Multiples of Same Camera (w/ diff lenses) in the Past for PJ?

[Photojournoguy]

Advertisement (gone after registration)

This is totally theoretical as it doesn’t apply to me - a Leica enthusiast/hobbyist - but has been on my mind lately.

I’ve heard from different famous photojournalists over the years (Ted Grant being one of them) that ‘back in the day’ they had 2-3 of the same Leica with varying primes attached to each (35 and 75 or beyond). All designed to tell a cohesive story with different perspectives without missing a moment. The smallest focal length on the smallest strap near their chest and longer one hanging by their stomach, both around the neck.

That was also with 24 mp or far less. At least in my case in thinking about doubling my M10M at a ridiculous 40 mp, is this way of thinking as old as those who have used it? I’m small minded I suppose and don’t know what pro photojournalists do in such cases when they don’t use the latest mirrorless.

But at 40 mp or 24 or anything that’s substantial, disregarding cost, is this even relevant? Would you just crop a 35mm to make it 75 or even 90 and tote only one body around vs multiples of the same one, when the goal is a diverse but cohesive body of work/short or long term photo story?

I personally dislike substantial cropping (not including horizon straightening in this), so even if the sensor can handle extreme cropping, I love to frame as needed in camera. Part of the exercise and enjoyment of photography for me, so I would buy two of the same body and use 35/90 for example.

Whether you’re a pro or enthusiast, hope what I’m saying makes any sense. If it does, what do you think?

[Advertisement]

The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[lct]

Does make sense indeed. I can't even imagine how anybody can compose with cropping in mind. But i'm old enough to have known those PJ's who used to carry 2 or 3 bodies with different focal lengths. Younger photogs prefer using zoom lenses and "composing" so to speak by cropping in PP. Only the results count they say, proud as they are of keeping the same perspective instead of zooming with their feet. O tempora O mores .

[Photojournoguy]

24 minutes ago, lct said:

Does make sense indeed. I can't even imagine how anybody can compose with cropping in mind. But i'm old enough to have known those PJ's who used to carry 2 or 3 bodies with different focal lengths. Younger photogs prefer using zoom lenses and "composing" so to speak by cropping in PP. Only the results count they say, proud as they are of keeping the same perspective instead of zooming with their feet. O tempora O mores .

Ha I just learned a new phrase, thank you! I’m a contrarian younger-ish person then (well, now mid-30 at least).

I know I said money notwithstanding but I figure someone might try a single body method to save costs. Or otherwise those who say ‘my favorite picture is from my 8 mp camera, this camera can totally shave off 80% of the frame and be viewed from billboard distance.’

Creatively it sounds unfun and difficult to knowingly frame for a harsh crop but I guess everything would just intentionally look ‘zoomed out’ when framing to cut later.

If two cameras, what has been the focal lengths you’ve seen most commonly? My guess is a 35 by default (if you think that’s accurate), but what about the longer lens? Or in the case of three bodies, 28 - 75 - 100-ish?

Have you also seen this two or three body set-up by photogs of any age with today’s more modern sensors vs. back in the day?

At this point I’m just hoping for more great latin expressions!

[lct]

Modern photogs i know are those i used to hire and they all used zoom lenses. Same for me when i shot for my job TBH. But i only shot technical (legal) photos then so i won't be of any help for you i fear. In the past i have seen various combinations of focal lengths (21+50, 28+50, 35+75, etc.) You'll get better answers from pro photogs of this forum.

[Sailronin]

3 hours ago, Photojournoguy said:

This is totally theoretical as it doesn’t apply to me - a Leica enthusiast/hobbyist - but has been on my mind lately.

I’ve heard from different famous photojournalists over the years (Ted Grant being one of them) that ‘back in the day’ they had 2-3 of the same Leica with varying primes attached to each (35 and 75 or beyond). All designed to tell a cohesive story with different perspectives without missing a moment. The smallest focal length on the smallest strap near their chest and longer one hanging by their stomach, both around the neck.

That was also with 24 mp or far less. At least in my case in thinking about doubling my M10M at a ridiculous 40 mp, is this way of thinking as old as those who have used it? I’m small minded I suppose and don’t know what pro photojournalists do in such cases when they don’t use the latest mirrorless.

But at 40 mp or 24 or anything that’s substantial, disregarding cost, is this even relevant? Would you just crop a 35mm to make it 75 or even 90 and tote only one body around vs multiples of the same one, when the goal is a diverse but cohesive body of work/short or long term photo story?

I personally dislike substantial cropping (not including horizon straightening in this), so even if the sensor can handle extreme cropping, I love to frame as needed in camera. Part of the exercise and enjoyment of photography for me, so I would buy two of the same body and use 35/90 for example.

Whether you’re a pro or enthusiast, hope what I’m saying makes any sense. If it does, what do you think?

You do realize that most of the time those were film Leica's, back in the day of multiple cameras around the neck. Cropping 35mm film has limitations hence the cameras with different focal lengths.

In the digital age most carry zoom lenses.

Edited February 28, 2022 by Sailronin

[Photojournoguy]

24 minutes ago, lct said:

Modern photogs i know are those i used to hire and they all used zoom lenses. Same for me when i shot for my job TBH. But i only shot technical (legal) photos then so i won't be of any help for you i fear. In the past i have seen various combinations of focal lengths (21+50, 28+50, 35+75, etc.) You'll get better answers from pro photogs of this forum.

Thank you kindly! Any of the modern ones with Leicas or all mirrorless/equivalent in that case?

[Photojournoguy]

Advertisement (gone after registration)

6 minutes ago, Sailronin said:

You do realize that most of the time those were film Leica's, back in the day of multiple cameras around the neck.  In the digital age most carry zoom lenses.

Surely film it was, no doubt! I am thinking specific to Leicas being used now in same fashion they were 50 years ago like that with today’s modern sensors.

Anyone with a mirrorless (even the compact ones) I imagine would go zoom vs. a few (small) Sony A7-whatever with primes for both weight/ease of mobility and to embrace the latest and greatest tech that’s out there (eye lock-on, etc).

On top of that Leica offers the under-the-radar quality/tiny size with primes that could be helpful in photojournalistic work, which I think shouldn’t be undervalued.

Besides the sensor quality, the M works today just as it did back then, so anyone interested in sticking with the M ecosystem can pursue the same multi-identical body/prime path if they want the Leica experience.

[glenerrolrd]

I ve always worked with two matched M bodies on the street .  They have to be perfectly matched and set up for me to feel comfortable .  So its been two M6 ,two M8,two m8.2 ,two m9 ,two M240 ,two M10 ,two M10M and now one M11 .  Waiting on 2nd M11 body .  

After years of trial and error ...I use the 28/1.4 Asph on one body and the 50/1.4 Asph on the other .  I typically bring either a 90 or 21 in a jacket or light vest (no bag if I can help it).  Good light F5.6 ,1/250 and auto ISO .  Lenses set at 10ft to start .  

New considerations : 

         Probably can not wander the streets carrying two M11 s without getting mugged .  So I will use an old Green Army Surplus messenger bag . This will allow me to put away my gear on a subway or a doggy area.  I try to shoot with a buddy or  hire a local photographer to go with me .  

       Digital zoom offers greater flexibility .. to be able to get a (50 x.13) = 65FOV and still have 39MP is really helpful .  In the VISO you will see 50 as the full view with a bright line outlining the 65MM FOV .  Or using 90MM call up the 1.8x and have 18MPs of a 150MM FOV.  Based on y experience with the Q2 this can be very effective. 

      I don t know if I will be able to work well with an VISO on one body and just the RF on the other .  So I would probably be working with two set up as RF cameras and then use the VISO in specific situations . 

     You can make a good argument to start with a 24MM because you have the MPS to spare in post processing .  My number one reason for rejecting a file is poor cropping often clipping or issue on the edge .  This gets better with practice ,practice, practice .  

 

I can shoot 50% faster with two bodies than one ..but to develop a rhythm ..they need to operate and feel exactly the same .  A mixed set like a Q2 and a SL2 is not nearly as effective .  

  

[Photojournoguy]

34 minutes ago, glenerrolrd said:

I ve always worked with two matched M bodies on the street .  They have to be perfectly matched and set up for me to feel comfortable .  So its been two M6 ,two M8,two m8.2 ,two m9 ,two M240 ,two M10 ,two M10M and now one M11 .  Waiting on 2nd M11 body .  

After years of trial and error ...I use the 28/1.4 Asph on one body and the 50/1.4 Asph on the other .  I typically bring either a 90 or 21 in a jacket or light vest (no bag if I can help it).  Good light F5.6 ,1/250 and auto ISO .  Lenses set at 10ft to start .  

New considerations : 

         Probably can not wander the streets carrying two M11 s without getting mugged .  So I will use an old Green Army Surplus messenger bag . This will allow me to put away my gear on a subway or a doggy area.  I try to shoot with a buddy or  hire a local photographer to go with me .  

       Digital zoom offers greater flexibility .. to be able to get a (50 x.13) = 65FOV and still have 39MP is really helpful .  In the VISO you will see 50 as the full view with a bright line outlining the 65MM FOV .  Or using 90MM call up the 1.8x and have 18MPs of a 150MM FOV.  Based on y experience with the Q2 this can be very effective. 

      I don t know if I will be able to work well with an VISO on one body and just the RF on the other .  So I would probably be working with two set up as RF cameras and then use the VISO in specific situations . 

     You can make a good argument to start with a 24MM because you have the MPS to spare in post processing .  My number one reason for rejecting a file is poor cropping often clipping or issue on the edge .  This gets better with practice ,practice, practice .  

 

I can shoot 50% faster with two bodies than one ..but to develop a rhythm ..they need to operate and feel exactly the same .  A mixed set like a Q2 and a SL2 is not nearly as effective .  

  

Thank you so much for your insights - very … insightful honestly!

Yes my perspective is based on the premise that both or all bodies are fully identical (model, series, settings, etc), with a specific bias to the M (or Q I suppose too) as I can’t imagine anyone hanging two SL2’s off their neck (with lenses attached to boot). Basically the only differing quality would be the serial numbers. If I got paid and did this full-time, two identical M10Ms sound like a dream.

I must admit that I get what you’re saying with the second bullet of your new consideration, but I’ll read up on that further for it to really sink in with those specific examples. I haven’t been up to speed on all the tiny nuances of the 11, except of course the different shutter sound. Ha! I get the bigger picture though.

Two questions if you don’t mind:

- I get having the latest but will you sell or stop using the 10M’s with two 11’s in hand? Obviously the monochrome has a different output/tonality/etc so curious how you feel moving to the very latest but sacrificing the mono technical abilities as well as perceived visual nuances (with the endless shades of gray, etc). Or keeping two 11’s and two 10M’s and choosing a pair based on the day ahead type of thing?

- sounds like this is your full-time gig, so apologies if I’m distilling this too simplistically, but do you sell images or photo stories/essays? Or of course both? I ask because I’m curious if you have two bodies to shoot faster individual frames (with different perspectives of course) and therefore sell more overall work, or if you use both to tell a single cohesive story through a series of images (leveraging both lens FOV’s)?

[adan]

3 hours ago, Photojournoguy said:

hope what I’m saying makes any sense. If it does, what do you think?

I think:

1) there were additional reasons for carrying multiple cameras.

Backup: pros don't get to use excuses like "a tropical downpour (or a chunk of shrapnel, or a pushy cop or sports star) wrecked my camera." If one is carrying 2 or 3 cameras into the jungle in order to make sure one still has 1 functioning camera coming out of the jungle, one might just as well use them as rear lens caps in addition.

Multiple film speeds/types: Paul Fusco of LOOK would be shooting both Tri-X and Ektachromes simultaneously on some stories. Because a given story might rate the cover (in color), but conversions were expensive and/or poor quality back then (no scanners - every conversion required complex darkroom work).

Consistency with a lens (especially rangefinders): Rock photographer Jim Marshall said that once he got a lens that focused perfectly on a given Leica body, he never took it off again. Two factors to that - the factory tolerances with difficult lenses (fast 75s/90s/135s) were right on the ragged edge, so some lenses really did focus better (or worse) on certain bodies - and the act of mounting/dismounting lenses applies some force/abuse (and potential dis-calibration) on the RF roller-cam and levers.

(I still rigorously check every fast Leica M lens throughout its focus range on my own bodies before purchasing)

RF camera limitations: Most photojournalists post-1960 began shooting with both SLRs (Nikons primarily) for lenses longer then 50mm (often a 105 and a 180/200), and Leicas for the 50/35/28/21s. DDD shot in Vietnam with Leicas with 28/50, and a Nikon F with 200mm - Larry Burrows in similar fashion (Leicas for 28/50, Nikons for 105 and 200, plus a motor-driven remote Nikon F with a 21 Nikkor)

https://www.icp.org/browse/archive/objects/life-photographer-larry-burrows-attaching-cameras-to-helicopter-yankee-papa

BTW - the first Leicaflex 180/250s ("lead-lined" at 1325g or 1380g each) probably failed to crack the pro-journalist market as much because of their weight as their prices. (The two-element 400 Telyt f/6.8 (same weight as the 180 - over twice the reach) did better. DDD said it "handed me the 1968 political conventions on a platter." )

2) regarding today, with fewer such limitations, there remain some others.

Lenses and sensors are still not "infinitely" sharp: Every crop throws away lines of resolution, not just from the sensor, but also the lens. If you shoot a 28 that delivers 100 lpmm (extremely good - and rare) and crop it to a 75mm field of view (Q2), you're effectively using a "75mm" delivering only 37 lpmm, no matter how high the megapixels - pretty dismal. An uncropped 75mm will still outperform a "cropped-to-75mm" every time.

Personally, I compromise - I carry all the lenses (or some planned subset) so I don't have to crop. But I will work with just one camera unless "immediate backup" is a potential problem. Or I'll need something longer than 135mm, 1960's style.

Ice Climbing event, Ouray, CO, 2014.

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

[Photojournoguy]

7 hours ago, adan said:

I think:

1) there were additional reasons for carrying multiple cameras.

Backup: pros don't get to use excuses like "a tropical downpour (or a chunk of shrapnel, or a pushy cop or sports star) wrecked my camera." If one is carrying 2 or 3 cameras into the jungle in order to make sure one still has 1 functioning camera coming out of the jungle, one might just as well use them as rear lens caps in addition.

Multiple film speeds/types: Paul Fusco of LOOK would be shooting both Tri-X and Ektachromes simultaneously on some stories. Because a given story might rate the cover (in color), but conversions were expensive and/or poor quality back then (no scanners - every conversion required complex darkroom work).

Consistency with a lens (especially rangefinders): Rock photographer Jim Marshall said that once he got a lens that focused perfectly on a given Leica body, he never took it off again. Two factors to that - the factory tolerances with difficult lenses (fast 75s/90s/135s) were right on the ragged edge, so some lenses really did focus better (or worse) on certain bodies - and the act of mounting/dismounting lenses applies some force/abuse (and potential dis-calibration) on the RF roller-cam and levers.

(I still rigorously check every fast Leica M lens throughout its focus range on my own bodies before purchasing)

RF camera limitations: Most photojournalists post-1960 began shooting with both SLRs (Nikons primarily) for lenses longer then 50mm (often a 105 and a 180/200), and Leicas for the 50/35/28/21s. DDD shot in Vietnam with Leicas with 28/50, and a Nikon F with 200mm - Larry Burrows in similar fashion (Leicas for 28/50, Nikons for 105 and 200, plus a motor-driven remote Nikon F with a 21 Nikkor)

https://www.icp.org/browse/archive/objects/life-photographer-larry-burrows-attaching-cameras-to-helicopter-yankee-papa

BTW - the first Leicaflex 180/250s ("lead-lined" at 1325g or 1380g each) probably failed to crack the pro-journalist market as much because of their weight as their prices. (The two-element 400 Telyt f/6.8 (same weight as the 180 - over twice the reach) did better. DDD said it "handed me the 1968 political conventions on a platter." )

2) regarding today, with fewer such limitations, there remain some others.

Lenses and sensors are still not "infinitely" sharp: Every crop throws away lines of resolution, not just from the sensor, but also the lens. If you shoot a 28 that delivers 100 lpmm (extremely good - and rare) and crop it to a 75mm field of view (Q2), you're effectively using a "75mm" delivering only 37 lpmm, no matter how high the megapixels - pretty dismal. An uncropped 75mm will still outperform a "cropped-to-75mm" every time.

Personally, I compromise - I carry all the lenses (or some planned subset) so I don't have to crop. But I will work with just one camera unless "immediate backup" is a potential problem. Or I'll need something longer than 135mm, 1960's style.

Ice Climbing event, Ouray, CO, 2014.

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

Wow amazing insights thank you!!

I’ll have to look up these names too. Who is DDD? I searched but couldn’t figure it out.

And hope you and your gear don’t go this day have permanent frostbite!

[adan]

David Douglas Duncan.

Unfortunately for Leica ( ) DDD was one of the Leica and LIFE photojournalists who, during the Korean War, visited the Nippon Kogaku (Ni-ko-n) factory in Japan, and discovered just how sharp Japaneses lenses could be.

Or perhaps fortunately - that "encouraged" Leica to improve its game with the first Summicrons, and other advances of the 1950s.

https://www.life.com/photographer/david-douglas-duncan/

https://blog.nikoneurope.com/en_gb/2018/06/david-douglas-duncan-nikon/

https://www.amazon.com/Self-portrait-U-S-David-Douglas-Duncan/dp/B0006BZ6PC

A handful of the 400mm Telyt shots are shown in that Amazon offering.

https://www.google.com/search?q=David+Douglas+Duncan+Vietnam&client=firefox-b-1&source=lnms&tbm=isch&sa=X&ved=0ahUKEwie5IbL7KL2AhUbnGoFHfR_CB8Q_AUIBygC&biw=1737&bih=1247

https://sites.utexas.edu/ransomcentermagazine/2014/10/29/dddvetday/

Edited February 28, 2022 by adan

[pippy]

I almost always carry two bodies when I'm out shooting (even although I'm not a PJ).

In my film days this was one for monochrome and one for colour. Nowadays it's the same; I'll carry one Monochrom and one 'colour' body. Normally I will have two different f/l lenses attached - often 35mm / 50mm - and perhaps another two (28mm / 75mm or 90mm) in a small shoulder bag. Occasionally I'll go out simply with a pair of 35's fitted.

Works for me.

Philip.

[adan]

BTW I was out just Saturday with two cameras for a demonstration - a new-to-me M2-4* for film and an M10 for digital.

Reasonably "compatible" - although I did find myself occasionally looking for the lens menu on the M2-4 when swapping uncoded lenses. Or forgetting to change the shutter speed (bad habit from using the M10's A-ISO and A-shutter - but fortunately I was shooting wide-latitude color negs that could handle ±1-stop shutter error easily).  

...........

* M2-4 - 1962 M2 converted by someone in its past to M4-spec framelines and rapid-load system. A real find!

P.S. Pippy - really? An f/I 35?

Edited February 28, 2022 by adan

[pippy]

53 minutes ago, adan said:

...P.S. Pippy - really? An f/I 35? ...

Odd as it may seem, Andy (and despite having owned a 35mm for my M2 since 1980), I've only very recently - as in November of last year - really become a 'convert' to the 35 f/l. Previously I'd have used one 35mm and one 40mm or the 40 and one 50 and of the three it was always the 40 which was my #1.

Philip.

Edited February 28, 2022 by pippy

[idusidusi]

15 hours ago, glenerrolrd said:

I ve always worked with two matched M bodies on the street .  They have to be perfectly matched and set up for me to feel comfortable .  So its been two M6 ,two M8,two m8.2 ,two m9 ,two M240 ,two M10 ,two M10M and now one M11 .  Waiting on 2nd M11 body .  

After years of trial and error ...I use the 28/1.4 Asph on one body and the 50/1.4 Asph on the other .  I typically bring either a 90 or 21 in a jacket or light vest (no bag if I can help it).  Good light F5.6 ,1/250 and auto ISO .  Lenses set at 10ft to start .  

New considerations : 

         Probably can not wander the streets carrying two M11 s without getting mugged .  So I will use an old Green Army Surplus messenger bag . This will allow me to put away my gear on a subway or a doggy area.  I try to shoot with a buddy or  hire a local photographer to go with me .  

       Digital zoom offers greater flexibility .. to be able to get a (50 x.13) = 65FOV and still have 39MP is really helpful .  In the VISO you will see 50 as the full view with a bright line outlining the 65MM FOV .  Or using 90MM call up the 1.8x and have 18MPs of a 150MM FOV.  Based on y experience with the Q2 this can be very effective. 

      I don t know if I will be able to work well with an VISO on one body and just the RF on the other .  So I would probably be working with two set up as RF cameras and then use the VISO in specific situations . 

     You can make a good argument to start with a 24MM because you have the MPS to spare in post processing .  My number one reason for rejecting a file is poor cropping often clipping or issue on the edge .  This gets better with practice ,practice, practice .  

 

I can shoot 50% faster with two bodies than one ..but to develop a rhythm ..they need to operate and feel exactly the same .  A mixed set like a Q2 and a SL2 is not nearly as effective .  

  

Very interesting thank you! Especially this (I typically bring either a 90 or 21 in a jacket or light vest (no bag if I can help it).  Good light F5.6 ,1/250 and auto ISO .  Lenses set at 10ft to start .  )

[TomB_tx]

19 hours ago, adan said:

(The two-element 400 Telyt f/6.8 (same weight as the 180 - over twice the reach) did better. DDD said it "handed me the 1968 political conventions on a platter."

I remember seeing DDD on TV during the '68 convention coverage, showing his Leicaflex SL with the 400 f6.8 lens. He was showing what appeared to be 20x30" prints of some of his portraits, including the one of Hubert Humphrey. These were taken hand-held across the convention floor indoors, likely on Tri-X film with the f6.8 lens wide open. (Of course, the convention was very well lit for the TV coverage that also needed bright lighting in those years.) After that I traded my Canons for an SL, but it took me about 50 years to add a 400 f6.8 Telyt. The lens is nice - but it didn't make me a photographer like DDD.

[Herr Barnack]

JMHO but even if you are shooting with an M10M, M10R or M11, you need a backup camera for some situations - like travel. 

For example, I would not want to spend the price of an M10M on foreign travel, just to have my one and only camera body get damaged and quit working halfway into the trip.

If you shoot one of a kind events with M cameras - such as weddings - you have got to have a backup camera. There are no do-overs in wedding photography.

[Advertisement]

Hallo,

Look here: Leica M

[shanefking]

I mean yeah, if I’m shooting a wedding I can’t afford to spend 10 seconds switching lenses, so I’ll typically have a second body ready to go.  My dad would always have two cameras, an SLR with black and white film, and a compact camera with color for snapshots.

But do you need two of the same? Its not necessary but it does simplify things, especially if the different cameras have different menus or lens systems.

When I was traveling recently, I kept a 50 on my M10 most of the time and if I needed a wide angle shot immediately I would use my iPhone.  Not perfect, but sometimes speed and flexibility is more important than image quality, especially at the sizes I’ll print.

You’ll still see photographers with up to a dozen extra digital cameras and lenses— see sporting events, golf in particular.

Edited March 3, 2022 by shanefking

[Dennis]

It's an excellent question. For my work, I always carried two bodies (on me). Because I always thought: "What about I need to quickly to take another kind of photo..."

Until 2015-2016, when I decided to switch to one body only (usually w/ a 35mm) and a second body (back up) in the bag, w/o lens attached. It was the best decision I've ever made. I feel freer with any kind of movement. I can lay down, jump, and climb. Much better for my ninja style 🥷. Of course, it's a commitment. On one side, you are very free and light (which is crucial for me). On the other hand, If I want to take a picture w/ a more-telephoto lens, I have two solutions: wait these '7-10' seconds to switch lens or start immediately to shoot and work towards the scene (human zoom). Of course, it's not the same, but it usually works fine. 
Curiously, with practice and experience, I became much faster w/ one camera/lens kit and less lazy. I usually shoot w/ prime lens only, and the longest lens in my bag is 58mm. So, there is not much difference. All of this w/ documentary and fast work

When I use my M10 w/, of course, a 35mm attached, the other lenses are in my Domke bag. I switch lenses only when needed or when I want another POV. Note: I think like Robert Capa, " If your pictures are not good enough.... you know...."... I much prefer to 'smell' the scene and not take the picture from far away, even if it's only a few meters.

I actually did an assignment for a travel magazine in January using M10+21+35+50, and it worked like a charm. Yes, one body only. I can't share the picture. Not been published yet, but I will hopefully do it soon.
In my experience, I believe that carrying one camera only is more effective, rather than carrying two just in case I MAY need a different type of shot. But it's me, usually against the current 🤷‍♂️

And for my personal stuff, street photography and travel, I usually bring w/ me one body and a few lenses. I'm not the guy that think, what if... I just live the present and hope for the best 🤞I want to fully enjoy the process, and carrying less gear make it more pleasant.  

Edited March 4, 2022 by Dennis