The new year is right around the corner. While many are rushing to buy things for Black Friday, I am waiting patiently for January and February. There are two reasons behind this choice: financials and availability. But enough about timing. Here is the gear I will upgrade in 2024.
If you’ve read any of my gear-related articles, you may find it quite ironic that I want to upgrade something at all. It’s somewhat of a compliment being called a dinosaur in the comments, as it reassures my ability to capture good images on outdated equipment. If you are new to my work, all you have to know is that I shoot on a Canon 5Ds with a 24-70mm f/2.8 that’s taped over because I fell on it once. My lights are Profoto and stands are Avenger. All bought used, they work like a charm. Moreover, I’ve used the same tether cable for years, and at this point, it has transferred over 500k images. Fortunately, my gear works as intended.
Before going into what I want to upgrade, I would like to preface by saying that none of this is necessary. It’s not like I need another light or a camera that will generate more income. These upgrades are justified under the “enjoyment of shooting” clause. What it is, is essentially a way to justify buying anything you want because it makes shooting pictures more enjoyable. When you check out what I want to get, you will understand this very well.
Workflow
We will start with an upgrade that is the most needed in my current setup. More than anything, I need a new computer. I know very well that I am squeezing the last bits from the 2019 MacBook that I have right now. While it is the more powerful 15’’ version, it is showing signs of slowing down. For example, editing my lighting course on it was a pain, and even image editing software is slower than it was. This is all due to the massive switch to Apple Silicon, which is nowhere near what I can dream of with my current laptop. It is likely that I will upgrade this first. Currently, the plan is to go with the new M3 16’’ MacBook Pro in the most basic configuration. While I could get something better with the 14’’ version, I just appreciate the big screen too much. Besides, it’s a great foundation for a tethering station, as the team can see the images better on a big screen. Suffice to say, I use a 32” monitor on my desk for the same reason.
This is the upgrade that will speed up export speeds, as well as allow me to work faster, hence I see it being a justifiable upgrade as it will generate more cash. Now, let’s progress to more comfort upgrades.
Modifiers
While I own a fairly decent number of light modifiers ranging from the ProFresnel to the good old softbox, I always find the lack of the specific modifier for the look I want to achieve annoying. This is why I will be looking at purchasing more light shaping tools from Profoto, of course. The first on the list are strip softboxes, such as the 1×4 and 1×6. When lighting backgrounds, I often use a strip box in the studio. Larger spaces warrant an umbrella; however, working in a small studio has proven this method to produce too much spill on the subject. Another great use for strip softboxes is to light a full-body subject. I used them on plenty of shoots when they were available.
Next on the list are more softboxes. The ones I am looking at are the 1.0×1.3 RFI softbox to give highlights on the face. Another one is the 3×4 softbox to light up half-body images. Lastly, the 4×6 softbox would make for a great solution for creating super soft light, fill light, and lighting large sets. All of these would be purchased with grids, and in pairs of two, of course.
Lights
With so many modifiers in my arsenal, I will need extra lighting. The current plan is to switch over to the ProHead system and keep the B1X and B2 lights for location work. Most enticing of all is the D4 4800 W pack, as it gives 4 head sockets, meaning I can run 4 lights from one pack. The 4800 W version allows me to have 2400 W on two of those outputs, 1200 on the third, and 600 on the last. This will give plenty of range and opportunity to create intricate lighting setups that will further improve my images.
Another option worth considering is the Pro-7a pack. This would be my second choice, though. This pack comes with 3, effectively two output channels. There are two outputs, A and B. They can be set somewhat asymmetrically. However, sockets B1 and B2 are fully symmetrical and will give the same output. Another problem I have with the Pro-7a is the difficulty of controlling the light output. There are several switches, and it takes either a skilled lighting tech or pure guessing to set up correctly.
You may ask, why not the Pro-8a, Pro-10, or the Pro-11? They are more reliable and have more features as well as improved performance; however, the cost of such an upgrade would be too high.
Camera
Lastly, the most unnecessary of all, is the camera and lens. I’ve been going on about this for a while. I want a Phase One. Not like I need a Phase One, but I want a Phase One. The reason I choose the Phase One system over the Pentax, Hasselblad, or Fuji is simple. It is the most seamless medium format system when it comes to tethering into Capture One. Hasselblad won’t tether at all, Pentax too. Fuji is possible; however, an external piece of software is required for it, and the digital file processing won’t be as nice, even if the sensor is the same as in the Phase One.
From Phase One, there are a lot of options. Let’s talk about the camera body first. The older DF body is cheaper; however, it has fewer features. Still, it is enough to serve as a medium format body. The reason I will avoid it is that the XF body has a built-in Profoto Air Remote, which allows me to control my lighting directly from the camera body. Additionally, the XF body is more compact than the DF. As for the backs, there are more modern IQ backs or the P backs. Since I am getting the XF body, it would only make sense to get an IQ back. The P backs won’t tether nicely into Capture One and won’t fit an XF body. As it seems now, I will be going for the IQ250 or IQ350 As for lenses, it will likely be a Schneider-Kreuznach 80mm f/2.8, possibly a 150mm f/2.8 for closeup work and a 35mm f/3.5 for wider shots.
Closing thoughts
My upgrade list for 2024 is fairly huge and will cost at least ten grand. However, the work for 2024 is already cut out as well, meaning that if all goes to plan, these upgrades won’t put a financial strain on me.
