items from your insured equipment schedule.
• Another provider is TCP & Co., which offers options that look great for studio owners. 

While you're at investigating equipment insurance options, take a look at this article by The Modern Tog about other types of insurance you should think about purchasing if you plan on starting your own business. Protect yourself, your family, and your business for peace of mind while you do what you love!

-Friday Ambassador

Works Cited:

Brenke, Rachel. "Photography Business Insurance Coverages Every Photographer Needs." The Modern Tog. TheModernTog.com, 2014. Web. 24 July 2014.

Hill & Usher, LLC. "Package Choice™ Insurance for Professional Photographers from Hill & Usher Insurance & Surety, LLC." Package Choice™ Insurance for Professional Photographers from Hill & Usher Insurance & Surety, LLC. Hill & Usher, LLC, 2014. Web. 24 July 2014.

PPA. "PPA Insurance Solutions | PPA." PPA Insurance Solutions | PPA. Professional Photographers of America, 2014. Web. 24 July 2014.
TCP & Co. Inc. "Photography Insurance." Studio Photography Insurance. TCP & Co. Inc., 2014. Web. 24 July 2014.

White, Terry. "How I Broke My D700 By Tethering - Terry White's Tech Blog." Terry White's Tech Blog. Terry White, 22 Sept. 2011. Web. 24 July 2014.

What equipment do I need for class?

It seems that this question is always asked but no one seems to ever know the answer. Hopefully everyone knows that they can look at the Handbook and Catalog to review what each class requires. You can find that tab under the Academics tab in the Homepage of your Campus Common. After you click on that you will find a tab that say coarse list. In that list it has all the classes that AI offers so you will need to scroll down a bit to find the class you are looking for.  After you click on your class you will get a new window. From there you will need to click on Material requirements. At the bottom of that list it will tell you exactly what is required for each class.

I can tell you when you are buying your items that you need, you don’t want to sell yourself short and buy the cheapest things you can find. While its always nice to save money sometimes it’s not worth what you’re saving. For instance I’ve heard many stories of people just buying what ever they could find that was cheep, only to find out it really isn’t going to work for class.  Or they bought the cheapest thing possible and now they have to fight with their gear every time they try to use it. Other students have told me that they couldn’t find a kit for the strobes they bought so they just picked some items and they don’t really fit together. The biggest thing you have to think about is things like strobe lights you should be able to purchase them now and not have to purchase them again for many years down the road. So you might want to make a better investment with them since they should last you a very long time.

Another thing I find is everyone looking to buy things on Amazon. While they might have what you need you want to shop around. You also have to remember that as a student we can student discounts on some items from B&H (www.bhphotovideo.com) and Adorama (https://www.adorama.com/pages/FSE-education?mode=edu) They also sell some EDU value type items. If you are still unsure what to buy still make sure you ask someone, perhaps a fellow student, or even your Academic Counselor. Or you can always post your questions on the Google Plus page.

Works Cited

"Adorama Education Discount Program." Adorama Education Discount Program. N.p., n.d. Web. 12 June 2014.

"AiO: Course Catalog." AiO: Course Catalog. N.p., n.d. Web. 12 June 2014.

"B&H Photo Video Digital Cameras, Photography, Camcorders." B&H Photo Video Digital Cameras, Photography, Camcorders. N.p., n.d. Web. 12 June 2014.

Credit    : Jose Luis Pelaez Inc / Blend / Learning Pictures / Universal Images Group

Testing 1, 2, 3?

Greetings fellow shooters! Tuesday Ambassador Stanley, here welcoming you to another... testing… can anybody read this, Tuesday? And no, this is not going to be like my last week’s post on Rantom. What I am going to write about is why every student, or anyone for that matter, should test their equipment, regardless of ever having worked with the equipment before. However, I have seen a good majority of students doing just that and it is an excellent thing to do because it makes you more familiar with your equipment before tackling those shooting assignments. So if you think that you may be the only person that pulls your equipment out of the box, puts it together and starts tinkering with it, just know that you’re not the only one. Although, be mindful of the equipment you are working with in order to prevent injuries to beings or damage to equipment whether they are big or small.

Now if you are not one who typically dives into unfamiliar territory, I am sure you are not alone. That is okay though because you are going to school for photography after all. For some people though, school is not enough. One thing that you could do is READ through your manual after breaking into the package and laying out all of your equipment to be assembled later. This should be done on day one of receiving your package because you want to make sure that you have everything and that nothing is broken. If you do not understand something, reach out! There is a plethora of resources available at your disposal like PSPN on Google+, your upcoming or present instructors and if you want fast answers then you better resort to your most favored search engine like Google. Once you have everything all squared away it’s time to setup and test out your equipment. Make sure everything works! Test the highs and test the lows. Make sure your equipment is in flawless working order because I’m sure there is nothing like returning your faulty equipment and having to switch, stop or drop out of your class because you did not meet the deadline. I assure you that I’m not talking from experience.

One thing I learned through my curiosities in life about things I had no prior knowledge of, yet having full access to whatever it is that interested me, was in order to dig deeper about your subject, you have to break it. No, I’m not telling you to go break your equipment because that would be foolish and by no means is that what I meant! What I mean is I was always one who would get a toy, get bored with it, take it apart, study it and put it back together just to play with it again. Maybe that’s the reason why computers had been a hobby of mine for so long because of how quickly it advanced over the years. Now you don’t necessarily have to apply my experience to a specific subject, however, if you apply it to your life you may find yourself subconsciously applying it to subjects that interest you as well. Sure, I know that is a lot to ask but I do not think you would regret making the change.

Was this informative or inspirational? Let me know in the comments below. Have you felt this before? Do you think you are the only one? Are you getting a little freaked out because I am getting into your head and I may possibly know what you are thinking right now at this exact moment?  Ha! Who am I kidding? I cannot read your mind. Stay tuned next week to catch a glimpse of my studio studies as well as my recently published work, and as always, thanks for reading.

-Tues. Amb. Stanley

Long link goes to the image above by a no name photographer: http://static.videomaker.com/sites/videomaker.com/files/styles/vm_image_token_lightbox/public/articles/15346/306-F21-microphone-close-up.jpg?itok=k3IAaLWJ

Cold Weather is Coming; Protect your Camera!

 

Good morning and welcome to another Terrific Tuesday!

Last week the temperature in Texas dropped to the 40’s several nights throughout the week, which I think is great because it gives us a break from the hot weather.  On this particular day I was taking pictures at a part just for fun and after packing my camera bag, I went back home but I forgot to take the bag inside the house after arriving there.  The next morning I went out to get the bag and take some inside images of my family but when I opened the bag and took out the camera, all the lenses were fogged and one of them had condensation drops on the lens!

Did I panicked?  Oh yes, I surely did!

Which brings me down to today’s topic of protecting your camera from cold weather.   

http://www.photographymad.com/pages/view/how-to-protect-your-digital-camera-in-cold-weather

We all like to take images out in the cold weather, the snow, ice and the landscape is different and it gives us the opportunity for great images.  However, we need to remember that most of our DSLR cameras are geared to work in moderate temperatures and drastic changes in weather conditions and temperatures can affect them and even damage them permanently.  So, if you like the cold weather and like to be out there taking images, here are some tips and reminders about the cold weather and your camera equipment.

1.    Take spare batteries, they also get affected by changes in temperature.

2.    Protect your camera from condensation, let it adjust to temperature changes by leaving it in an environment that is somewhat in between from your house and where you are planning to go.  Put your camera in a zip lock bag and keep some silica gel bags in your camera bag to absorb moisture.

3.    Provide some padding for all the equipment.

4.    Stay warm and be sure to dress appropriately to the weather conditions.

Check out this article that talks a little more about protecting your camera and equipment:

 http://www.photographymad.com/pages/view/how-to-protect-your-digital-camera-in-cold-weather

 There are other suggestions and several sites that will give you some information about protecting yourself and your equipment, here is another one for your reading pleasure:

http://www.adorama.com/alc/0008151/article/Winter-photography-tips

Well, that is all I have for now, just remember to be careful out there, not only protect your equipment but also protect yourself and your vehicle, you want to come back to download those images!

Until later, this is your Tuesday Ambassador!

Got the Camera! What's Next?

Hello Everyone, welcome to another Terrific Tuesday! 

Last week I talked a little about buying a new camera, including some stuff that everyone should be aware when doing it.  As I was reading my own blog I realized that the requirements from the school when it pertains to the equipment needed might have changed in the last few years.  True enough, there have been some changes since I started, so this blog is going to be like a continuation from last week.

Having a camera with video capabilities is now a requirement that starts with your first photography class!  So, if you haven't done so yet, plan ahead and know that down the line there is a class called Time-Based Media where you will not be able to complete the class without meeting that requirement.

Done.  Good!  But what is down the road in your studies, you might be wondering.

PH 136 (Lighting) - You will need a tungsten light kit with at least two lights with a minimum of 500 watts each.  Sounds like a lot, and it is, they are very bright.  Shop around and get a good set, you will be using it several times throughout the rest of your studies!  Now that you have the lights, you will also need a light meter, and again there are several models to choose from, just be sure that it measures ambient light as well as flash lighting and can be set for reflective readings.  If you buy one that is not ready for recording and measuring flash or strobe lighting, you will need to get one for the Studio Photography class!  Prices vary, but these two items will run about $600 for both of them, again depending what you go with, and as always...research!

PH 212 (Studio Photography) - This was the class that I considered being the one that I spent the most time and money.  You will need at least (yes, I said at least) a 2-light strobe kit capable of 320ws - 500ws for each monolight.  I said at least because after the class, you might find out that you need more than two, I currently have 6!  BE AWARE, when shopping for the sets, go to reputable source such as B & H Photography.  You might find sets out there on other sites that would announce a 3-light set 600ws for a specific price.  If you do not research, you could be in trouble because for some sites that means 3 lights at 200ws each for a total of 600ws, remember the requirement is 320-500 EACH!  Of course, now that you have the lights, you will also need some light modifiers, background, background support system, a table and other requirements.  All in all expect to budget over 1K for the equipment.  Don't be cheap, get the equipment that you need now that will help you and stay with you later on.

PH 226 (Printing) - This is another class that has some explicit requirements for equipment.  You are going to need a ColorMunki (a what?), a printer with 6+ inkwells and used for photos as well as 20-25 Photo Paper, hopefully from the same company as the printer.  You are going to use the ColorMunki to calibrate your monitor as well as using it to create profiles for the paper you use.  The requirement states the amount of sheets, but let me tell you, I used almost three times that amount during the class!  If you like printing your images, you will love this class, if you do not like printing your images, you will still love this class!

Epson Stylus Photo 1400

ColorMunki with case

So there, now you know what to expect if you are in your first or second year.  Of course there are other things that are not completely photography oriented that you might need.  If you do not have web camera, get ready to get one for COM 1010 (Speech).

Want to see what's out there?  You can start with this link to B&H Photo:

http://www.bhphotovideo.com/

Want to check out some strobes?  Check the Alien Bees:

http://www.paulcbuff.com/alienbees.php

That will be all for now, if you have any other type of equipment that you didn't realize you needed for any of your classes and found out when the class started, drop me a line, it could save some headaches to someone down the line!

Until later then, this is your Tuesday Ambassador wishing you a great day!