Camera equipment
The following camera equipment is recommended for the photojournalism major and as you build your career upon graduation.
- One midrange or pro digital body, either mirrorless (preferred) or digital SLR, with a frame rate of at least 5.5 frames per second and superior autofocus tracking, good high-ISO image quality and 1080p video-recording capability.
- One wide-angle lens with a maximum aperture of f/4 or larger (a zoom lens is preferred, as is an f/2.8 or larger maximum aperture.)
- One telephoto zoom with a maximum aperture of f/4 or larger (an f/2.8 or larger maximum aperture is recommended.)
- One or more extra camera batteries (for a total of at least two batteries.)
- One photo backpack or other gear carrier large enough to comfortably hold your camera system and Mac laptop.
- Four (minimum) or six (preferred) camera memory cards, with a capacity of at least 32GB each, and a card wallet to hold them (plus, in most cases, an external memory card reader.)
Accessories
The accessories that follow cost approximately $2,000 and are mandatory for participation in the courses listed.
To demonstrate you’ve met the photojournalism major’s gear requirements, all course-specific items must be purchased and in your possession by the second week of the semester. Failing to do so will result in one or more grade reductions and/or rejected assignments.
The following is required for PHOT 320 Lighting and Illustration for Photojournalists I:
- Two portable flashes for use in a location lighting setup and on camera.
- Wireless radio gear to control and trigger two (or more) off-camera flashes.
- Rechargeable AA batteries for any flashes and related items that require them.
- A starter light stand + light modifier kit comprised of two stands, umbrellas and umbrella swivels in a carrying bag.
- One collapsible-type grey card for setting a custom white balance.
- One set of professional-quality colour correction gels for flash.
- One small focusable flashlight for light painting (plus AAA batteries, typically.)
The following is required for PHOT 334 Advanced Workflow for Photojournalists:
- One portable storage device (SSD or hard drive) with a capacity of at least 2TB for day-to-day storage of photos and video (clips and projects.)
- One desktop external hard drive with a minimum capacity of 6TB (8TB preferred), for archive storage of photos and video (clips and projects) at home.
- Econ Technologies ChronoSync for Mac. This app will be at the heart of your photo and video backup strategy (instructions for obtaining a student discount can be found on the camera brand-specific pages.)
- SmugMug website hosting (requirements and other information will be covered in the first week of the semester.)
The following is required for PHOT 336 - Visual Journalism III:
- One tripod that’s rock steady when extended to as much as 1.3 metres.
- One pro-quality handheld audio recorder that includes a 3.5mm mic input jack.
- One Lavalier mic with a 3.5mm output plug.
- One memory card for your handheld audio recorder, with a capacity of at least 16GB.
Textbooks
You will make use of the following textbook:
- Videojournalism: Multimedia Storytelling for Online, Broadcast and Documentary Journalists, 2nd Edition by Kenneth Kobré. Available as a softcover book for purchase if you would like to have your own copy. It can also be borrowed from SAIT’s Reg Erhardt Library as either a physical book or a signout-limited ebook.
A word on wireless
The photojournalism major often includes optional instruction on the use of mobile apps in pro-oriented wireless workflows. This instruction will focus exclusively on the iPhone and/or iPad and/or Apple Silicon-based Mac, for the simple reason that Apple’s platform has a key pro photography app available that doesn’t exist for Android.
On a related note, the camera model you use in your second year should have built-in fully featured Wi-Fi.
Recommendations and requirements
Jump to a section:
The recommendations and requirements that follow are derived from what we know you'll need to tackle the photojournalism major assignments, with an emphasis on building a kit of gear that will also support your entrance into the world of professional photography when you graduate.
The gear listed is based on our experience as photojournalists, which means there's an emphasis on cameras, lenses and accessories that are portable, versatile and, most importantly, can aid in the capture of fleeting moments under good light and bad.
It's time to go mirrorless
If the manufacturer is producing a mirrorless camera option that meets the above criteria, the primary recommendation will be for a mirrorless system from that manufacturer. Today’s best mirrorless models are more capable than digital SLRs in all respects, with advantages such as silent shooting, exposure preview and best-in-class autofocus headlined by brilliant features such as subject eye detection.
Sony mirrorless since the spring of 2017 and Canon mirrorless since mid-2020 deliver truly incredible autofocus that translates into many, many in-focus pictures under even difficult shooting conditions. In the summer of 2024, Nikon released its first affordable pro-focused mirrorless camera – the Z6 III – that delivers competitive autofocus. So, all three of the major camera brands are shipping at least one mirrorless model that is both a really good performer and also within the price range of someone starting a professional photography career.
Go Sony (if both performance and affordability matter)
As of now, Canon and Sony produce numerous mirrorless cameras with a combination of features and performance – and especially autofocus performance – that make either brand a great option for the photojournalism major and beyond. Plus, as highlighted above, Nikon also now offers a camera model we consider viable because it incorporates essential autofocus system improvements and isn’t stratospherically priced.
To get yourself set up with a camera that will serve you very, very well for years to come, look no further than the Canon EOS R6 Mark II or Sony α7 IV. Both are truly killer models for the photographer tasked with capturing crisply rendered moments under a variety of shooting circumstances. The Nikon Z6 III also offers a broad set of capabilities and may prove in time to be as good overall as the Canon and the Sony.
So, how do you choose between the three if the recommended bodies from each company are good and similarly priced? Look at the lens options and the cost of those options. What you’ll discover is it can be much less expensive to outfit yourself with a pro-level kit of E-mount lenses for the α7 IV than it is to buy a comparable set of RF-mount lenses for the R6 Mark II with the Nikon Z6 III and its lens costs sitting above Sony and below Canon.
Therefore, if you add up the cost of a Canon, Nikon or Sony mirrorless system comprised of the following:
- An R6 Mark II or Z6 III or α7 IV
- An optically excellent, accurate-focusing 24-70mm f/2.8 lens
- An optically excellent, accurate-focusing 70-200(-ish)mm f/2.8 lens
You’ll see that a system built around the Sony α7 IV will cost several thousand dollars less if you choose E-mount lenses from third-party lens makers than a comparable set of RF-mount lenses for the Canon R6 Mark II. These days, you can purchase third-party lenses armed with the knowledge that your ability to capture sharp pictures won’t be compromised (at least if you choose from the lenses listed in the recommendations ahead.)
This remains true if the comparison is between the Canon EOS R8 and the α7 IV, even though the R8 is cheaper than the R6 Mark II. As mentioned, lens costs for the Z6 III land between the Canon and the Sony.
Overall, this gives Sony a significant affordability advantage, particularly relative to Canon.
Canon recommendations
If you've decided on a Canon purchase and you have the money, a system based around their R6 II mirrorless body is a fabulous way to go. It's one of the most usable and useful cameras on the market. This is why it's the primary Canon recommendation for photojournalism majors, particularly those who can afford the steeper cost of the accompanying RF lenses.
While the recommendations still include one Canon digital SLR, you’ll be better served these days by choosing a mirrorless body from the company. There are multiple advantages, with the main one being dramatically superior autofocus.
The recommendations that follow are based on the most appropriate and photojournalism-friendly cameras that can be had for no more than $3,500 for the body alone. There are several recommendations with lower price tags, but none that exceed the typical selling price of a midrange mirrorless camera at the time of writing.
Top recommendation Canon body and essential lenses
- Canon EOS R6 II full frame sensor mirrorless (Canon’s best combination of performance, features and long-term value)
- One of the following wide-angle-to-telephoto zooms:
- Canon RF 24–105mm F4 L IS USM (the best overall value)
- Canon RF 24-70 F2.8L IS USM
- One of the following 70-200mm zooms:
- Canon RF 70-200mm F2.8 L IS USM (the best long-term choice)
- Canon RF 70-200mm F4 L IS USM
- Canon EF 70-200mm f/2.8L IS III USM + Canon Mount Adapter EF-EOS-R
- Canon EF 70-200mm f/2.8L IS II USM + Canon Mount Adapter EF-EOS-R
- Tamron 70-200mm f/2.8 Di VC USD G2 for Canon EF + Canon Mount Adapter EF-EOS-R
Second-choice recommended Canon body and essential lenses
- Canon EOS R8 full frame sensor mirrorless (the same image sensor and autofocus system as the R6 Mark II, but at a much lower price)
- One of the following wide-angle-to-telephoto zooms:
- Canon RF 24–105mm F4 L IS USM (the best overall value)
- Canon RF 24-70 F2.8L IS USM
- One of the following 70-200mm zooms:
- Canon RF 70-200mm F2.8 L IS USM mirrorless (the best long-term choice)
- Canon RF 70-200mm F4 L IS USM
- Canon EF 70-200mm f/2.8L IS III USM + Canon Mount Adapter EF-EOS-R
- Canon EF 70-200mm f/2.8L IS II USM + Canon Mount Adapter EF-EOS-R
- Tamron 70-200mm f/2.8 Di VC USD G2 for Canon EF + Canon Mount Adapter EF-EOS-R
Third-choice recommended Canon body and essential lenses
- Canon EOS R6 full frame sensor mirrorless (a still-capable camera, several years after its introduction)
- One of the following wide-angle-to-telephoto zooms:
- Canon RF 24–105mm F4 L IS USM (the best overall value)
- Canon RF 24-70 F2.8L IS USM
- One of the following 70-200mm zooms:
- Canon RF 70-200mm F2.8 L IS USM (the best long-term choice)
- Canon RF 70-200mm F4 L IS USM
- Canon EF 70-200mm f/2.8L IS III USM + Canon Mount Adapter EF-EOS-R
- Canon EF 70-200mm f/2.8L IS II USM + Canon Mount Adapter EF-EOS-R
- Tamron 70-200mm f/2.8 Di VC USD G2 for Canon EF + Canon Mount Adapter EF-EOS-R
Runner-up recommended Canon body and essential lenses
Option 1:
- Canon EOS R10 cropped sensor mirrorless (if this was your first-year camera, you can continue to use it in the photojournalism major if upgrading to a full-frame sensor system isn’t yet financially feasible)
- One of the following wide-angle-to-telephoto zooms:
- Sigma 18-50mm F2.8 DC DN for Canon RF-S (the best overall value)
- Canon EF-S 17-55mm f/2.8 IS USM ****+ Canon Mount Adapter EF-EOS-R
- Canon RF-S 18-150mm f/3.5-6.3 IS STM
- One of the following telephoto zooms:
- Sigma 50-100mm F1.8 DC HSM for Canon EF-S + Canon Mount Adapter EF-EOS-R (the best overall value)
- Canon RF 70-200mm F2.8 L IS USM (the best long-term choice)
- Canon RF 70-200mm F4 L IS USM
- Canon EF 70-200mm f/2.8L IS III USM + Canon Mount Adapter EF-EOS-R
- Canon EF 70-200mm f/2.8L IS II USM + Canon Mount Adapter EF-EOS-R
- Tamron 70-200mm f/2.8 Di VC USD G2 for Canon EF + Canon Mount Adapter EF-EOS-R
Option 2:
- Canon EOS 80D cropped sensor digital SLR (for those on a really tight budget, this camera can typically be had for less money than the other recommended models, but you will be sacrificing autofocus performance by choosing this non-mirrorless option)
- One of the following wide-angle-to-telephoto zooms:
- Canon EF-S 17-55mm f/2.8 IS USM (the best overall value)
- Canon EF 17-40mm f/4L USM
- One of the following 70-200mm zooms:
- Canon EF 70-200mm f/2.8L IS III USM
- Canon EF 70-200mm f/2.8L IS II USM
- Tamron 70-200mm f/2.8 Di VC USD G2 for Canon EF
- Canon EF 70-200mm f/4L IS II USM
- Canon EF 70-200mm f/4L IS USM
Additional notes on Canon bodies and lenses
- All of the recommended Canon bodies feature excellent built-in Wi-Fi.
- Having at least one extra battery for your camera is a must to keep up with the increased shooting demands of the photojournalism major.
- Canon RF and RF-S lenses can be attached to Canon’s R-series mirrorless cameras only. Canon EF and EF-S lenses are for Canon’s digital SLR cameras, though most can be used on a R or R-series camera with the aid of one of Canon’s EF-to-RF mount adapters, including Canon Mount Adapter EF-EOS R.
- Canon EF lenses are compatible with both full-frame and cropped-sensor cameras in Canon’s digital SLR lineup. By comparison, any EF-S lens is for Canon cropped-sensor digital SLRs**.** The same is true of Sigma’s EF-mount lenses carrying the DC designation.
- Canon RF lenses are compatible with both full-frame and cropped-sensor cameras in Canon’s R-series mirrorless lineup. By comparison, any Canon RF-S lens is for Canon cropped-sensor R-series mirrorless models. The same is true of Sigma’s RF-mount lenses carrying the DC designation.
- If you’re ready to grow your glass collection beyond the two essential lenses, and your camera is the R6 II, R8 or R6, these should be on your shortlist for a third lens purchase:
- a really wide angle zoom such as the Canon RF 15-35 F2.8L IS USM or Canon RF 14-35mm F4L IS USM
- a large-aperture wide angle such as the Tamron 35mm F/1.4 Di USD SP for Canon EF (attached to Canon Mount Adapter EF-EOS-R) or a large-aperture short telephoto such as the Canon RF 85mm f/2 IS STM. There are currently relatively few lenses that are both decent AND affordable for Canon’s RF mount.
For your location lighting and other photojournalism courses, you must have a minimum of two portable flash units and the capability to adjust and trigger them remotely from the camera. A system based around Godox flash and transmitter gear is required. All lessons will focus on the Godox system.
Can I use my flash from the first year in my location lighting?
One of the two portable flashes you’ll need can carry over from your first year, assuming it’s one of the following models:
- Canon Speedlite 430EX II
- Canon Speedlite 430EX III-RT
- Canon Speedlite 600EX-RT
- Canon Speedlite 600EX II-RT
- Godox TT685C/Godox V860IIC/Strobepro X60C
- Godox TT685IIC/V860IIIC
- Godox V1C/V1 PRO C
If your first-year flash is not in the list above, then it’s probably not suitable for your location lighting coursework in the photojournalism major.
Flash recommendations
If you own a suitable Canon Speedlite now, then you’ll need a Godox X1R-C Receiver (this accessory will enable your Canon Speedlite to be controlled by a Godox wireless transmitter) plus one of the following Godox flashes:
- Godox TT685IIC powered by AAs
- Godox V860IIIC powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes, plus its round head design opens it to a variety of useful and economical accessories)
If you own a suitable Godox flash now, supplement it with one of the following:
- Godox TT685IIC powered by AAs
- Godox V860IIIC powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes, plus its round head design opens it to a variety of useful and economical accessories)
If you don’t own a suitable Canon Godox flash now, purchase one Godox V860IIIC plus one of the following (for a total of two flashes):
- Godox TT685IIC powered by AAs
- Godox V860IIIC powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes plus its round head design opens it to a variety of useful and economical accessories)
In other words, if you’re buying two flashes, make sure at least one is the Godox V860IIIC, as this model will work well both as an on-camera flash and one of the flashes in your location lighting setups. Then, for your second flash, choose from one of the above.
Wireless trigger recommendation
Get the Godox XPro II-C.
💡 The Godox XPro II-C transmitter can control any of the recommended Godox flashes, as they feature a built-in receiver. To control a Canon Speedlite with this transmitter, you must attach the Speedlite to a Godox X1R-C Receiver.
Additional notes on your flash and transmitter
- Several transmitters are available from Godox. Buy only the Godox XPro II-C or, if not in stock, the older XPro-C (also known as the Strobepro XT Pro C). The maker’s other transmitter models are either clunky and slow, lack a key feature for zooming each remote flash’s head individually or both.
- Strobepro and Godox are the same Godox-made products. The only differences are the name stamped on the outside, where each brand can be purchased and how both warranty and non-warranty repairs are handled. When buying either Strobepro or Godox-labeled gear, steer clear of generic online sources, as you might end up with effectively no warranty coverage at all. Instead, head to Strobepro in Calgary’s northeast for both Strobepro and Godox gear or The Camera Store downtown for Godox.
- When you have the choice of an AA or lithium version of a particular flash unit, get the lithium if you can. The noticeably increased performance and convenience of the lithium version is worth the extra money.
Nikon recommendations
The recommendations that follow are based on the most appropriate and photojournalism-friendly cameras that can be had for no more than $3,500 for the body alone. There are several recommendations with lower price tags, but none that exceed the typical selling price of a midrange mirrorless camera at the time of writing.
Top recommendation Nikon body and essential lenses
- Nikon Z6 III full frame sensor mirrorless
- One of the following wide-angle-to-telephoto zooms:
- Nikon NIKKOR Z 24-70mm f/2.8 S
- Nikon NIKKOR Z 24-70mm f/4 S (the best overall value, especially when bought bundled with the camera)
- Nikon NIKKOR Z 24-120mm f/4 S
- One of the following 70-200mm-ish zooms:
- Nikon NIKKOR Z 70-180mm f/2.8 (the best overall value)
- Nikon NIKKOR Z 70-200mm f/2.8 VR S
Second-choice recommended Nikon body and essential lenses
- Nikon D780 full-frame sensor digital SLR
- One of the following wide-angle-to-telephoto zooms:
- Nikon AF-S NIKKOR 24-70mm f/2.8G ED
- Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR
- Nikon AF-S NIKKOR 24-120mm f/4G ED (the best overall value, especially when bought bundled with the camera)
- Tamron SP 24-70mm f2.8 DI VC USD G2 for Nikon F
- Sigma 24-70mm f2.8 DG OS HSM for Nikon F
- One of the following 70-200mm zooms:
- Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED
- Nikon AF-S NIKKOR 70-200mm f/2.8G ED VR II
- Nikon AF-S NIKKOR 70-200mm f/4G ED VR
- Tamron 70-200mm f/2.8 Di VC USD G2 for Nikon F
Third-choice recommended Nikon body and essential lenses
- Nikon D750 full-frame sensor digital SLR (available used, it’s one of the best affordable digital SLRs of all time)
- One of the following wide-angle-to-telephoto zooms:
- Nikon AF-S NIKKOR 24-70mm f/2.8G ED
- Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR
- Nikon AF-S NIKKOR 24-120mm f/4G ED (the best overall value, especially when bought bundled with the camera)
- Tamron SP 24-70mm f2.8 DI VC USD G2 for Nikon F
- Sigma 24-70mm f2.8 DG OS HSM for Nikon F
- One of the following 70-200mm zooms:
- Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED
- Nikon AF-S NIKKOR 70-200mm f/2.8G ED VR II
- Nikon AF-S NIKKOR 70-200mm f/4G ED VR
- Tamron 70-200mm f/2.8 Di VC USD G2 for Nikon F
Runner-up recommended Nikon body and essential lenses
One of the following bodies:
- Nikon D7500 cropped sensor digital SLR (if this was your first-year camera, you can continue to use it in the photojournalism major if, for instance, upgrading to a full-frame sensor system isn’t yet financially feasible)
- Nikon D500 cropped sensor digital SLR
One of the following wide-angle zooms:
- Nikon AF-S DX Zoom-NIKKOR 17-55mm f/2.8G IF-ED (the best overall value)
- Nikon AF-S NIKKOR 16-35mm f/4G ED VR
- Tamron 15-30mm f/2.8 Di VC USD G2 for Nikon F
One of the following 70-200mm zooms:
- Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED
- Nikon AF-S NIKKOR 70-200mm f/2.8G ED VR II
- Nikon AF-S NIKKOR 70-200mm f/4G ED VR
- Tamron 70-200mm f/2.8 Di VC USD G2 for Nikon F
Additional notes on Nikon bodies and lenses
- All the recommended Nikon bodies feature excellent built-in Wi-Fi.
- Having at least one extra battery for your camera is a must to keep up with the increased shooting demands of the photojournalism major.
- Nikon Z lenses can be attached to Nikon’s Z-series mirrorless cameras only. Nikon’s other lenses, which are designated as F mount on Nikon’s website, are designed for their digital SLR cameras. Note that most F-mount lenses can be used on a Z-series camera with the aid of a Nikon Mount Adapter FTZ II.
- Most Nikon F-mount lenses are compatible with both full-frame and cropped-sensor cameras in the company’s digital SLR lineup. Those specifically marked as DX lenses are exclusively for Nikon cropped-sensor digital SLRs. In the list above, this means the Nikon AF-S DX Zoom-NIKKOR 17-55mm f/2.8G IF-ED is intended for use on a cropped-sensor digital SLR only. Therefore, if you plan to start the year with a cropped-sensor model such as the D7500, and then gravitate in the short or medium term to a full frame Nikon digital SLR, please note that the Nikon AF-S DX Zoom-NIKKOR 17-55mm f/2.8G IF-ED can’t join you on your full frame journey.
- If you’re ready to grow your glass collection beyond the two essential lenses, and your camera is the D780 or D750, these should be on your shortlist for a third lens purchase:
- a really wide angle zoom such as the Tamron 15-30mm f/2.8 Di VC USD G2 for Nikon F
- a large-aperture wide angle such as the Tamron 35mm F/1.4 Di USD SP for Nikon F or a large-aperture short telephoto such as the Nikon AF-S NIKKOR 85mm f/1.8G.
- If you’re ready to grow your glass collection beyond the two essential lenses, and your camera is the Z6 III, these should be on your shortlist for a third lens purchase:
- a really wide angle zoom such as the Nikon NIKKOR Z 14-30mm f/4 S or Nikon NIKKOR Z 14-24mm f/2.8 S
- a large-aperture wide angle such as the Nikon NIKKOR Z 35mm f/1.8 S or a large-aperture short telephoto such as the Nikon NIKKOR Z 85mm f/1.8 S.
For your location lighting and other photojournalism courses, you must have a minimum of two portable flash units and the capability to adjust and trigger them remotely from the camera. A system based around Godox flash and transmitter gear is required. All lessons will focus on the Godox system.
Can I use my flash from the first year in my location lighting?
One of the two portable flashes you’ll need can carry over from your first year, assuming it’s one of the following models or is functionally equivalent:
- Nikon Speedlight SB-700
- Nikon Speedlight SB-910
- Nikon Speedlight SB-5000
- Godox TT685N/Godox V860IIN/Strobepro X60N
- Godox TT685IIN/V860IIIN
- Godox V1N/V1 PRO N
If your first-year flash is not in the list above, then it’s probably not suitable for your location lighting coursework in the photojournalism major.
Flash recommendations
If you own a suitable Nikon Speedlight now, then you’ll need a Godox X1R-N Receiver (this accessory will enable your Nikon Speedlight to be controlled by the Godox XPro-N wireless transmitter) plus one of the following Godox flashes:
- Godox TT685IIN powered by AAs
- Godox V860IIIN powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes, plus its round head design opens it to a variety of useful and economical accessories)
If you own a suitable Godox flash now, supplement it with one of the following:
- Godox TT685IIC powered by AAs
- Godox V860IIIC powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes, plus its round head design opens it to a variety of useful and economical accessories)
If you don’t own a suitable Canon Godox flash now, purchase one Godox V860IIIC plus one of the following (for a total of two flashes):
- Godox TT685IIC powered by AAs
- Godox V860IIIC powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes plus its round head design opens it to a variety of useful and economical accessories)
In other words, if you’re buying two flashes, make sure at least one is the Godox V860IIIC, as this model will work well both as an on-camera flash and one of the flashes in your location lighting setups. Then, for your second flash, choose from one of the above.
Wireless trigger recommendation
Get the Godox XPro II-N.
💡 The Godox XPro II-N transmitter can control any of the recommended Godox flashes, as they feature a built-in receiver. To control a Nikon Speedlight with this transmitter, you must attach the Speedlight to a Godox X1R-N Receiver.
Additional notes on your flash and transmitter
- Several transmitters are available from Godox. Buy only the Godox XPro II-N or, if not in stock, the older XPro-N (also known as the Strobepro XT Pro N). The maker’s other transmitter models are either clunky and slow and lack a key feature for zooming each remote flash’s head individually or both.
- Strobepro and Godox are the same Godox-made products. The only differences are the name stamped on the outside, where each brand can be purchased and how both warranty and non-warranty repairs are handled. When buying either Strobepro or Godox-labeled gear, steer clear of generic online sources, as you might end up with effectively no warranty coverage at all. Instead, head to Strobepro in northeast Calgary for both Strobepro and Godox gear or The Camera Store downtown for Godox.
- When you have the choice of an AA or lithium version of a particular flash unit, get the lithium if you can. The noticeably increased performance and convenience of the lithium version is worth the extra money.
Sony recommendations
Sony makes mirrorless cameras with powerful autofocus, great battery life, and good overall usability. But you have to pick carefully.
First and foremost, steer clear of models introduced earlier than 2017, as that's the year that Sony really came into its own. Also, the company offers two different general designs in its photography-oriented cameras: an especially compact body, as found in cameras like the Sony α6400, and a larger body style represented by models like the α7 IV. The compact bodies can be frustrating to shoot in fast-moving situations. The larger body design presents far fewer design compromises. That’s especially true of the larger Sony bodies released since 2021.
The recommendations that follow are based on the most appropriate and photojournalism-friendly cameras that can be had for no more than $3,500 for the body alone. There are several recommendations with lower price tags, but none that exceed the typical selling price of a midrange mirrorless camera at the time of writing.
Recommended Sony body and essential lenses
- Sony α7 IV full frame sensor mirrorless (the best overall combination of performance and value)
- One of the following wide-angle-to-telephoto zooms:
- Sigma 24-70mm f/2.8 DG DN Art for Sony E (the second-best overall value)
- Sigma 24-70mm f/2.8 DG DN II Art for Sony E (the best overall value)
- Sony FE 24-70mm F2.8 GM II (easily the best lens in this group, but pricey)
- Sony FE 24-105mm F4 G OSS
- Sony FE 20-70mm F4 G mirrorless (a really good overall value)
- Sony FE 24-70mm F2.8 GM (both of the Sigma 24-70s are better lenses for less money)
- Sony FE 24–50mm F2.8 G
- One of the following 70-200mm-ish zooms:
- Tamron 70-180mm F/2.8 Di III VXD for Sony E (the second-best overall value)
- Tamron 70-180mm F/2.8 Di III VC VXD G2 for Sony E (the best overall value)
- Sony FE 70-200mm F2.8 GM OSS II (a spectacular but expensive lens)
- Sony FE 70-200mm F2.8 GM OSS
Second-choice Sony body and essential lenses
- Sony α9 or α9 II full frame sensor mirrorless (these are bodies to consider if found used, in really good shape, at a really good price)
- One of the following wide-angle-to-telephoto zooms:
- Sigma 24-70mm f/2.8 DG DN Art for Sony E (the second-best overall value)
- Sigma 24-70mm f/2.8 DG DN II Art for Sony E (the best overall value)
- Sony FE 24-70mm F2.8 GM II (easily the best lens in this group, but pricey)
- Sony FE 24-105mm F4 G OSS
- Sony FE 20-70mm F4 G mirrorless (a really good overall value)
- Sony FE 24-70mm F2.8 GM (both of the Sigma 24-70s are better lenses for less money)
- Sony FE 24–50mm F2.8 G
- One of the following 70-200mm-ish zooms:
- Tamron 70-180mm F/2.8 Di III VXD for Sony E (the second-best overall value)
- Tamron 70-180mm F/2.8 Di III VC VXD G2 for Sony E (the best overall value)
- Sony FE 70-200mm F2.8 GM OSS II (a spectacular but expensive lens)
- Sony FE 70-200mm F2.8 GM OSS
Third-choice Sony body and essential lenses
- Sony α7c II full frame sensor mirrorless
- One of the following wide-angle-to-telephoto zooms:
- Sigma 24-70mm f/2.8 DG DN Art for Sony E (the second-best overall value)
- Sigma 24-70mm f/2.8 DG DN II Art for Sony E (the best overall value)
- Sony FE 24-70mm F2.8 GM II (easily the best lens in this group, but pricey)
- Sony FE 24-105mm F4 G OSS
- Sony FE 20-70mm F4 G mirrorless (a really good overall value)
- Sony FE 24-70mm F2.8 GM (both of the Sigma 24-70s are better lenses for less money)
- Sony FE 24–50mm F2.8 G
- One of the following 70-200mm-ish zooms:
- Tamron 70-180mm F/2.8 Di III VXD for Sony E (the second-best overall value)
- Tamron 70-180mm F/2.8 Di III VC VXD G2 for Sony E (the best overall value)
- Sony FE 70-200mm F2.8 GM OSS II (a spectacular but expensive lens)
- Sony FE 70-200mm F2.8 GM OSS
Runner-up Sony body and essential lenses
Option 1:
- Sony α6700* cropped sensor mirrorless (though its smaller body design makes it more cumbersome to operate than models such as the α7 IV, the a6700 partly makes up for it with great autofocus.)
- One of the following wide-angle-to-telephoto zooms:
- Sigma 18-50mm F2.8 DC DN for Sony E
- Sony E 18-135mm F3.5-5.6 OSS (the best value when purchased in a bundle with the α6400)
- Sony E PZ 18-105mm F4 G OSS (superior in most respects to the 18-135mm, but more expensive than the 18-135mm when that lens is packaged with the α6400)
- Tamron 17-70mm F/2.8 Di III-A VC RXD for Sony E (the best lens in this group and also the most expensive)
- One of the following 70-200mm-ish zooms:
- Tamron 70-180mm F/2.8 Di III VXD for Sony E (the second-best overall value)
- Tamron 70-180mm F/2.8 Di III VC VXD G2 for Sony E (the best overall value)
- Sony FE 70-200mm F2.8 GM OSS II mirrorless (a spectacular but expensive lens)
- Sony FE 70-200mm F2.8 GM OSS mirrorless
*The a6700 doesn’t come with a charger or cable, so there’s no way to charge its NP-FZ100 battery without buying accessories to do so. Therefore, plan on acquiring either an external charger such as the Sony BC-QZ1 or a combination of power adapter and power-delivery-capable USB-C cable to charge the NP-FZ100 inside the camera. There are number of adapter and cable combos that will do the job, including the Anker PowerPort III 20W USB-C Cube Charger paired with the one-metre-long Cable Matters 10 Gbps USB-C-to-USB-C cable (the model that’s rated for up to 100W power delivery and 8K video.)
Option 2:
- Sony α6400 cropped sensor mirrorless (if this was your first-year camera, you can continue to use it in the photojournalism major if, for instance, upgrading to a full-frame sensor system isn’t yet financially feasible)
- One of the following wide-angle-to-telephoto zooms:
- Sigma 18-50mm F2.8 DC DN for Sony E
- Sony E 18-135mm F3.5-5.6 OSS (the best value when purchased in a bundle with the α6400)
- Sony E PZ 18-105mm F4 G OSS (superior in most respects to the 18-135mm, but more expensive than the 18-135mm when that lens is packaged with the α6400)
- Tamron 17-70mm F/2.8 Di III-A VC RXD for Sony E (the best lens in this group and also the most expensive)
- One of the following 70-200mm-ish zooms:
- Tamron 70-180mm F/2.8 Di III VXD for Sony E (the second-best overall value)
- Tamron 70-180mm F/2.8 Di III VC VXD G2 for Sony E (the best overall value)
- Sony FE 70-200mm F2.8 GM OSS II mirrorless (a spectacular but expensive lens)
- Sony FE 70-200mm F2.8 GM OSS mirrorless
Notes on Sony body and lenses
- The α7 IV, α7c II, α9, α9 II, a6700 and α6400 feature reliable built-in Wi-Fi, though the wireless feature set is quite limited in the α6400. Of the six models, the α7 IV’s and α9 II’s Wi-Fi capabilities exceed the rest.
- Having at least one extra Sony NP-FZ100 battery for the α7 IV, α7c II, α9, α9 II, αnd a6700 is a must to keep up with the increased shooting demands of the photojournalism major. To make the process of charging batteries more efficient, consider the purchase of an external charger such as the Sony BC-QZ1 or a third-party alternative.
- Having at least one extra Sony NP-FW50 battery for the α6400 is a must, to keep up with the increased shooting demands of the photojournalism major. To make the process of charging batteries more efficient, consider the purchase of an external charger such as the Sony BC-TRW or a third-party alternative.
- If you’re ready to grow your glass collection beyond the two essential lenses, and your camera is one of the full-frame sensor models, these should be on your shortlist for a third lens purchase:
- a really wide angle zoom such as the Sony FE 16–25mm F2.8 G or Sigma 16-28mm F2.8 DG DN
- a large-aperture wide angle such as the Sony FE 35mm F1.8 or a large-aperture short telephoto such as the Sony FE 85mm F1.8, Viltrox 85mm F1.8 II for Sony E or Sigma 85mm f/1.4 DG DN Art Lens for Sony E.
For your location lighting and other photojournalism courses, you must have a minimum of two portable flash units and the capability to adjust and trigger them remotely from the camera. A system based around Godox flash and transmitter gear is required. All lessons will focus on the Godox system.
Can I use my flash from the first year in my location lighting?
It depends on which flash you currently own. If your first-year flash is a Godox and is among the following models, then it can be one of the two flashes in your location lighting kit:
- Godox TT685S/Godox V860IIS/Strobepro X60S
- Godox TT685IIS/V860IIIS
- Godox V1S/V1 PRO S
If your first-year flash is not in the list above, then it’s probably not suitable for your location lighting coursework in the photojournalism major.
Flash recommendations
If you own a Godox flash already
If you own a suitable Godox flash now, supplement it with one of the following:
- Godox TT685IIS powered by AAs
- Godox V860IIIS powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes, plus its round head design opens it to a variety of useful and economical accessories)
If you don’t own a suitable flash
If you don’t own a suitable Godox flash now, purchase one Godox V860IIIS plus one of the following:
- Godox TT685IIS powered by AAs
- Godox V860IIIS powered by an included rechargeable lithium pack (best overall value)
- Godox AD100 Pro powered by an included rechargeable lithium pack (though more expensive than the other Godox/Strobepro options presented here, it's also brighter than other small flashes plus its round head design opens it to a variety of useful and economical accessories)
In other words, if you’re buying two flashes, make sure at least one is the Godox V860IIIS, as this model will work well both as an on-camera flash and one of the flashes in your location lighting setups. Then, for your second flash, choose from one of the above.
Wireless trigger recommendation
Get the Godox XPro II-S.
Additional notes on your flash and transmitter
- Several transmitters are available from Godox. Buy only the Godox XPro II-S or, if not in stock, the older XPro-S (also known as the Strobepro XT Pro S). The maker’s other transmitter models are either clunky and slow, lack a key feature for zooming each remote flash’s head individually or both.
- Strobepro and Godox are the same Godox-made products. The only differences are the name stamped on the outside, where each brand can be purchased and how both warranty and non-warranty repairs are handled. When buying either Strobepro or Godox-labeled gear, steer clear of generic online sources, as you might end up with effectively no warranty coverage at all. Instead, head to Strobepro in northeast Calgary for both Strobepro and Godox gear or The Camera Store downtown for Godox.
- When you have the choice of an AA or lithium version of a particular flash unit, get the lithium if you can. The lithium version's noticeably increased performance and convenience are worth the extra money.
Make the accessories your purchasing priority
If your budget prevents you from buying both new camera gear AND all the course-specific accessories, then the required lighting, video and workflow accessories must be the purchasing priority.
Put simply, you can participate in the photojournalism major armed with a good first-year-level camera like the Sony α6400, Canon EOS R10 or Nikon D7500, but you can't take on the lighting, workflow or video-related assignments found in courses such as PHOT 320, PHOT 334 and PHOT 336 unless you have specific pieces of kit. All course-specific items must be purchased and in your possession by the second week of the semester. Failing to do so will result in one or more grade reductions and/or rejected assignments.
Therefore, if money's tight, go shopping first for the items labelled for a specific course in the summary section above.
Batteries for AA-powered flashes
Rechargeable NiMH AA batteries are the way to go. They will quickly save you a lot of money compared to purchasing multiple sets of non-rechargeable AA alkalines to keep your flash powered over time. Plus, some NiMH batteries, including the specific ones listed below, enable the flash to fire again MUCH sooner than alkalines (or lower-quality/lower-cost NiMH, for that matter).
The flash performance difference between the best NiMH AAs and other AAs is significant. The result is more exposure in which the flash fires properly, giving you a greater opportunity to capture successful pictures.
You’ll appreciate, as you work extensively with flash in the second year, the benefits that come from using the right rechargeables to power a Godox, Canon, Nikon, Sony or other brand of flash that takes AAs.
The following NiMH AA rechargeables are recommended, as all have been tested to provide excellent performance with flashes:
- IKEA LADDA 2450 (avoid LADDA variants with a number lower than 2450)
- Energizer Recharge Power Plus (the flash-friendly version of this battery says "Power Plus" on the product packaging and "2300 mAh" on the cells themselves)
- Panasonic Eneloop Pro
You’ll need a charger, too. Any NiMH-compatible charger will do, though if you spend more on a charger, you generally get one that replenishes more batteries simultaneously and completes the process faster.
The IKEA combo of four LADDA 2450 batteries and four-slot STENKOL overnight charger is an unbeatable value at only $16 at time of writing.
For flash units that take AA batteries, rechargeable NiMH are the right choice. However, stick with non-rechargeable alkaline for the Godox XPro/Strobepro XT Pro/XPro II transmitter. You can expect slightly more reliable triggering and a more accurate transmitter battery gauge from alkalines.
Starter light stand and umbrella kit
Your light stand and kit should be comprised of the following, at minimum:
- Two photographic umbrellas that provide both shoot-through and bounce capability – often called 2-in-1 umbrellas – and are at least 40 inches in size (do NOT buy smaller)
- Two sturdy light stands that raise to at least 1.8 metres
- Two umbrella swivels designed for portable flashes (a swivel is used to attach both a flash and umbrella to a light stand)
Plus a carrying bag for the above.
The Camera Store and Strobepro have assembled kits that meet or exceed these criteria. The kit at The Camera Store is sold under the PhotoRepublik brand and is called the PhotoRepublik 2 Speedlite Lighting Accessory Kit.
Flash gel recommendations
For rectangular-head portable flashes, which comprise all of the recommended flash units except the Godox AD100, get the Rogue Flash Gels: Combo Filter Kit (called the Rogue Universal Gel Filter Kit on The Camera Store website and the Rogue Flash Gels Combo Filter Kit on Amazon Canada.)
❗️ Avoid using gels from a gel sample pack in place of the recommended kit above. To properly learn and then regularly use gels, you need ones designed for the purpose, and the samples are not that. Also, do not purchase knockoff or budget gel sets sold under brand names such as AGPtek, Neewer, Selens and more since terrible gel colour accuracy and other limitations have caused past students considerable grief.
If the flash you’ve chosen is the AD100 (or any other similar round-head model from Godox), it’s considerably quicker and easier to work with gels and other smaller modifiers owing to its built-in magnetic attachment system. Buy the Godox AK-R16 colour correction filter set plus the Rogue Grid Gels: Combo Filter Kit (called Rogue Grid Gel Filters on The Camera Store website.)
💡 To outfit yourself with the contents of the AK-R16 as well as a handful of useful other modifiers for the AD100, purchase the Godox AK-R1 kit rather than the AK-R16. You'll get everything that comes in the AK-R16 – a set of colour correction filters – plus a variety of attachments for both diffusing and channelling the light, most of which you'll find useful as your lighting skills progress.
Grey card options
Decent-quality collapsible grey cards, ones that are at least 12 x 12 inches expanded – the minimum useful size – and that come with a carrying bag to hold them collapsed – many instead come with carrying bags meant to hold them expanded, which is less convenient for transport – can be surprisingly hard to find in stock, both locally and online.
Here are three options that, as of this writing, are available from Amazon Canada and/or Amazon in the U.S. (with delivery available to Canada):
- Andoer 60cm/24 Foldable Grey/White Balance 18% Grey Gray Reference Reflector Card with Carrying Bag. It’s a combination of a grey card on one side and a white reflector on the other, plus it ships with a carrying bag meant to hold the card collapsed. This grey card’s large size makes it especially useful for the techniques you’ll learn as a photojournalism major, plus it can double as a reflector.
- Lightdow 12 x 12 Inch (30 x 30 cm) White Balance 18% Gray Reference Reflector Grey Card with Carry Bag [folded version]. It’s both a proper grey card, and it comes with a carrying bag meant to hold the card in its collapsed state.
- FOTGA 12" 18% Grey/White Balance Card Two Sides Double Face Focus Board for Photograph. If the Lightdow 12 x 12 isn’t available, this grey card is a near equivalent of it. Note that while the Amazon product listing shows an expanded-size carrying bag, it should actually come with the more useful collapsed-size carrying bag.
Focusable flashlight recommendations
A focusable flashlight is a must to paint with light effectively in the manner you will be taught in the photojournalism major. It's critical to the success of the technique that the beam width of the flashlight is tightly controlled.
The following models are ideal for this purpose:
- Timtome XML-T6 focusable flashlight with backpack clip (sold at Amazon Canada | ASIN B08RCS2YRD)
- iBester 1600 Lumens XML-T6 LED focusable flashlight (sold at Amazon Canada | ASIN B07CWDDN5B)
- London Drugs LED focusable flashlight, model BT-FL8012-1 (this model is no longer showing on the London Drugs website but might still be available from store locations around Calgary)
These flashlight models run off three AAA batteries, which aren't included and, therefore, must be purchased, too.
Choosing a tripod
You will use a tripod extensively throughout your second year, so it's critical that you have a good one.
It should be capable of extending to roughly 1.3 metres without raising the centre column significantly. To capture long exposures or video footage that’s free of shake, it’s critical that the tripod is tall enough to be usable even when the centre column is either not raised at all or no more than a few centimetres.
When evaluating a tripod, look for one whose maximum height with the centre column retracted is not less than about 1.3 metres (130 cm or 51 inches). This will enable you to use it comfortably while standing and shooting video interviews from an angle that’s flattering to your subject.
The following models provide unbeatable quality in their respective price ranges:
- Vanguard VEO 3 263AB or VEO 3+ 263AB tripod with BH-160 head (the best choice for the photojournalism major and beyond)
- Vanguard Alta Pro 2+ 263AB100 tripod with BH-100 head
- Vanguard Alta Pro 263AB 100 tripod with SBH-100 head
- Vanguard VEO 2S 235AB tripod with BH-50 head (a smaller, sturdy and inexpensive model that’s a bit short in some situations, so buy only if the models above aren’t affordable and/or available)
Selecting an audio recorder and mic
The majority of the audio capture you'll do in the photojournalism major will require a portable pro-quality recorder and lavalier (lapel) mic. These are the recommended options:
Top recommended recorder and included mic: Zoom F2 Field Recorder
The Zoom F2 offers 32-bit floating recording, which means it’s nearly impossible to accidentally capture audio that is either distorted (because recording levels were too high) or filled with hiss (because recording levels were much too low).
This makes it the best affordable way to record interviews and more. The F2 all but removes the stress of getting the recorder's gain settings just right since it doesn't have (or need) a gain control. Instead, all adjustment of audio levels is done during editing on the computer later.
There are two models of this recorder, both of which include a good Lavalier mic. One model, the F2-BT, also incorporates Bluetooth wireless support. This allows for basic smartphone control of the recorder. The smartphone-related functionality, though, is rudimentary and not worth paying the higher price for the Bluetooth model. Therefore, it's suggested that you opt for the non-Bluetooth F2 version.
Second-choice recorder (Lavalier mic must be purchased separately): Zoom H1essential Handy Recorder
Like the Zoom F2, this recorder supports 32-bit float recording, thereby eliminating the risk of capturing audio at unusably high or low recording levels.
The H1essential is more versatile than the F2, owing to its inclusion of a built-in stereo mic (in addition to a 3.5mm input for a Lavalier mic, which you must obtain separately). On the flip side, The H1essential is larger and more complicated to use than the F2, which is why the H1essential is the second-choice recommendation and the F2 is the top recommendation.
Additionally, the Zoom H1essential stores audio to a microSD card, but none is included with the recorder. A capacity of 32GB is recommended by a brand-name memory card maker such as SanDisk, and it should include a microSD-to-SD adapter for compatibility with SD card readers.
Third-choice recorder (Lavalier mic must be purchased separately): Zoom H1n Handy Recorder
If you already own a Zoom H1n (sometimes, students purchase this recorder in the first year), you might forego the purchase of the F2 or H1essential. The H1n is good but unlike the F2 and H1essential, it lacks 32-bit float recording. This means it requires that the recording level be correctly set on the device at the time the recording is made. This is more prone to occasional errors.
Be sure to purchase a Lavalier mic to accompany the H1n.
The Zoom H1n stores audio on a microSD card, but none is included with the recorder. A capacity of 16GB or 32GB is recommended by a brand-name memory card maker such as SanDisk, and it should include a microSD-to-SD adapter for compatibility with SD card readers.
The Zoom H1n is compatible with microSD cards up to a maximum size of 32GB.
Lavalier mic (needed if purchasing a Zoom H1essential or H1n)
If your recorder is a Zoom H1essential or Zoom H1n, you must purchase a Lavalier mic as well. It’s vital that the Lavalier model you settle on doesn’t need its own battery to avoid a problem that has tripped up students too often in the past - the mic’s battery goes dead partway through an interview, resulting in no sound (and no discovery of this fact until it’s too late).
Choose from the following lavalier mics, all of which feature 3.5mm output plugs and are powered exclusively by the recorder or camera they’re plugged into. Each includes at least one windscreen and can be sourced at either The Camera Store or online.
Note that most affordable Lavalier mics feature a TRRS-type connector for compatibility with a smartphone or the audio port on a Mac. That's true of four of the five mics recommended below, which means they will require a TRRS-to-TRS adapter for use with the H1essential, H1n or your camera's mic jack. Each mic's description lists whether this type of adapter is needed and whether one is included. The recommended adapter is the Rode SC3 (if one is needed but not included).
- Shure MOTIV MVL. Of all the affordable Lavalier mics we’ve tried, this one produces the clearest interview audio with the lowest self-generated noise. It’s an entry-level pro microphone gem. If you opt for this mic, be sure to also get a Rode SC3 3.5mm TRRS to TRS Adaptor.
- Rode smartLav+. This is among the best budget-friendly lavalier mics available, delivering rich interview sound with minimal self-generated noise. In our experience, it’s second only to the Shure model above. If you opt for this mic, be sure to also get the Rode SC3 3.5mm TRRS to TRS Adaptor, which is not included.
- Rode Lavalier GO. Clear sound, which is somewhat less rich than the smartLav+, makes this mic nearly as good a choice as the smartLav+. Its TRS-type plug means it can connect to your camera or external recorder without the need for an additional adapter.
- PowerDeWise Professional Grade Lavalier Lapel Microphone. This mic provides very good recording quality. The PowerDeWise includes a TRRS-to-TRS* adapter as well as a long extension cable. It's not quite as good a mic as the Rode smartLav+ or Shure MVL, but it's also less expensive. The PowerDeWise is a superb value.
- PoP voice Professional Lavalier Lapel Microphone Omnidirectional Condenser Mic. If you're on a particularly tight budget, consider this mic. It captures voice with good clarity, though the sound is noticeably thinner than more expensive options. Its slightly flimsier build quality means it might not last as long as the other mics too. The PoP mic includes a TRRS-to-TRS* adapter.
* The TRRS-to-TRS adapter supplied with the PowerDeWise and PoP models will enable each mic to connect to and be recognized by your camera, the H1essential, H1n or similar audio recorders. But, neither is as suitable for the job as the Rode SC3 3.5mm TRRS to TRS Adaptor. That's because Rode's SC3 features a right-angle plug that will keep the cable tucked in close to the side of the recorder or camera body. Therefore, if you purchase either of these mics, consider getting an SC3 to use in place of the clunkier non-angled adapter bundled with each mic.
Memory cards
Choose a well-regarded brand such ProGrade, Sony, Delkin or SanDisk, to ensure long-term reliability, to minimize the chance of your cards being incompatible with your camera (or recorder) and so that you can avail yourself of tech support should a problem arise.
For your camera, a minimum of four 32GB or larger memory cards is what you’ll need, and at least six is strongly recommended.
If your camera accepts memory card types that won’t work with your existing card reader, you must also supply a reader that’s compatible with the card type.
Choosing daily-use and archive storage
The photojournalism major introduces a revamp of your basic workflow to account for the fact that you'll be generating a lot more pictures and video files than in your first year. You need a backup routine that can scale to whatever volume of work you're producing, today and in the future.
To accommodate these changes, you'll need both a portable storage device and a desktop drive, with the former having enough storage space for daily use and the latter offering the much higher capacity required for longer-term archive storage.
Portable daily-use storage recommendations
If you already own a portable storage device with a capacity of at least 2TB, one that's in good working order and that can be repurposed for your second-year workflow, then it can be one of the two you'll start with as a photojournalism major.
If it’s instead time to equip yourself with a new portable storage device – as is probably the case for most – our primary recommendation is a solid state drive (SSD). This storage type contains no moving parts, and as a result offers superior durability and dramatically faster read and write speeds than conventional hard disk-based drives.
The recommended SSD models are also physically small and light, so much so that they can be attached semi-permanently to your Mac laptop, plus they also offer consistently fast write speeds, even during extended usage sessions. The only downside to SSDs is cost - they are more expensive than a hard drive with the same amount of storage. Still, our experience is the extra cost is worth it.
If you opt for an SSD, get either the Samsung T7 Shield Portable SSD or the Crucial X9 Pro Portable SSD, with a capacity of either 2TB or 4TB.
If a hard drive better fits your budget, consider the LaCie Rugged Mini, with a capacity of 2TB. This ruggedized hard drive will better withstand the daily transport and heavy use it’ll see during your time as a student and beyond. Plus, the Rugged Mini has served students well for several years. It’s unwise to purchase a non-ruggedized drive, as you put your pictures and video files at greater risk of loss. If, however, the Rugged Mini isn’t available, then look at a standard portable drive from Seagate, one in their Basic Portable, Backup Plus Slim, Backup Plus Portable or Expansion Portable lines, with a 2TB capacity.
If you do go the standard portable drive route, be sure to get a protective carrying case that will hold the drive and its cable.
Desktop archive drive recommendations
This drive will be the destination for the advanced backup routine you’ll learn as a photojournalism major. Larger desktop-type hard drives offer faster performance and more storage at a lower price than portable hard drives at the expense of portability, which makes a desktop drive the right choice for a photo and video archive.
Choose a model in Seagate’s Expansion Desktop, One Touch Hub or Backup Plus Hub lines, in a capacity of 6TB (bare minimum), 8-10TB (recommended) or 12TB (generous).
Seagate models with Hub in the product name include a pair of USB ports on the front of the drive. These ports are for connecting USB accessories and offer an alternate way to attach a portable drive and/or a card reader to your Mac, to charge your smartphone and more. One Touch Hub drives incorporate one USB-C and one USB-A port on the front; Backup Plus Hub drives have two USB-A ports.
Alternatively, if you’re comfortable with purchasing a hard drive component and separate USB-equipped enclosure, then assembling the result – it’s not difficult and requires no tools – you can often get more storage capacity for less money without sacrificing performance or brand-name reliability. For instance, as of writing, purchasing a refurbished Seagate 12TB hard drive component and Sabrent enclosure for about the same price as a Seagate Expansion Desktop 6TB is possible.
Here’s the refurbished 12TB drive + enclosure pairing we recommend in this instance, as sold by Amazon Canada:
- Seagate Barracuda Pro 3.5-inch hard drive, 12TB, renewed, model ST12000DM0007, $174 at time of writing (search for ASIN number B082YJHBHC at Amazon Canada)
- Sabrent External Hard Drive Lay-Flat Docking Station, model EC-DFLT, $39 at time of writing (search for ASIN number B00LS5NFQ2 at Amazon Canada)
Licensing ChronoSync
ChronoSync for Mac will be at the heart of your photo and video backup strategy. To obtain the app at a student-discounted price, send an email to sales@econtechnologies.com from your SAIT email address, requesting the student discount. Doing so will save you $10 USD.
Upgrading to a better multi-port USB adapter
The following multi-port USB adapter has served students and instructors really well and is also fully compatible with the higher-resolution displays in the photojournalism major classroom:
- Dockteck 7-in-1 USB-C Multiport Adapter with 4K 60Hz, 1Gbps Ethernet, 100W Power Delivery, SD/TF Card Slots, USB 3.0 5Gbps Data Ports (aluminum version, model DD0003, if purchasing from Amazon Canada, search for ASIN number B08SLS9W72)
A new multi-port USB adapter isn’t a must for the photo major. The above recommendation is included only for those of you who’d like something that's potentially better than what's in your backpack already.
Have questions about gear?
You can email your instructor with questions about gear used in that specific course.
Please contact Canon Canada with queries about the Student Advantage program or Nikon Canada with queries about the NPS Campus.
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Oki, Âba wathtech, Danit'ada, Tawnshi, Hello.
SAIT is located on the traditional territories of the Niitsitapi (Blackfoot) and the people of Treaty 7 which includes the Siksika, the Piikani, the Kainai, the Tsuut’ina and the Îyârhe Nakoda of Bearspaw, Chiniki and Goodstoney.
We are situated in an area the Blackfoot tribes traditionally called Moh’kinsstis, where the Bow River meets the Elbow River. We now call it the city of Calgary, which is also home to the Métis Nation of Alberta.