What's In My Camera Bag?

February 26, 2023

I get asked quite a bit what gear I use to make my photographs. To be completely honest, it doesn't really matter what camera I use. Throughout this website, there are images captured with cameras from Canon, Nikon, Sony, and Fujifilm. What truly matters is knowing the capabilities of the camera in your hands, and working with its strengths while minimizing its weaknesses. As a professional, of course I selected my camera based on its abilities, but also based on knowing how I use it. Read on and I'll explain my reasons below.

I use a pair of Sony A7R IV cameras, a Sony 16-35mm f/2.8 G Master lens, Sony 100-400mm f/4.5-5.6 G Master lens, and a Tamron 35-150mm f/2-2.8.

I use a pair of Sony A7R IV cameras, a Sony 16-35mm f/2.8 G Master lens, Sony 100-400mm f/4.5-5.6 G Master lens, and a Tamron 35-150mm f/2-2.8. This is my primary kit. I do have other cameras and lenses but this is what I use most of the time.

My current primary camera is the Sony A7R IV (ILCE-7RM4). In 2020 I decided it was time to move to a mirrorless camera from the DSLR I had been using. The camera itself is smaller and lighter than the DSLR I was using, and is the highest resolution camera on the market, along with the more recent A7R V that Sony released at the beginning of this year. The imaging sensor is a 61-megapixel sensor and offers about 14 stops of dynamic range, capturing more detail in the highlights and shadows than most other cameras on the market. Dynamic range is incredibly important to me, since I spend a lot of time photographing at sunrise and sunset, when the contrast of the scene can challenge even the best cameras.

The sun shines through a grove of aspen trees on a fall morning in Colorado.
Dance of the Aspens II

Weighted by heavy snows as saplings, these aspens, glowing as the sun ignites their dazzling golden foliage, now appear to be dancing in unison due to their curved trunks. One can almost hear the songs they sway to on this crisp autumn morning in the Rockies Colorado, the music provided by songbirds and the light breeze whistling through the trees.

The other reason I went with Sony was lens selection. At the time I switched to Sony, in early 2020, both Canon and Nikon were still early in developing their mirrorless systems. There was a lack of choice in terms of native lenses, and I was not enamored with the idea of using adapters. For Nikon's part, their road map included lenses that didn't interest me, particularly at the wide end of the range. Their top level wide angle lens is the 14-24mm and would require a special adapter to use filters, and possibly larger filters, which means more stuff to carry. The goal when in the field is to carry as little as possible, so that was a nonstarter for me. Canon's mirrorless offerings went in a similar direction, which, when added to my own personal feelings after having worked for Canon USA for nearly seven years, made that option a no-go.

Edith Creek pours over Myrtle Falls in the Paradise section of Mount Ranier National Park, Washington.
Spring in Paradise

Edith Creek pours over Myrtle Falls in the Paradise section of Mount Ranier National Park, Washington.

Sony, on the other hand, offered a stellar option in their 16-35mm f/2.8 G Master, which a more traditional focal length at the ultra wide angle end of the lens range. While not as sexy as something like the 14-24mm or even the 12-24mm options, this lens allows me to mount filters without the need for larger sized filters or unwieldy adapters. The 16-35mm focal length has long been my go-to lens, regardless of system, so this made making the switch much easier.

This essence of a summer evening on Penobscot Bay, Maine is captured in this photograph, showing a solitary buoy marking the...
Sunset on Penobscot Bay

This essence of a summer evening on Penobscot Bay, Maine is captured in this photograph, showing a solitary buoy marking the channel into Camden Harbor. Behind it, Camden Hills rise up, the rich orange hues of the sunset creating a breathtaking contrast against the deep blue of the sky and the sparkling water. This image is truly a masterpiece of nature and light, a perfect representation of the beauty of the Maine coast.

Most times, the midrange lenses come down to something like a 24-70mm or a 24-105mm lens. But when Tamron announced their 35-150mm f/2-2.8 lens, I knew it would be perfect for me. Why? Well, first off that range means I am covered for a variety of situations. 35mm is moderately wide and perfectly bridges with the 16-35mm lens. And zooming all the way to 150mm gives me a lot more flexibility when I need some extra reach. Previously, when using a 24-70mm lens, I had a gap between 70mm and 100mm, and if I needed anything longer, I needed to be sure I had my 100-400mm lens in my bag. That lens is large and heavy, so on longer hikes, if I can leave it at home, I will. While I'll still need the longer lens for anything really far away, the 35-150 means I can feel better about leaving the 100-400 behind on those longer hikes.

The foggy view from the Cutler Coast Trail in down east Maine on a summer morning.
The Cutler Coast

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The last go-to lens in the bag is my Sony 100-400mm f/4.5-5.6 G Master. I jokingly call this my "Just In Case" lens, as most often I find myself working wider than this lens allows, but there are times when I see an eagle or an owl or an otter or a bear cub and I need that longer focal length. But I also love the 100-400mm for compressing perspective and creating more graphic landscape images, like Appalachian Sunset II, below. I definitely find myself looking for opportunities to use this lens when I do carry it. I only leave it behind on the longest of hikes.

The Great Smoky Mountains lay before the setting sun on an autumn evening at Clingman's Dome in Great Smoky Mountains National Park.
Appalachian Sunset II

The Great Smoky Mountains lay before the setting sun on an autumn evening at Clingman's Dome in Great Smoky Mountains National Park. The sun appears as a large yellow disc, casting warm rays over the peaks of the mountains. The sky is painted in a gradient of red, orange, and pink, creating a vivid contrast with the blue and purple hues of the mountains. The use of a telephoto lens flattens the image to large, graphic shapes, showcasing the natural beauty and grandeur of this stunning landscape.

Those are the three lenses I use most often. I do have a Sony 20mm f/1.8, a Tamron 35mm f/2.8, and a Sigma 105mm f/2.8 Macro, but those lenses are for specific circumstances and don't often come out for the majority of my work.

I use filters quite a bit for manipulating exposure, including slowing down my shutter speed, controlling reflections and haze...

I use filters quite a bit for manipulating exposure, including slowing down my shutter speed, controlling reflections and haze, and balancing high contrast scenes.

What's next in my bag? Filters! Filters are pieces of glass used to manipulate exposure. I use three types of filters. The first is a circular polarizer, which can help control haze and reflections in an image, much the same way polarized sunglasses work. Next is graduated neutral density filters, which I use to help control contrast in a scene. In my case, this is typically at sunrise or sunset, when the sun gets low, the sky is still bright, and the foreground has gotten dark. This is evident in "Clearing Storm in the Badlands", and "Thor's Well" below.

A sunset over the badlands in Theodore Roosevelt National Park in North Dakota.
Clearing Storm in the Badlands

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The setting sun shines brilliantly through the dispersing clouds from a summer thunderstorm in the badlands of North Dakota at Theodore Roosevelt National Park. The lush green grasses are kissed by the warm glow of the sun, while the otherworldly rock formations, their details expertly captured, create a play between light and shadow that invites the viewer to explore more closely.

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The final type of filter I use is neutral density filters. These are just dark pieces of glass that help reduce the amount of light coming through the lens to enable me to use longer shutter speeds, like in the image below, "I Am a Rock, I Am an Island". I used a 10-stop neutral density filter (essentially black glass) to allow me to keep the shutter open for four minutes. This created some awesome movement in the clouds, and really calmed the water nicely. I did also use a graduated neutral density filter to help hold back the brightness of the sunset. I normally carry 3 neutral density filters in my bag; a 3-stop, a 6-stop, and a 10-stop. This allows me enough flexibility to do what I want to do in terms of exposure.

Thor's Well, a collapsed sea cave near Yachats, Oregon.
Thor's Well

This breathtaking fine art photograph of Thor's Well at sunset captures a timeless moment of unimaginable beauty. The powerful Pacific waters spill over a double lip of rocks, perfectly balanced between the breathtaking blues and golds of a Pacific Northwest sunset. The vibrant, captivating water will bring warmth and life to any wall, making it a truly unforgettable piece. This epic and unusual sight is captured in exquisite detail, available on museum-quality photo rag fine art paper, wood float plaque, exhibit mount metal print, or Lumachrome TruLife acrylic, available in a variety of sizes to suit any space. Make Thor's Well part of your home, office, or living space and transport yourself to a moment of infinity.

There's a few other items in the bag but nothing too crazy. I have an intervalometer that I can use as a remote trigger as well as a timer to take multiple exposures at given intervals. This is nothing special. I have one I get off Amazon for like $20. These tend to go bad over time so I don't spend a ton on them.

The sun sets behind Weir Island in Penobscot Bay, just off Sand Beach in Stonington on Deer Isle, Maine.
I Am A Rock, I Am An Island

The sun sets behind Weir Island near Stonington, Maine on a November evening. The long exposure technique used creates a serene effect on the ocean and adds drama to the sky, where the clouds appear to be in motion, illuminated by the warm hues of red and orange from the setting sun. The foreground is dominated by the imposing rocks on Sand Beach, adding depth and texture to the scene.

Finally, there's my tripod. I carry it everywhere. I use an Induro tripod that is no longer available now that Benro and Induro have merged or whatever went on there. I'll probably be in the market for a new tripod later this year so I'll have to do some research and see who has what. Open to suggestions!

Spring Point Ledge Lighthouse
Spring Point Ledge Light Station

Spring Point Ledge Light is a sparkplug lighthouse in South Portland, Maine that marks a dangerous obstruction on the west side of the main shipping channel into Portland Harbor. The lighthouse was constructed in 1897 by the government after seven steamship companies stated that many of their vessels ran aground on Spring Point Ledge.

That's really it. I carry Deep Woods Off in the summer, and hand warmers in the winter. I have spare batteries and memory cards, and I keep an Allen key to tighten my tripod up when needed. On longer hikes I also bring an osprey bladder to make sure I have water. If you have any questions, just let me know!