Appendix B: Accessories

When it comes to cameras and photography, the list of accessories is long. Where do you want to take your photography? If you are serious about investing in ways to improve your images, new lenses are a good starting point. If you plan to produce serious videos, then you’ll require some support accessories. Lights, microphones, and products to keep the camera steady are important. A tripod is a must for video or if you plan on shooting long exposures. I purchase grips for all of my cameras because it makes them feel more solid, and the camera seems to fit better in my hand. Finally, consider the basics, such as extra batteries.

Grips and Remotes

A grip fits on the bottom of your camera and stores two batteries. It also adds weight to your camera, which some photographers consider a benefit because it makes it easier to balance. Remotes give you the ability to take long exposures (beyond the 30-second limit) with your camera. An intervalometer is a more advanced remote control that can be programmed to take multiple photographs over specific periods of time.

The Canon grip for your T4i/650D is the BG-E8. It is useful for several reasons. First, you can shoot more comfortably holding the camera vertically. The grip also holds two batteries, giving you longer battery power in the field. It also offers additional balance when handling your camera.

To install a grip, you need to remove the battery door cover, as shown in Figure AB.1. Because the grip holds two batteries, you must purchase an additional LP-E8 battery pack.

Image courtesy of Canon

AB.1 This is the BG-E8 grip designed for Canon Rebel T series cameras.

NOTE You can also use the BG-E8 grip on the Canon T2i and T3i.

Your camera is limited to a 30-second exposure time. For some situations, you can use your camera’s timer to take up to 10 images in a row, and then combine them in a program, such as Photoshop. However, this does not change the fact that you can’t have an exposure time of more than 30 seconds.

Remotes are very helpful when shooting long exposures. The Canon RS-60ES remote connects directly to the remote port on the left side of your camera. This is like having an external shutter button. Remotes—also known as cable releases—are also helpful for macro and night photography to prevent camera shake while taking long exposures.

The RC-6 is a small, infrared wireless remote used to avoid camera shake when shooting long exposures. Another benefit is that you can be in the photograph, and wait until everyone in the group is ready before you take the picture. You have the choice of a 2-second delay or the camera taking the photograph instantly. The delay gives you time to prepare yourself or quickly put the remote in a pocket. You can also easily stand up to 15 feet away from your camera to take a photograph. It’s a nice, inexpensive accessory to have in your bag.

Video Accessories

Video accessories make creating movies easier and, in many cases, can make your video look more professional.

The following list of accessories can help you create better videos:

▶ A steady camera. Keeping your camera steady is one of the tricks of creating good video. Begin with a tripod. When you need to be on the move, there are many options to hand hold your camera. Some of these options, such as the Merlin Steadicam, shown in Figure AB.4, are simple, handheld devices. Others require two hands, or rest on your shoulders or your body. There are also rigs with monitor holders.

▶ Loupe. A loupe magnifies the pixels on the LCD screen. Some of the more sophisticated models are found on lens hoods, and the best also have a diopter to help you see more clearly.

▶ Lights. Lighting is covered extensively in Chapter 6, but it is important to reinforce the idea that good lighting accessories can drastically improve your videos. You have many choices, such as LEDs, fluorescents, and HMIs (Hydrargyrum medium-arc iodide), to name a few. LEDs, like the Manfrotto 24 LED light with a color temperature of 5600K, are good for short distances. They are a popular light source and usually fit in your camera’s hot shoe. LED lighting kits often come with filters to match different lighting situations. HMI lights are much more powerful than LEDs, and are commonly used in movie and video production. However, if you like to use light boxes and umbrellas, I recommend using a fluorescent lighting kit.

▶ LCD screen hood/shade. Your LCD screen is great until it meets bright sunlight; then it disappears. If you are shooting stills, you can use the camera’s viewfinder to overcome this problem. If you are shooting video, however, you need a way to turn the back of your camera into a viewfinder so you can see your screen clearly. A screen hood blocks the sunlight so you can clearly see the camera’s LCD screen.

Microphones

For the casual user, your camera’s built-in microphone might do the trick. But, as mentioned previously, one of the most important elements of a good video is good audio. I recommend that you invest in an external microphone. In-camera microphones don’t deliver the high-quality sound needed for quality video production. Your camera’s microphone and software are better than many, and they allow you to make some adjustments in-camera. However, when high-quality sound is needed, an external microphone is the answer.

There are a number of models on the market, and most fall under one of the following three categories: Omnidirectional, bidirectional, or unidirectional. Each type has its advantages, depending on your needs. Omnidirectional microphones capture sound from all directions. This type of microphone also easily records ambient noise in the background (wanted or unwanted). A bidirectional microphone captures sound from two directions, and the unidirectional microphone records sound from one direction. Unidirectional mics come in multiple styles and are used for different purposes, each covering different angles or focus areas of sound capture.

A shotgun microphone is a common, all-purpose unidirectional microphone for subjects that are relatively close to the front of your camera. Many companies make shotgun microphones that connect to your camera’s hot shoe. For interviews, a handheld microphone is a good option for the photographer on the move. A lavalier microphone clips to the subject’s clothing, and is often used for more static or formal interviews.

If you want to achieve the best audio possible, you should consider using an external recording device in addition to a microphone. The combination of microphones and recording devices necessary depends on your goal. The downside of using an external recording device is that you must align the sound and video in the editing process. This is why you see clappers being used on movie sets—it’s to help match the sound with the scene in editing. Many microphone manufacturers, like Zoom, make it easy to attach microphones to dSLR cameras.

Tripods

When it comes to tripods, you often get what you pay for. They come in many shapes and sizes; some are heavy and sturdy, while others are small and portable. When trying to figure out what you need, consider how and where you will use your tripod. A good tripod keeps your camera steady, while still offering the flexibility of smooth motion for actions, like panning (following a moving object).

How high your tripod should be is also an important consideration. All of this depends on what you plan to photograph. The heavier the tripod is, the steadier it will keep your camera. Heavy tripods and tripods made of higher quality materials, such as carbon fiber, tend to cost more money, though. Less-expensive tripods are usually made of aluminum, come in one piece, and have a tilt-and-pan-style head. These heads are not as flexible as the more versatile ball heads found on higher-quality tripods.

Image courtesy of Canon

AB.8 The Canon Deluxe Tripod 300 is good for casual use.

Usually, tripod companies require you to select a head separately. When selecting a head, make sure it has all of the features that you need. Some things to consider include smooth movement, ease of adjustment, and a quality plate that is easy to connect to your camera and tripod. If you are a photographer on the go, such as a sports photographer, consider using a monopod. A monopod has only one leg, and allows you to be mobile while offering the support necessary for long lenses.

Once in a while, you may not have a tripod available. In these situations, a handbag, backpack, or clothing can support your camera on top of a wall, fence, or a rock. Sometimes a small, flexible tripod, such as a Gorillapod, shown in Figure AB.9, is good to keep in your bag when you don’t have a full size tripod available. I have had many tripods throughout my career, and those that I invested some money in are still in great working order.

Image courtesy of Joby

AB.9 Gorillapods are light, flexible, and ideal when you don’t want to carry a lot of equipment.

Bags

Make sure that you have a good bag, pack, or case to protect and carry your gear. It is nice to have a lot of pockets, but my biggest concern is ease of use. How easily and quickly can you grab equipment when you need it? Also, consider whether the bag is weatherproof and durable. Is it designed for the type of photography you are going to be doing? A photojournalist needs a different bag than a commercial photographer working in the studio.

Commerical photographers often use hard cases to protect their equipment in storage and transit. Standard shoulder bags have a lot of pockets and are good for the photographer on the move who needs multiple lenses, filters, and small support tools. Messenger bags, with their simple design and ease of use, are popular for photographers. If you are a travel, nature, or wildlife photographer, you might want to consider a backpack-style bag, like the one shown in Figure AB.10.

Image courtesy of Naneu

AB.10 A backpack-style bag by Naneu.