So I was intrigued by the rumors, and then the formal announcement, of a full frame point-and-shoot camera known as the Sony RX1. Sony has been in the digital camera game for well over a decade, and even though they fabricate the chips for many Nikon cameras, they simply don’t have the market share with pros that the Big Two share. But having seen the quality of the Sony DSLRs, I wasn’t dissuaded. In late fall, I plunked down my pre-order for the RX1 in hopes that it would be the camera that released me from the chains of my DSLR.

I should preface this review by telling you how I use my cameras. I do take “professional” photos by the way of portraits, travel, and event photography. But the bulk of my photography is more casual in nature – photos of friends and my personal travel. Often these images occur in low light. Unlike an idealized condition where one could shoot at ISO100, I more likely find myself in a dimly lit bar trying to capture the interaction of friends. When I was younger, it was almost a badge of legitimacy to try to haul as much camera gear as possible in the largest and heaviest backpack I could find. But as I’ve gotten older, my back has protested, and I’ve honestly gotten tired of the 5 lbs of camera bulk that I’ve normally associated with taking a high fidelity image.

The RX1 is a 24MP fixed focal length 35mm f/2.0 Zeiss lens camera. You cannot remove the lens, and as such the optics are fantastic. Buttery bokeh and very little distortion/vignetting. It has a built-in flash which is surprisingly effective. It doesn’t come with a viewfinder, but does have an accessory shoe onto which you can attach an expensive optical or electronic viewfinder. The accessories, by the way, are ridiculously priced. But I suppose that’s par for the course for a first generation $2799 camera.

On December 16, 2012, I opened the RX1 box, and started shooting in earnest. And after shooting 3,500 frames, all the fears I had about a fixed focal length lens evaporated. I used my feet to “zoom”, and since I was never trying to take a traditional portrait (where a longer focal length would be appropriate), I never felt the lens was inadequate. Instead, I felt a sense of liberation that I had a single focal length – it was just one less parameter to worry about.

The image quality was no different than an DSLR, which shouldn’t be a surprise given the fact that the same sensor is featured in Sony’s top-of-the-line A99. Whether in bright light or dim light, the camera performed. Sure, the focus in dim light wasn’t the same as my D4, but it didn’t really matter. Let’s take a look (all images straight out of camera with auto white balance).

ISO 4000 f/2.0 at 1/80th

ISO 2500 f/2.2 at 1/80th

ISO 6400 f/2.2 at 1/80th

ISO 1000 f/2 at 1/80th

ISO 6400 f/2 at 1/20th

ISO 100 f/2.5 at 1/125th

ISO 1600 f/2.5 at 1/80th

ISO 200 f/2 at 1/80th

ISO 100 f/8 at 1/100th

ISO 6400 f/2 at 1/20th

ISO 6400 f/3.5 at 1/1.7th

ISO 400 f/2 at 1/80th

ISO 6400 f/2 at 1/80th

ISO 100 f/4 at 1/3200th

ISO 100 f/2 at 1/2000th

ISO 4000 f/2 at 1/80th

ISO 100 f/2 at 1/1250th (face is dodged)

ISO 100 f/2 at 1/1250th

ISO 100 f/2 at 1/500th

ISO 100 f/5.6 at 1/1000th

ISO 100 f/2 at 1/125th

ISO 800 f/2 at 1/80th

ISO 3200 f/2 at 1/80th

ISO 12800 f/2 at 1/20th

Here’s a full crop of the last image at ISO 12,800. There’s noise, but it’s pretty film-like.

And as a point of comparison, here’s a full crop from a Nikon D1X at ISO 3200. In other words, 16 times MORE light.

Chroma noise is much worse, and there’s a boatload more light. In other words, the sensor on the Sony RX1 is insane. Sure, if you’re gonna scrutinize an image at 12,800, you’re gonna have noise. But when you’re viewing images on the web, which is the predominant medium of image consumption, you can’t tell. Oh, and here’s a full crop at ISO100.

Yeah, clean as a whistle.

I’m not suggesting that the RX1 will replace my DSLR in the studio or for portraiture. Sometimes you need more resolution and more glass. But given that many photographers carried around 35mm primes on their cameras for years and made many iconic images, I feel more than comfortable using this as my everyday and travel camera. The best thing about this camera is that it’s simply of harbinger of great technology that’s coming our way in the next few years. So even if it’s not on your list for Santa now, its offspring could well be in your hands in the future. The future is f/2.0 bright.

In each case, Quintin tells us where he traveled to, for how long, the weight of his gear, and what bag(s) he used to carry it all. He manages to remain true to his “less is more” philosophy, even when trekking across the Arctic for a month. Learn more about his experiences, and check out the amazing photos he took along the way.

Case study 1: Arctic landscape photography

Duration: 1 month

Travel style: Self-sufficient expedition. Tent, food, fuel, mountaineering equipment, food and medical equipment for the time in the field.

Weight of camera gear: 2.5 kg/5.5 lbs.

Weight of supplementary gear: 78 kg/172 lbs.

Camera bags: CCS pouches and holster with canoe bag

As I was pulling a pulk (sledge) and climbing mountains, I used a holster and pouches around my waist to carry my camera and stored these in an Ortleib canoe bag when not in use.

Midnight Mountains, Greenland, 2006 (Winner Travel Photographer of The year, Portfolio 2010)

Case study 2: Street photography in Iran

Duration: 3 weeks

Travel Style: independent travel, hostels, hotels

Weight of camera gear: 3.5 kg/7.7 lbs.

Weight of supplementary gear: 4 kg/8.8 lbs.

Camera bags: Billingham Hadley Small Black Canvas

This journey lent itself to the more traditional approach of using a shoulder bag. The black Hadley is very fast to work from and doesn’t draw any attention.

An Iranian girl looks out from the trunk of Sarv-e Abar-Kuh “cypress of Abar-Kuh”, also called the Zoroastrian Sarv, is a Cupressus sempervirens tree in Abarkuh, Yazd Iran. It is estimated to be over four thousand years old and may be the oldest living thing in Asia. Iran, 2008.

A boy at the window of The Arg (Citadel) of Karim Khan, Shiraz, Iran, 2008.

Case Study 3: Walking the length of the Thames

Duration: 10 days

Travel style: Backpacking, sleeping in tent, buying food en-route

Weight of camera gear: 0.5 kg/1.1 lbs.

Weight of supplementary gear: 7 kg/15.4 lbs.

Camera bags: Zpacks Exo, Zpacks shoulder pouch, sandwich bag

This is my most recent project, and shows the ever-declining weight of my gear and bags. I used ultra light backpacking equipment made with Cuben fiber. For this particular project, I was walking a total of 170 miles (20 miles per day). I wanted to be alert enough to see a picture at the end of a long day, and I need the camera accessible at all times. I used a Canon G1X held in a shoulder strap designed to be a water bottle holder. I transferred all my gear to a waterproof bag when in rained hard.

Thames Waters IV, 5 Miles downstream, near Ashton Keynes, 2012

Thames Waters X, 100 miles downstream, dawn near Shiplake, 2012

Duration: 2 weeks

Travel style: Commercial assignment, hotels

Weight of camera gear: 14 kg/30.8 lbs.

Weight of supplementary gear: 3 kg/6.6 lbs.

Camera bags: Mountainsmith Traveller, Mountainsmith Kit Cube, Terra Nova Laser 20, Lowe Alpine TT Roll-On 40

I needed a lot of gear for this architectural photography assignment, so it was easiest to work out of a wheeled bag. The tricky part was getting all the fragile gear into 8KG carry-on, which I achieved using a runners backpack and padded pouches.

Hothouse at the Botanical Gardens, Aarhus. Designed by C.F. Moller & Søren Jensen. Denmark, 2012

Staircase at IT Corner, Aarhus University. Designed by Jørn Schütze &Søren Jensen. Denmark, 2012

Greenland landscape, 2006 (Winner Travel Photographer of The year, Portfolio 2010)

Quintin Lake is an architectural and fine art photographer based in the UK. In between commercial assignments, he often sets out on photographic expeditions to remote or lesser known locations, including the Arctic, Southeast Asia, and South America. Years of travel have taught him a thing or two about camera bags.

In this guest blog post, Quintin shares his best tips straight from the field.

For many travel photographers, choosing how to carry your gear is harder than choosing your camera system. Because while camera systems can be relatively flexible, no one bag is waterproof, lightweight, carry-on compliant, and can carry a week of food plus other gear.

The following tips are from trial-and-error in travels to over 70 countries. They’re aimed at photographers who prefer to work alone, walk, use public transport, travel as cheaply as possible, and don’t have an army of assistants.

Tip 1: Don’t carry it

If you don’t need a bag, or an extra lens, don’t take it. Just don’t. This may limit you technically, on occasion, but in most situations you’ll compensate for it with your increased creative energy and focus. Galen Rowell, an inspiring gear minimalist, said: “Only where vehicles, pack animals, porters, or assistants can carry my gear do I ever consider taking all of it. Otherwise, you’ll find me as I started out in the sixties – carrying one simple camera or none at all. That’s how I continue to make many of my all-time favorite pictures.”

Tip 2: Use a sling

Why use a sling? They don’t get in the way, they’re more comfortable to carry all day, they don’t make you look as much like a tourist, and they let you to be discreet, should you wish, by covering much of the camera with your arm.

Tip 3: Don’t buy a travel camera bag 

Instead of buying a bag dedicated for camera travel, I suggest using padded camera inserts (such as Mountainsmith’s Kit Cube). Place these in regular backpacks, shoulder packs, and wheeled luggage. It’s more flexible, but more importantly, much lighter.

Left: Mountainsmith kit cube packed with durable equipment in image above. Center top: Mountainsmith traveller packed with 4 lenses and camera body shown above. Center Bottom: Macbook air 11″ in neoprene sleeve. Center right: Gitzo tripod with Really Right Stuff ball head.

Camping and trekking backpacks are far more comfortable, offer more space, and are a better value than most camera bags. If you prefer wheeled luggage, use your existing roll-on, or buy one to fit your existing photo bags or inserts. Wheeled camera bags completely miss the mark by being crazy expensive, extra pounds, and no space for clothes or other travel necessities.

Tip 4: Choose your tripod length carefully

Your tripod, with the head removed, should be less than 45cm (~18 inches) so you can take in your carry-on luggage. If you’re worried about stabilization with a small or lighter tripod, you can hang weight from the center column. Even the very light models from the premium brands work great using this technique.

Tip 5: Fly with adventure racing backpacks

With carry-on weight limits for some airlines as low as 8KG (~18 lbs.),  it’s always a challenge to fit your camera, lenses, and laptop in one bag. Adventure racing backpacks are designed for mountain runners – those by Terra Nova weigh around 300g (~2/3 lb.) or less and a padded insert will be around 250g (1/2 lb.) so you can make it under the weight limit.

Quintin Lake with CCS camera holster and mountaineering gear, Greenland, 2006

Tip 6: Check-in your less fragile gear 

If I need a lot of gear, I’ll check-in a bag with my tripod, clamps, strobes, and non-essential chargers, along with my clothes. Wherever possible I’ll only travel with a carry-on that’s under 8KG (~18 lbs.).

Left: Lowe Alpine TT Roll-On 40 containing Mountainsmith Kit Cube, disassembled gitzo and clothes (checked in, 14KG). Right: Terra Nova Laser 20 containing Mountainsmith Traveller & Macbook Air 11″ (carry-on 7.9KG)

Quintin also put together four “case studies” from his travels to show how he managed to still travel light, even in the wildest of conditions. Check what he learned and his major travel takeaways here.

When we started shopping for the photographers on our lists, we found that for every camera, lens, bag, etc. that they’d love, there were also some pretty nonsensical — some might even say bizarre – photo gifts out there.

So instead of publishing yet another gift list (you find some great ones at B&H, Adorama, dpreview, etc.), here are the 10 photo gifts we bet photographers don’t want to receive this holiday season. Happy gagging!

Photorito Lens Wrap - $20

We don’t know about you, but every time we pack our lenses for travel, we think, this would all be a lot more enjoyable if the case looked like a burrito. So imagine our delight when we came across Photojojo’s “photorito” lens wrap! The case has over 3,300 likes on Facebook, so you know it must be tasty.

Photo via Photojojo

Photo Ties - $29.95

This concept is pretty simple: upload a photo and they’ll print it on a tie for you. What better way to market your photography than to wear it around your neck!

Photo via zazzle.com

Camera Fan - $9

One of the worst things that can happen to photographers is not having enough random toys and gadgets to show off the fact that you are a photographer. Prove it to them during the hot summer months with this camera fan – simply remove the  lens and reveal the miniature fan to cool them down. Viola!

Photo via brando.com

Sling Shot Cam - $?

You know when you’re taking portraits, and your subjects don’t give you the best “I’m scared!” reaction? Thank goodness for Sling Shot Cam – it makes taking pictures of your startled subjects more fun and authentic! The slingshot doesn’t actually shoot anything, so don’t worry about causing any harm. The strings are equipped to sense the vibrations and activate the shutter. Then the small preview screen lets you see the frightened faces of your subject. Perfect for original kids’ portraits.

Photo via Yanko Design

Doggie Camera Pattern T-Shirt - $10.99

Make sure your pet pooch is outfitted with this stylish camera coat. Just beware that if you have a golden-colored dog, the bright yellow might clash a bit. That’s the  price you pay for high fashion.

Photo via CheePet/Amazon.com

Vintage Camera Bookends - $73

With these camera-themed bookends, you pretty much have no excuse to avoid organizing your bookshelf. What’s that you say? You don’t buy books anymore? You read everything online or on your tablet? Well, then  keep them around so you remember to tell you grandkids stories about how things used to be printed and there were companies who thrived off the print publication industry. Now that’s vintage!

Photo via Universal Lighting and Decor/Amazon.com

Retro Camera Card Sleeve - $?

You can’t fit your DSLR in your pocket, so your next best option is to carry around this card sleeve printed with an image of a “retro” camera. Because film cameras are considered retro now, it seems.

Photo via TheCuriousCaseLLC/Etsy.com

Caught on Camera Tape Dispense (no longer available)

Place this tape dispenser next to your desk and look longingly at its realistic wooden body while you edit, thinking, “I could be shooting with such a beauty instead of stuck inside staring at it next to my computer screen for hours on end.”

Photo via ModCloth

Leopard Camera Strap - $35.99

For the feisty photographer in your life!

Photo via precision-camera.com

“Keep Calm and Instagram” Poster - $15

The “Keep Calm” poster phenomenon started as “Keep Calm and Carry On” and exploded from there (Keep Calm and Stay Strong, Keep Calm and Eat A Cupcake, Keep Calm and Love Dogs, Keep Calm and Love Elvis, etc.). So it makes perfect sense that someone would think to add “Keep Calm and Instagram” to the list. What better to do in a crisis than document it with your phone, apply an art filter, and share it with your entire network?

Photo via Luulla

Source: Sports Illustrated

If you saw coverage of AFP, Getty, Reuters or AP’s robotic rigs, then you might be saying to yourself, “So what?” But here’s the stickler: Sports Illustrated was the only publication to have a robotic rig at the Olympics. SI has always been at the forefront of developing technologies, and they’re committed to getting a unique perspective of whatever they’re covering. So the fact that they’re investing in this technology and paving the way for usage at other events is a big, big deal.

We spoke with Erick Rasco, Deputy Picture Editor/Technology at SI to get an exclusive look at how the robotic rig came together, and discuss what this approach means for photographers.

What was the motivation behind investing in the robotic rig? 

At the 2012 Summer Olympics, there’s one indoor venue – the Excel Center – that din’t have a catwalk, meaning there was no place for photographers to walk around and capture the events. The Excel Center was one of the largest indoor venues at the Games, where events like Weight Lifting, Taekwondo, and Judo took place. So we needed a robotic overhead remote that could zoom, tilt, focus, etc.

This was new territory for us and was a large undertaking.  While robotics had been used during test situations leading up to the games, the Olympics were the highest profile live event in which robotics were used.

What does this thing actually look like?

SI had four Nikon D4 cameras with 24mm-120mm f/4 and 70mm-200mm f/2.8 lenses attached to a 2.5ft long rig, built by Mark Roberts Motion Control, on the arena’s ceiling. That’s connected with Ethernet cables to a joystick-like console that allows us to move the unit around on its head – giving us not only the ability to pan, tilt, and zoom, but also an additional axis that allows us to roll. The roll capability special to our rigs really allowed us to maneuver the camera into unique positions.

Source: Sports Illustrated

Source: Sports Illustrated

The cables are also connected to the motors around the Nikon D4 lens, so we can zoom and fire the shutter. All this information is fed to a laptop containing Nikon proprietary software, allowing us to control camera settings, live view the field of play, and capture.

Source: Sports Illustrated

How different was setting up a shot with the robotic rig from being on the ground?

Well, it allows for a really unique, overhead perspective. I tended to frame the camera, pick a focus point, and wait for the action – much like with a static remote. However, with the robotic solution I was able to record and program various positions at different angles and focal lengths. All at a touch of a button, thus allowing us to quickly re-position and focus the camera as needed. So with robotics we were able to easily try out a variety of different angles with little risk or effort. If an angle didn’t work, we could quickly adjust.

Photo by Erick Rasco

Photo by Erick Rasco

Photo by Erick Rasco

I probably took about 2,000-3,000 frames over the course of all the events. We ended up publishing a few in the Sports Illustrated Olympics app for the iPad and one in the magazine. For SI at least, one shot can often say it all.

Photo by Erick Rasco

Photo by Erick Rasco

Do you think these kinds of technologies have implications for photographers?

Yes, it’s a very different way of shooting and operating a camera. You’re sitting in the stands with a laptop and joystick on your lap fully operating a camera without physically touching the camera, pressing the shutter, or looking through the view finder. It’s a totally different feeling.

We want to try working with other organizations in the U.S. to try to make use of the robotic rig and come up with different angles. Now that we have the technology, it opens the door to a lot of other possibilities.

Photo by Erick Rasco

What do you think about these new robotic technologies? Leave your opinions and questions in the comments.

Shawn got his start working for commercial photographer Jeff Sacks, based in the suburbs of Philadelphia. Sacks and Corrigan were both alums of the Antonelli Institute, and had mutual friends through Shawn’s uncle. From the beginning of his career, it was apparent to Shawn just how important mutual friends and personal connections are in the photography industry.

The very first day on set assisting Jeff, he also realized how little he knew despite his specialized photography degree. Echoing the same sentiment as many of his peers, he admits he learned far more in the field than he did in the classroom. He stayed on with Jeff for a while, traveling both for photography assisting and shooting on his own. At some point, he decided to make the major move to New York City.

“One connection to one person ended up with me having a pretty strong photography assisting career in New York, ” says Shawn. “The one thing that people don’t realize is that the world is so tiny, everybody knows everybody.”

Shawn started out as a second photography assistant and worked his way up from there. “I’m like-minded with a lot of people I work with, so before they ask me for something I’m handing it to them,” he says. “When you are around, it gives them peace of mind, and they can just think about being creative.”

He also brings one of those “everything but the kitchen sink, plus the kitchen sink” bags to set. As the resident helper/problem-solver, Shawn says that you will definitely need a kit. As for what you need to put in your bag, tool belt, or backpack, the two things assistants absolutely must bring to every shoot are a leatherman and a light meter. Below is a checklist of additional items you should consider packing:

Items from Shawn's tool kit

In his 10 years of working, 2011 was the first year where the majority of Shawn’s income did not come from photo assisting. But, he is not quite done with it yet. When asked to describe what he has learned from assisting Shawn says, “There’s so much. Right now, a really great thing is that it’s still teaching me. That’s why I keep doing it. As you get older, you start developing these really great relationships with your photographers and they start sharing insights with you that you would never, ever see otherwise.”

Takeaways

• You are ultimately there to put the photographer at ease so he/she can focus on the creative.
• While on set, always be asking yourself, “What if?” and “What’s next?”
• Your entire assisting career can start with one person. Don’t miss any opportunity to make a connection.

Shawn Corrigan is just one of four photography assistants that we profiled in The Photo Assistant’s Handbook. Get more insights on how to succeed as a photography assistant in this free guide.

How To Shoot A Reportage by Enzo Dal Verme

PhotoShelter member Enzo Dal Verme recently released his book, How To Shoot A Reportage, which is his version of a how-to for professional reportage photographers. Included are beautiful examples of work from his archive. Congrats on the new book Enzo!

Top photo book of 2011 – National Geographic

For the second year in a row, National Geographic published the best-selling photo book in the U.S., according to Nielsen BookScan. Simply Beautiful Photographs  is a collection of images from National Geographic’s archive, edited by their award winning photographer Annie Griffiths. Read more in PDN’s article Top Photo Books of 2011.

Ex-paparazzo uses guerilla skills to photograph your proposal

James Ambler was your traditional paparazzi photographer who spent his time chasing down celebs like Angelina Jolie. The stress of the job gave him a heart attack – literally. So he quit the business and applied his skills to the greater good: photographing proposals. Pap The Question is his new business endeavor where you can hire their photographers to record your special moment without your partner ever knowing. James was on the Today Show, so we know it’s legit, right?

Help-Portrait gives photos to people in need

Celebrity photographer Jeremy Cowart founded and started Help-Portrait, a community of photographers who use their photo skills to give back to the local communities. We interviewed Jeremy about Help-Portrait last year, and they’re back at it again this year. The idea is to use Help-Portrait’s network to team up with other like-minded photographers and give families in the need the chance to have their portrait taken. The initiative is going strong through December – find out how you can get involved here.

New app by the makers of Instagram

By now you know that Instagram has taken over the world of phone photography. Now the same manufactures have released their newest app – the Hipstamatic Disposable. This free app let’s you create a virtual “D-cam” that looks like a futuristic disposable camera (if such a thing were possible) and share it with you Facebook friends. Here’s the catch: as you would expect with a real disposable camera, you can’t see the pictures until you’ve finished the roll of film. So you and your friends must take 24 pictures using the app before you can see the results. Kind of a sappy but delightful trick.

Pocket Projector for iPhone 4

As part of its 12 days of Netted – Webby’s version of daily holiday gift deals – they partnered with Brookstone to get you 25% off the iPhone 4 Pocket Projector. It’s a neat little dock for your phone that let’s you project images on any surface, and even has build-in speakers for audio entertainment. A gift for the super tech nerds. Click from Netted to see the deal.

We decided to ask a few of our friends – here’s a hint: You’re gonna need that black card to help finance these goodies…

Robert Seale

Eizo ColorEdge CG275W 27 inch Widescreen LCD Display Monitor with Hood, 2560 x 1440 Native Resolution, Black - $3,389

“New badass Eizo or NEC 30″ monitors….why? Because my 30″ Apple is aging rapidly, and seems to be harder to calibrate these days……”

Vincent Laforet

CN-E30-300mm T2.95-3.7 LS – $47,000 (estimated)

“I’d ask for [the new Canon CN-E30-300mm cinema lens] –  in PL mount – you could travel the world with this one Zoom lens and a few wide primes and be set for life…” This, of course, assumes you already have the $20,000 EOS C300 cinema camera.

David Bergman

Elinchrom Ranger RX Quadra, S Head ” TO GO ” Standard Set EL10292.1 - $1,424.95

“I could use a set of Elinchrom Ranger Quadra packs, heads, and light modifiers. For my portraits, I currently shoot with either Nikon speedlights (they’re lightweight and travel easily) or Dynalite packs and heads (for bigger jobs that require more power). The Quadras are tiny and still pack a lot of punch with fast recycle times.”

Keith Bedford

Nikon D800 (not yet announced)

Nikon 24mm f/1.4G AF-S ED Wide Angle Auto Focus - $1,999

Apple iMac 27 inch All-in-one Desktop Computer with 3.4GHz Intel Core i7 Quad-Core Processor, 8GB Memory, 2TB Hard Drive, Two Thunderbolt Port - $2,799

“I wish Nikon would get with it and release the D800 or something comparable to the 5D Mark 2. I have been doing as much video as stills lately and it gets old borrowing my wife’s Canons. Since I have been a good boy this year, if Santa brought me one of those as well as a 24 1.4 I would not complain. I shoot almost all available light so I really appreciate the fast aperture. Lastly, Santa, can you bring me a 27″ iMac? Final Cut on my laptop is killing me.”

David Burnett

Vintage Speed Graphic 4×5, price varies

Apple iPhone 4s, price varies

“I know it’s just a matter of time until some genius fabricates a 4×5 digi back for my Speed Graphic…but I guess for now I’ll have to wait.” — Sent from my Android phone with K-9 Mail

I responded, “You don’t even want an iPhone? ;)”

To which he cheekily replied, “Of course I do…I’d settle for a 4s even…”

Brad Mangin

Canon EF 400mm f/2.8L IS II USM - $11,499

 ”My 400 is 13 years old and this new version of the 400 2.8 is supposed to be way lighter and much sharper. The old lens was made for film cameras and today’s digital cameras are too good for the old lens. Too many imperfections come out in the pictures. This is why I want the new lens. It is made for digital cameras and it would be sweet if there was one under my Christmas tree this year.”

Emiliano Granado

Leica M9 Digital Rangefinder Camera Body, 18mp with 24 x 36 mm Format Sensor – Steel Gray Paint - $6,995

Fujifilm Finepix X100 Digital Camera, 12.3 Megapixels, Supports SD/SDHC/SDXC Memory Card, 23mm F/2 Lens, 2.8 inch LCD Monitor - $1,199.95

“Leica M9, please. Or if it needs to be a smaller purchase (Santa’s on a budget?) the Fuji X100.”

Melissa Lyttle

Hasselblad 501CM - price varies

 ”I’ve been drooling over a Hasselblad 501 CM (and the one in red leather really makes my heart skip a beat!). I’m just ready to slow down, get back to analog, and see the world in a different format for a little while.”

Jim Goldstein

Kessler Shuttle Pod Kit - $670

Oracle Control System - $999

Red Epic-M Package - $58,000

“Other than a device to control time to get more work done during my day, I’d opt for an upgraded Motion Control system perhaps the Kessler Shuttle Pod Kit with an Oracle Control System and a RED EPIC camera to mount on it.

“I enjoy intermixing video and still photography together for some projects, and the quality of the Canon 5D Mark II video is not quit everything I’d like. Being able to take that to the next level would be a huge perk, especially in conjunction with a precise motion control system.”

Todd Owyoung

Red Epic-M Package - $58,000

Red Pro Prime Set - $19,000

“A Red Epic-M package with the Red Pro Prime kit of 25mm, 35mm, 50mm, 85mm and 100mm T1.8 primes. The confluence of still and motion capture is here, both in terms of technology and client needs – might as well be prepared. Besides, anything with a sensor called the “Mysterium-X” is something I want to shoot. I’m surprised the camera isn’t made out of Adamantium.”

PhotoShelter Annual Pro Plan – $549.99

It’s a steal compared to the following gifts! And what would you do with a fancy new camera or lens if you didn’t have a professional website where you could actually display and sell your images? We also have two other plans, Basic ($109/year) and Standard ($329/year), or pay monthly – the choice is yours. Head over to our new tour page to learn more about what PhotoShelter can do for your business.

FujiFilm FinePix X10 Digital Camera – $599.95

This digital point-and-shoot is the latest addition to the enthusiast photographer’s camera options. Its specifications follow in the footsteps on the beloved FinePix X100 released last spring, with a newly developed F2.0 wide-angle and F2.8 telephoto, a bright optical viewfinder with a manual barrel zoom lens, and large 2/3″ 12 megapixel EXR CMOS censor to provide sharp images in all shooting conditions. Plus, it’s all nicely packaged in strong but lightweight magnesium alloy (so stylish!).

SeaLife DC1200 Elite Underwater Camera – $739.95

Sooner or late, underwater photographers reach a level in their photography where an external flash becomes necessary to produce the best photos. For that there’s SeaLife’s DC1200 Elite Underwater Camera, which includes the camera itself, as well as a wide angle lens and Digital Pro Flash. The result is brighter, sharper, and better colored images.

64 GB iPad 2 with Wi-Fi + 3G – $828.95

We’re not going to get into a discussion here about whether an iPad is worth the investment for photographers (though we will share this with you), but it’s certainly an option for displaying your portfolio and website during in-person meetings. There are also some nifty things you can do, like connect your digital camera or SD card adapter via the USB adapter for when you’re on the road.

Cinevate Atlas 10, 35in DSLR Slider – $829

If you’re someone who takes initial setup into serious consideration, then this slider could be a lot of fun for your next photo project. Sure, you can lay it horizontally on a flat surface and use the smooth ball bearing system for angled shots. Or…you could take advantage of the pulley system: position the slider vertically, attach it to your tripod for added elevation, and then slide your camera up and down for some really creative shots.

Sony NEX-7 – $1,199.99

The Sony NEX-7 is making all other DSLRs envious. This camera exceeds expectations – it is one of only a few mirrorless cameras with an APS-C sized sensor and features up to 10fps continuous shooting at an astonishing 24.3 MP resolution. Add on amazing HD movies in super-smooth 60p, interchangeable lenses, a 2359K dot Tru-Finder OLED electronic viewfinder, and a Sweep Panorama Mode, and we’re close to saying that this baby has it all. Did we mention it’s also small enough to fit into your pocket? Commence drooling now.

Canon EF 400mm f/5.6L USM Super Telephoto Lens – $1,339

Believe it or not, this lens is a good deal. It produces sharp images with great color, saturation, and contrast. We’d recommend that you use it with a sturdy tripod or monopod for best results.

Nikon 200-400mm f/4G ED BR II Lens – $6,999

This is a fantastic super-telephoto zoom lens – particularly great for wildlife and sports photography. Its powerful  200-400mm zoom offers photographers superior compositional control at a variety of distances, while the lens design provides superior sharpness with minimal chromatic aberration even at wide aperture settings. It’s also much more compact and light-weight than competing f/2.8 primes.

Broncolor Para 330 FB, 130″ Parabolic Umbrella - $10,732.53

Nothing says happy holidays like a light big enough to cover a Christmas tree. The Para 330 FB, Broncolor’s flagship modifier, provides photographers with a highly efficient, directional light that maintains a beautiful soft edge.

Profoto Pro-8a 2400 Air Power Pack, 2400Ws – $12,344

One of the most sophisticated pieces of lighting equipment money can buy, Profoto’s Pro-8A 2400 Air Power Pack delivers 2400Ws with blindly fast recycle times of 0.05-0.9 second, flash duration as short as 1/12000 second and the ability to shoot up to 20 frames/second.

Canon Cinema EOS C300 – $20,000

If you’re serious about cinematography, check out the specs on this baby: Super 35mm-equivalent approx. 8.29-megapixel CMOS sensor, EF lens mount supported by a wide array of high-performance EF lenses, MPEG-2 Full HD compression, compact body design, and more. The EF mount will be available in January and PL mount in March.

Hasselblad H4D-60 Digital SLR Camera - $39,995 (Body Only)

Hey, we said no limits, right? 60 Megapixels, 40.2 x 53.7 mm CCD image sensor with 16-bit color, ultra-fast focusing, flash sync speeds up to 1/800th of a second, 3″ double-res TFT 24-bit color display. ‘Nuff said.

 Be on the look out next week for our gag gifts selection!

Datacolor SpyderLensCal Focus Tool – $54.50

Not sure whether your camera or lens is performing to its full potential? The SpyderLensCal could benefit from a catchier name, but it’s a reliable tool for measuring the focus accuracy of your camera and lenses. You spent a boatload of money on your equipment, so you might as well be sure that it’s working at its peak performance.

Phottix Strato II Wireless Trigger System – $57

“Fast, sexy, and powerful,” says Phottix of their second generation wireless trigger. It features excellent build quality, four channels, four groups, and a 150 meter range. Canon, Nikon, and Sony versions are available, but check for your specific camera model.

Joby Gorillapod SLR – Zoom - $73.25

Should you trust your precious (and expensive) camera to the Joby Gorillapod SLR-Zoom? Simply put, yes. While earlier and smaller version couldn’t carry the weight of DSLRs, the Gorillapod SLR-Zoom is made specifically for larger and heavier cameras. If you’ve ever wondered what kind of shot you could get by hanging your camera from a tree branch, bookshelf, or other weird angle, then the Gorillapod is the answer – you can bend and twist the tipod’s gripping legs to grasp on to whatever. If attaching cameras to cliff sides isn’t really your style, it’s still a great go-to tripod that’s easy to pack, light weight, and has a full 360-degree ball head.

FujiFilm Instax Mini Instant Cameras (with film) –  $90-140

This gift is for the fun-loving photographer: FujiFilm is selling these cute little cameras that print instant credit card-sized photos on Fuji film, that still look and feel like analog (because they are). They’re a little like Polaroid’s hip cousin, and awesome to whip out at parties or keep in your car for whenever-you-want-it photos.

Black Rapid Double Strap – $129.95

Carry two cameras and still stay hands-free with Black Rapid’s double strap. It’s super comfortable and evenly distributes your load’s weight – perfect for those longs days when you’re struggling to take a bunch of equipment.

Image from Amazon

Sigma EF-610 DG ST Show Mount Flash - $149

This shoe mount flash is the newest addition to Sigma’s line and designed to work with all major SLR cameras. It’s said to be the most powerful yet, with a Guide Number of 200ft/61m and illumination that covers a focal length up to 105mm. It also features TTL auto flash exposure control for easy operation, and 90-180 degree rotation right-left and 7 degrees tilted down. A powerful tool for serious photographers.

Induro CM34 Carbon Fiber Monopod – $152

There are times with a full-fledged tripod is too cumbersome and can’t get the job done. In those times you need a simple but stable monopod. This one from Induro is made with fancy materials (magnesium alloy! carbon fiber!) that make it one of the strongest and most durable. Great for heavy lights and telephoto lenses. Also consider adding the monopod head to your list for full 360-degree control ($245).

Polaroid Grey Label Instant Mobile Printer – 169.99

The next generation of instant printing is here, and it’s being brought to you by Lady Gaga. No, seriously – Lady Gaga was named creative director of Polaroid in early 2010 and has since designed a line of Grey Label products. Among them is this Bluetooth-compatible printer that can print full-bled 3×4″ photos right from your mobile device and most digital cameras. It’s a neat way to bring the instant gratification of photo booth prints into the tech-obsessed era.

Adobe Photoshop Lightroom 3 – $179.95

If you haven’t done so already, it may be time for an upgrade. Key features remain the same: non-destructive editing, comprehensive importing, and offline library management. New improvements and additions in this third version include faster operation, better noise reduction, new import dialog, new RAW processing engine, and support for video files (though just for organization purposes, no editing).

Image by dpreview.com

X-Rite iDisplay Pro & MOnitor Calibrator – $249

Have you ever edited a photo to what you thought was its optimal color, only to print it off and realize that your computer monitor wasn’t properly calibrated? Don’t let this happen to you! Invest in a monitor calibrator, like this one from X-Rite, that’s made especially for pro photographers who require exceptional color accuracy.

Image from X-Rite

Think Tank Shape Shifter Backpack – $249.75

Let’s get serious about traveling with all that gear. Often times, the problem is that you’re either traveling with your laptop, multiple cameras, tripod, flashes, etc. or just a laptop – and you don’t want to have to switch bags just because you happen to be carrying more or less that day. The Shape Shifter backpack is a great option because it can be expanded or contracted to fit your equipment. There’s also pockets galore to fit all your little goodies.

 Manfrotto 1004BAC Master Light Stands - $299.90

This package actually includes 3 12-foot light stands, and you can be confident that they will support your lighting equipment. What makes the 1004BAC special is Manfrotto’s patented Quick Stack System which enables each stand to fold flat, allowing for easy storage and transport. It may be one more piece of equipment to lug around, but at least it packs nicely.

PhotoShelter Annual Standard Plan – $329

60GB of storage, customizable design, full e-commerce options, unparalleled SEO tools… What more could you want for the holidays? Head over to our new tour page to learn more.

Think Tank Airline Carry On – $349.75

Another option from Think Tank Photo – this one is definitely more expensive, but takes all the stress off your back and shoulders, and obviously packs more. The Think Tank Photo Airport International 2.0 is widely regarded as the best carry-on-sized roller on the market.

Wacom Instuos4  Digital Tablet – $349.95

If you do any kind of precision editing, then you need the Wacom Intuos Tablet. It’s fast, easy, and puts less strain on your wrist than working with a mouse all day. The tablet comes in three sizes: small, medium, or large. We recommend the medium for most photographers.

Panasonic Lumix DMC-LX5 – $369.95

If you’re looking for a digital point-and-shoot for under $500, Panasonic’s Lumix DMC-LX5 is a good option. It’s compact and has plenty of external controls, which makes it a good choice for the budding photography enthusiast. This latest version in the LX series has a fully re-designed lens – a nice 24mm Leica Vario-Summicron lens.

Plustek Opticfilm 7600I Ai – $388.95

Anyone who’s seeking professional-quality film to digital conversions needs to invest in a top-notch scanner like this one from Plustek. Its high resolution, 7200 dpi film scanner and LED light sources gives you max image quality (even eliminating most dust and scratches). Plus, it’s designed for both the experienced and amateur: photographers who have experience scanning film can use real-time controls, while amateurs have the option of fully automated functions.

Lytro Camera - $399-499

It’s one of the most talked-about products this season…Claiming to build camera products that “transform light field technology from a scientific theory into a reality,” Lytro‘s camera captures the entire light field, meaning that you can focus and re-focus after you make the shot. We have to wonder, will light field technology take the skill (and fun) out of photography?

Stayed tuned for Part 3 in the Holiday Gift Guide,

*Unlimited Spending*!