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Chris Gampat The Phoblographer Sigma 24-35mm f2 with Metabones on Sony a7r Mk II (4 of 14)ISO 16001-4000 sec at f - 5.0

Adventure photographers are ones that trek out into the great outdoors to, well, quite honestly seek adventure and document it as they go along. They capture epic landscapes, camp out in the woods, and need to rely a lot on their gear. Think of them as the new type of landscape photographers who may also incorporate some sort of awesome sports coverage or even capture scenes from death-defying angles.

Here’s what photographers like those need to get through the trek.

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Chris Gampat the Phoblographer Sony Rx100 Mk III and Canon G1x Mk II comparison (1 of 7)ISO 400001-60 sec at f - 1.8

Building on a piece that Managing Editor Julius Motal wrote recently is the idea that the point and shoot market is slowly dying out. Yes, it indeed is–but it’s really at specific levels. Superzooms, underwater and premium point and shoots seem to still be doing very well due to the way that they provide advantages over a phone. A larger sensor? Yup, that means better image quality potential (notice how we say potential because of the fact that it’s still about the content of the image that matters). A zooming lens? That can help you get so many photos that may be otherwise tough to do.

And like we saw with the National Geographic contest mentioned in Julius’s piece, this has been the status for years. Cameras and modern editing software are more than good enough in the right hands of a creative with a vision. Considering that many photographers make a living off of using their iPhone and Instagram, it makes sense. But this isn’t necessarily because the technology has become better.

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Chris Gampat The Phoblographer Tap and Dye Horween CXL Camera Strap product images (3 of 8)ISO 4001-40 sec at f - 2.8

“Needless to say, quitting my jobs and putting myself back in school was quite stressful. To cope with the stress I would walk around Manhattan.

At some point, I wanted a way to capture the New York City I was falling in love with during my walks. Still too broke to even afford a smartphone, I bought a $79 point and shoot off of Amazon (which arrived partially broken!) and started to take photos with it on every walk.”

These are the words of photographer Vivienne Gucwa in an interview we did with her, and they’ve absolutely never been more true for so many photographers who become very stressed out by life. For many, photography is an escape–it’s a place where they can create a world of their own, capture things in a different way, and most of all focus on something else completely different from the world around them.

Photographers of all types should go on photowalks–and this ties into something even larger. When someone is filled with lots of negative energies, channeling them into something positive can always help, and in this case, channeling those energies into something that help the person become more creative and results in a positive outcome for the photographer no matter how small it is.

Beyond this, it’s been proven that walking promotes creativity. You’ll get more ideas, you’ll have new interactions, and you’ll even encounter and learn totally new things. If you’re a photographer, this is invaluable. Photowalking with a friend gives you even more value. Photographers can feed off of each other’s energies, work together, and find new and interesting perspectives.

If you’re the type that needs to face down the stress (and there are loads of you), then do it. But the lingering effects can be turned into positive creative energy just by taking a photowalk.

Chris Gampat the Phoblographer Olympus 7-14mm f2.8 first impressions photos (17 of 19)

When it comes to painting with light, what photographers obviously need are tripods, a camera capable of manual operation, lights and a creative vision. Lots of photographers use tools like flashlights, light sabers, and industrial worklights–but there are so many other tools out there that you can get your hands on. These tools will also let you create more intricate designs and will let you have lots of fun while doing it.

In the end, the goal is to look at an image with a sense of excitement at what you’ve created. Here’s what you need.

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(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

All images are copyrighted and used with permission by Bruce Gilden/Magnum Photos.

There has been a great deal of ballyhoo around Bruce Gilden’s latest work, from his two-day stint in Appalachia for VICE to his upcoming book Face. The latter of the two comprises 50 portraits Gilden took over the past several years, and one of the most interesting things about this is that he got permission from every single person. Most of Gilden’s oeuvre consists of images made very close with a flash in hand, which you can see a demonstration of in several videos. Gilden’s work often yields polarized reactions with no real middle ground, and while Face stands apart from most of his work, it’s caused the same spate love-it-or-hate-it reactions.

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Chris Gampat The Phoblographer Samsung 50-150mm f2.8 OIS review product images (2 of 10)ISO 4001-40 sec at f - 5.0

On the heels of our roundup of best mirrorless cameras for photojournalists, we thought we’d complement that piece with a roundup of the best lenses to go with those cameras. The go-to focal ranges for many years have been 24-70mm and 70-200mm with Canon L glass being the crème-de-la-crème with a price to match. Thankfully with time, the equivalent focal range zooms have arrived for various systems, though not all photojournalists work with zooms. Here, you’ll find a mix of primes and zooms.

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