My Kit Bag

My Trusted Kit for Professional Photography

As I reflect on my journey as a photographer, I remember starting out with a compact Sony A6000 and a single kit lens. It was perfect for long coastal walks, easily fitting into a pocket or small backpack. However, as my career evolved, so did my kit. Today, my camera bag often weighs over 13Kg, which is manageable for short commercial shoots but quite a challenge when hiking through Dartmoor's snowy landscapes!

While photography isn't solely about equipment, professionals like myself who cover various genres tend to accumulate a diverse range of gear. Below, I've outlined the main contents of my camera bag for a typical shoot, for those interested in the tools behind my work.

CAMERA

I started with a Canon DSLR but found it too bulky for coastal hikes. I switched early to lighter, more compact Sony mirrorless cameras, beginning with the A6000. I later upgraded to the full-frame Sony A7RIII for its image quality, and recently added a Sony A7RIV (62MP) as a second body for diverse photography genres.

TRIPOD

Tripods are key for sharp landscape photos, especially in low light or for long exposures. While aluminium tripods are sturdy and carbon fibre are light (but pricier), Rollei offers great carbon fibre quality at an affordable price. The Rollei Rock Solid Gamma Mark II balances weight, size, and stability perfectly, remaining steady even on windy days, all for around £200

MAIN LENS

I often advise my students to invest in the best lenses they can afford, but I didn't always follow my own advice. Initially, I opted for mid-market lenses, only to realize their limitations. I soon upgraded to a set of high-quality lenses that now cover a versatile range from ultra-wide at 14mm to moderate zoom at 200mm.

My go-to lens is the Sony FE 24-70mm F2.8 GMII. This exceptional lens remains on my camera most of the time, only being swapped out when I need to capture a wider or tighter perspective.

ULTRA WIDE

When I need to capture an ultra-wide field of view, far beyond what the human eye can see, I turn to my Sigma 14-24mm F2.8 DG DN Art lens. It's perfect for expansive landscapes and creating dramatic perspectives.

While I would have liked to complete my Sony G Master series with their ultra-wide lens, the cost was more than double that of the Sigma. Given the exceptional image quality the Sigma lens delivers, I found it to be a more practical choice without compromising on performance.

TELEPHOTO LENS

At the longer end of my focal length range is the exceptional Sony FE 70-200mm F2.8 GM lens, another standout in the Sony G Master series. This lens extends far beyond the human eye's field of view, allowing me to zoom in on intricate details in landscapes, capture people and wildlife with a beautiful soft bokeh, and compress perspectives to make distant elements appear closer together.

LOW LIGHT PRIME

Among my essential lenses, which are mostly zooms covering a range of focal lengths, I have a prime lens that stands out for its distinct advantages. The Sony FE 24mm F1.4 GM is notable for its compact and lightweight design, but what truly sets it apart is its large maximum aperture of f1.4. This makes it perfect for low-light photography, especially for capturing the night sky, where its performance is exceptional.

CPL FILTERS

CPL filters are invaluable for reducing glare on water and wet leaves, perfect for waterfalls and revealing submerged objects. However, avoid using them with wide-open blue skies, as they can cause unwanted color banding. CPL filters screw onto lenses or fit square filter holders, offering versatility.

ND FILTERS

ND filters reduce light, enabling slower shutter speeds. I use ND8 (3-stop), ND64 (6-stop), and ND1000 (10-stop) filters, even stacking them in bright daylight. Filters come in circular (lens-specific) or square (more adaptable) forms. Choose glass for better quality, though Perspex is a cheaper option.