a  gizmo,  a  photograph  was  lost;  for  want  of  a photograph, an assignment was ruined; and for want of an assignment, your reputation as a photographer was destroyed. No, we are not really concerned with gizmos here. What we are concerned with is your equipment. Do you have everything you need when you get to your assignment and does it work? Nearly all photographic equipment  has  one  or  more  critical  components-the failure or loss of which may put a vital piece of gear out of operation. With cameras, one of these items is the battery, because it may power both the meter and the shutter.  Check  the  battery  before  you  leave  the  lab,  and ALWAYS carry a spare. You have a super deluxe all-powerful electronic flash unit that can light up the entire hangar deck in the wink of an eye. Or can it? Did you check it out and was it working before you left the work  center?  Did  you  remember  the  power  cord  and  an extra  sync  cord?  Speaking  of  synchronization,  did  your make sure the flash was in sync with the camera shutter? Or was the shutter even working? What about the camera lens-is it clean, does it focus correctly? The diaphragm-is it working? In the studio, a minor failure usually only causes embarrassment  and  gives  the  impression  of  un- professionalism. You can usually get a spare camera, lights, and tripod into service. But when you are out on location, you are limited in what you can take with you; therefore, it is important that ALL your equipment be thoroughly  tested  and  operating  correctly  BEFORE  you leave  the  work  center. MARKING YOUR EQUIPMENT If you have been issued your “own” equipment, put your name on it. Of course, you should not put your name on it permanently. Use stick-on labels. Having your name on your equipment does not keep anyone from stealing it; it is only there to let other people in the workcenter know it is “yours” and they best keep their hands off. Navy photo equipment must be marked permanently  with  both  a  serial  number  and  “U.S.  Navy Property.” If the manufacturer did not include a serial number on the equipment, a local serial number is assigned, using the unit identification code (UIC) under which the equipment is assigned, plus a dash and a two or three-digit number that identifies the specific piece of equipment; for example, if you receive a new light meter without  a  manufacturer’s  serial  number,  your  work center UIC is 62093, and you have 76 other pieces of equipment assigned local serial numbers, then the serial number  for  the  new  meter  is  62093-077. EQUIPMENT   SECURITY In the photo lab, your equipment should be secured when  not  in  use.  Most  imaging  facilities  have  a camera-crew ready room or locker that is kept locked so only authorized personnel have access to valuable photo equipment.  On  location,  however,  security  is  another matter, particularly when away from your home station. There may be times when you must leave equipment in a BEQ or motel room. There are measures you can take to protect this equipment. The first principle is do not advertise your equipment. Do not put anything on the equipment cases to indicate they contain photographic equipment. Do, however, put your command address on the cases. The second principle is not to leave photo gear out of your sight any longer than necessary. Carrying a camera  bag  with  you  to  chow  may  be  inconvenient-but this is better than leaving it unattended somewhere. Also, do not leave your photo gear in a location where it could easily be picked up or stolen. Keep a strap attached to the bag or case, and drape it over your knee. PHOTOGRAPHING   PEOPLE People  are  probably  one  of  the  most  rewarding subjects for photography. Good pictures of people capture the gestures and expressions that convey vitality and   character   without   the   subject   appearing self-conscious. Basically,  assignments  for  photographing  people fall into two general categories: pictures of a single person and pictures of a group of people. For the mediocre photographer, all the picture of a person must do is identify a person. But good photog- raphers steer away from these identification pictures. The photographer is after something different, some- thing not too loose and not too formal-something that pictures the person, not just his features. One approach to capture these characteristics is the candid photograph. CANDID PHOTOGRAPHY Most photographers are familiar with candid shots of people they do not know. It may be true that the average  photographer  thinks  of  a  candid  photograph  as one that is not set up or one the subject does not know is  being  taken.  Photographers  have  learned  that  candid techniques can be used just as effectively to make pictures of people they know, even when the people know  they  are  being  photographed.  The  key  to  success as a candid photographer is to keep a low profile, but you do not have to be sneaky. A candid shot is a candid shot, whether it is of the admiral at a news conference 6-2