Photography Gear

Here's the photography gear that I use and my honest opinions on everything. Each item on this list I own, I like, and I think is worth buying. But that doesn't mean it's perfect. So I'll tell you what I use, why I like it, as well as anything that don't like about it.

Cameras - I consider myself a Nikon shooter, but you can't really call me a fan boy. I could very easily live with another brand. I roll my eyes at people who get caught up in brand debates because if you can't take a good photo with a modern DSLR, regardless of brand, the problem isn't the camera. That said, over time I have accumulated enough of an investment in the Nikon system that it would take some fairly drastic circumstances to make me take the financial hit of switching.
  • Nikon D7500 - A couple of years ago I upgraded my trusty D7000 to the then-current D7500. It's very much like the D7000, but noticeably better performing in almost every way. If you're a software guy, I liken it to a code refactoring. It works basically the same way as the D7000, but better ‒ higher image quality, faster performance, more accurate focus and exposure. It's not a pure refactor though - there are a lot of little feature enhancements and additions too. All these things added together make for a pretty substantive upgrade.
  • Nikon D7000 - My D7000 has been relegated to a backup role. I'm feeling pretty happy about the bench strength on my team, I have to say.
  • Fujifilm X20 - There's an old cliche that the best camera is the one you have with you.  I bought the X20 so I could always have a camera with me. It goes with me to work, to the store, to my kids' soccer practice - all the places that I don't want to lug around a big DSLR. My one sentence review: "So good you'll forget it's a compact, but it's still a compact." I absolutely love the size, the build, the lens, the controls, the feel, the creative features, and the overall retro vibe of the camera. It's a whole lot of fun to shoot with and within its limitations, it takes terrific photos with wonderful color and sharpness. So what exactly are the limitations? Well, like all small-sensor compacts it's subject to high ISO noise (800-1600 is really the limit for me) and it lacks resolution on really fine, distant detail (such as grass and foliage). So it rocks at people photos, but it's not so hot at landscapes. For whatever reason it takes beautiful black and white photos, which is good because ISO noise is a lot less objectionable in B&W. The X20's strengths make it a really fine street photography camera.
  • Fujifilm XP120 - The XP120 is an inexpensive, ruggedized point-and-shoot that I use for photos and videos when I'm kayak fishing, which is another passion. I like it because it's waterproof and shock-resistant, which is essential on a boat where capsizing is a real possibility. And it's not very expensive, so if one day it winds up at the bottom of a lake, I'm not going to loose too much sleep over it. From a photography standpoint, there's not much to talk about though. It's a point-and-shoot - the image quality and camera control is pretty limited.
  • Sigma 18-35mm F1.8 DC HSM | A - I bought the 18-35mm to go along with the new D7500. Wow. Just wow. I think this lens might be the best APS-C lens one can buy. Fast, sharp, low distortion, lovely colors, and beautiful bokeh. It's a game changer and just about perfect
  • Sigma 17-70mm F2.8-4 DC Macro OS HSM | C - Before I got the 18-35, the 17-70 was my go-to lens due to its versatility. It's sharp across most (but not all) of its range; it auto-focuses quickly and decisively; it laughs mockingly at low light; it has surprisingly nice bokeh; and its fit, finish, and materials belie its reasonable price. On top of all that it has a very handy macro capability. Like I said, versatile! The biggest weakness with this lens is that the edges are soft at the wide end of its zoom range and it doesn't improve much when you stop down.  So it's not the best landscape lens in my bag, but it'll do in a pinch. It's a great "walking around" lens when I think I might need a bit more reach than the 18-35mm provides.
  • Nikon AF-S DX Nikkor 35mm f/1.8G - Prime lenses are nice because they're generally cheaper, faster, and sharper than zooms, and they force you to be more creative with your framing. On my DX cameras, this lens has a full-frame equivalent focal length of 52.5mm, so it's essentially a nifty fifty.  It is wicked sharp, especially stopped down just a little bit.  The f/1.8 aperture means that it works great with available light.  It also has okay bokeh.  All that for $200!
  • Nikon AF-S Nikkor 50mm f/1.8G - This is the 50mm version of the 35mm f/1.8 lens above.  With a full-frame equivalent focal length of 75mm, I use this lens a lot for classic portraits.  I also use it indoors without a flash when I need a little more reach than the Sigma 18-35mm can provide.  It has all the same virtues of the 35mm, including a bargain price.  Downsides?  Oddly, this lens isn't quite as decisive in its auto-focusing as the 35mm. In dim light, it will get confused more easily.
  • Tokina AT-X 124 AF PRO DX 12-24mm - This is a surprisingly versatile ultra-wide due to its top-end focal length of 24mm. That equates to 36mm on a full-frame, which is in the "wideish standard" range so if you want to eliminate some background you can still do it without having to swap lenses. At 24mm any radial distortion is completely unnoticeable, so it takes really nice contextual portrait shots. Obviously it's also great for landscapes, and I love the possibilities available with ultra-wide perspective and gargantuan depth of field. It has fairly nice image quality with the exceptions of some edge softness, and pretty egregious chromatic aberration, especially when shot wide open. The CA is easily fixed in post. The edge softness not so much.
  • Nikon AF-S DX Nikkor 55-300mm f/4.5-5.6G ED VR - This is my cheapo long zoom. It is so much better than it has any right to be for $400.  It has surprisingly good image quality, it's wonderfully compact, and when you learn its limits you can make it perform well. It doesn't have any focus breathing that I can detect. The VR image stabilization system kicks ass and compensates for the slow aperture in some (but not all) ways. For trips to the zoo, baseball games, my kids' school assemblies, and the like, this lens is a champ. The limitations are that the lens has a slow, variable maximum aperture, the auto-focus can be a little persnickety when it's zoomed past 200mm, and the image quality softens a bit past around 250mm. One day, I'll upgrade to faster, sharper long zoom, but the 55-300mm is a decent option until I have the extra money.
Lighting - I definitely identify with the strobist movement. That's somewhat driven by budget limitations, but I also love the portability of speedlights. Thank goodness for David Hobby, the pied-piper of strobism. The dude has taught legions of people like me how to conjure professional looking lighting from little speedlights. Having said that, I've nothing against studio flash and in fact any further investment in lighting gear will probably be in that realm.
  • 2 Nikon SB-700 speedlights - These are Nikon's mid-range speedlights.  They have only moderate power, but a very nice user interface and a robust CLS implementation.  They also have a really solid optical slave mode, which I use a lot.  It even works well in sunlight.  I generally don't use full-on TTL with the CLS system.  I find setting flash power levels directly in manual mode to be more intuitive than using flash exposure compensation with TTL, plus it's easier to get maximum power when using manual flash.  However, CLS is awesome for manual flash too because it allows you to set flash power remotely at the camera instead of having to do it at each speedlight (which are often at the top of tall light stands).  That alone is a huge hassle-reducer.
  • LumoPro LP160 speedlight - The LP160 is a great, straightforward manual flash.  It dispenses with all the fancy TTL stuff, and gives you consistent, reliable, and powerful light at a great price.  My favorite feature is its built-in optical slave, which is rock-solid reliable.  It just works.   There's even a setting that allows it to ignore CLS pre-flashes, so it integrates into my setup well.  If you want a powerful and dependable speedlight, but you don't have a lot of money to spend, this is the one you want.  Unfortunately, LumoPro discontinued it, but they replaced it with the LP180, which improves on the concept by adding more power, an LCD, finer flash power adjustment, a high-voltage battery input, a more rugged build, and a number of other features.  If it retains the LP160's reliability, then the extra $20 over the LP160 sounds like money well-spent.
  • Nikon SG-3IR - One of the biggest problems with triggering off-camera speedlights optically using the pop-up flash on the camera is that the camera flash can add it's own light to the photo and screw up your carefully prepared, off-camera lighting treatment.  This gizmo slides into the camera's hotshoe and obscures the light to keep it from influencing the picture.  However, any CLS or optical slave can still see the flash so all the triggering and inter-flash communication still works.  A simple, inexpensive ($12 street), and very effective solution.
  • Yongnuo RF-603 N3 wireless triggers - Sometimes optical/CLS triggering just won't fire a remote flash reliably. Like when you're outside in bright sunlight, or when you're in close quarters and your light modifiers block the line-of-sight between your master and remote flashes. At that point, you have to use either a hotshoe cable, or a radio frequency trigger. The RF-603's are cheap (about $30), easy to use, and have decent range. They work in bright sunlight, around corners, even through walls. And unlike some cheap triggers, they fire quite reliably. I like them very much. But they don't support TTL or remote power adjustment. You have to set your flash power on the flash itself, which is a pain. Thus, I only use triggers when I have to.
  • Lastolite 24" EzyBox HotShoe softbox - Okay, now we get to the fun stuff in terms of lighting.  The Ezybox has two great qualities compared to a lot of other softboxes:  One, it works with speedlights, and two, it's very easy to set up and tear down.  It's also very thoughtfully designed and casts a terrific, soft light.  I appreciate the craftsmanship of it too.  When assembled, all the fabrics are nice and taut, and the pieces fit together with reassuringly tight tolerances so that everything feels solid.  My only complaint is that it's fairly pricey for what it is.  The same can be said about most name-brand lighting products, frankly.  But the quality of this thing is evident. It's a perfect size for head and shoulder portraits.
  • 48" Octagonal Softbox - This is my big softbox - big enough to shoot multiple people and 3/4 or full-length portraits. The one I have is an inexpensive e-bay item, but it's surprisingly well-made and performs wonderfully. It's basically a silver bounce umbrella with a diffusion panel on the front, so it's lightweight and collapses down really small. Like the Ezybox, assembly and disassembly is simple and fast. Unlike the EzyBox however, it produces round catchlights, which is nice. Most importantly, the light out of this thing is sumptuous - it's easily feathered and it casts extremely soft shadows. A very flattering portrait light. Mine included a detachable grid to control spill, which I've come to view as a necessity given the size of this bad boy. Downsides? Well, the biggest thing is that the strobe goes inside the softbox, which requires using wireless triggers, so power adjustments must be made by opening the softbox and adjusting the controls on the flash. I just leave the velcro on the diffusion panel partly unsealed so that I can easily do adjustments until I get it fully dialed in. Then I seal it up proper. The other downside is that a boom stand is pretty much mandatory for freedom of placement.
  • Neewer Magnetic Ring Flash - "The Donut" is an attachment that turns an on-camera speedlight into a giant, wonderfully performing, but slightly ridiculous looking, ring flash. It does all the things you'd expect from a good ring flash, including that unrelenting, shadowless fashion photo look with the characteristic circular catchlight in the eyes. It makes a perfect fill light for lightening shadows. And it even makes a pretty darn good softbox for head-and-shoulders portraits if you bring it in really tight on your subject. For $25 on Amazon, it is a steal.
  • LumiQuest Softbox III softbox - This is another speedlight softbox.  It's considerably smaller than the EzyBox or octabox, so its light is not as soft.  But place it really close to the subject and it looks great - more dramatic with harder light/shadow transitions than the EzyBox.  It has the added advantage of being remarkably portable and unobtrusive.  I've shot great photos just holding my camera in one hand and the Softbox III in the other.  In a clamshell configuration with a reflector or a bigger softbox on the bottom, it also does a serviceable beauty dish impersonation (except the catch light is square instead of round).
  • 2 Impact 43" White Translucent Umbrellas - Umbrellas are great when you want soft light and you either desire, or don't care about, extra light spilling around the scene.
  • Fotodiox 42" 5-in-1 Reflector - Reflector disks are another lighting classic.  This is a 42" disk that can be used to reflect, diffuse, or block light depending on the cloth cover you put on it.  There are many applications for reflector panels.  In fact, a lot of pros primarily use panels of various shapes and sizes (including giant 6' X 6' mini-walls) as their light modifiers of choice.
  • ExpoImaging Rogue Grid - A grid is an adapter that goes on the front of a light source that funnels all the light through a honeycomb-like filter. A light sieve, if you will. It has the effect of focusing the light into a tighter beam, reducing spillage of light outside the beam. A speedlight grid produces a light beam with more feathered edges than you'd get from a spot light or snoot. But it has absolutely no effect on the softness of shadows, however. It's all about controlling where the light falls, not the shadows it casts. A gridded speedlight works great as a key spot light, hair light, background light, or for situations where you want to throw light on something but don't want it to spill onto other things in the surrounding area.  The Rogue grid is nice because it has interchangeable grid inserts that provide different spotlight sizes, and a clever attachment system that is both secure and easy to work with.  It's also well-made and has a nice integrated look, instead of looking like a lab experiment.
  • LumiQuest FXtra and Rosco Strobist Collection gel kit - Gels are colored sheets of plastic through which lights are shone to change their color.  They're used either to match the color of a flash to existing lighting, or to create some kind of special effect lighting color.  The challenge with gels and speedlights is attaching the gel.  The FXtra system is a clear plastic gel holder that attaches to the speedlight using a strap system that's compatible with the Softbox III.  It works well, although a definite drawback of the system is that the gels fit really tight so it takes longer to get them into the holder than it should.  The Rosco kit is a collection of 55 color correction and special effect gels cut to fit the FXtra holder.  If you have the FXtra system, the price and comprehensiveness of the kit makes it a no brainer.  And even if you don't have an FXtra, it's worth considering because you can just scotch tape the filters to your speedlight.
  • Impact Multiboom Light Stand and Reflector Holder - A simple, inexpensive, and effective boom stand that holds reflectors and small speedlight/modifier setups.  The boom lets you put a speedlight or reflector exactly where you want it.  The ability to clip on a reflector is essential if, like me, you're working with reflector disks that have a tendency to roll away.  I wouldn't trust a heavy light to it, but for reflectors or a speedlight with a small modifier, it's fine.
  • Light Stands - I have one Impact Air-Cushioned Heavy Duty Light Stand and two Proline Speaker Stands. The Impact stand is tall (9.5'), stable, sturdy, lightweight, and reasonably priced. It's kind of bulky, but that's the trade-off for sturdiness. I augment the Impact stand with a Cowboy Studio Boom which provides a lot of flexibility in light placement and extra height when needed. The Prolines aren't even light stands, they're PA speaker stands! I've had them forever from playing in bands and I decided to put them to use as light stands as well. They work very well for that purpose other than being a little short for certain situations. The upside is they carry 75+ pound speakers so handling speedlights and softboxes is child's play.
  • 2 Impact Super Clamps - A super clamp enables you to mount a light on pretty much anything, like a door, a table, a bookshelf, a car, or in my case, a PA speaker stand.
  • 2 Impact Umbrella Brackets - An essential gadget that mounts a speedlight and modifier onto a stand and allows you to adjust the angle of the speedlight.

Accessories - This list doesn't include all the little stuff that you end up buying - memory cards, filters, batteries, and so forth.  Just the big stuff.
  • Manfrotto 055XPROB tripod - I love this tripod!  It's tall (70" max height), built like a tank, and incredibly stable.  It's very versatile with its center column that can be oriented horizontally and legs that can be splayed out almost flat, allowing you to get your camera right down to ground level.  Best of all, it's very reasonably priced, relative to what you can pay for a good tripod. The drawbacks?  It's heavy and not exactly compact when folded down.
  • Vanguard SBH-250 ball head - Another great value. Excellent build quality, very smooth action on all the controls, and amazing weight capacity. It has all the desired adjustments, dual bubble levels, and comes with not one, but two, safety-locked, quick release plates.  My only wish is that those plates were Arca Swiss compatible.
  • Mefoto GlobeTrotter – I got the GlobeTrotter as a birthday gift from my wife and I love it. I wanted it for airline travel but it actually gets used more than the 055XPROB because it's almost half the size (collapsed) and weight. It will easily fit into a backpack, carry-on luggage, or strapped to the outside of my camera bag. And despite the size it is very stable and rugged, and it extends to 64.2" so I'm not giving up too much height. Operationally, it's got the right features and everything moves with reassuring smoothness and no play. You can reverse the center column to get the camera really close to the ground, or if you don't want to deal with an upside-down camera you can purchase an optional short center column. Conveniently, one of the legs unscrews and attaches to the center column to create a monopod. It comes with a nice padded and form-fitting carrying case and the included ballhead is compatible with Arca Swiss plates. There's really not much to dislike. It's a high quality piece of gear for a very affordable price.
  • Lowepro DSLR Video Fastpack 250 AW - It's really hard to find the perfect camera bag, especially when you're trying to stick to a budget. But the last time I was in the market for a bag, this one was near ideal. It will hold a gripped camera, 4-5 (DX size) lenses, a speedlight or two, a laptop, a tripod, and myriad small accessories -- and still have room for some personal stuff in a separate compartment.  And it easily fits under an airline seat!  It's well-made, heavily padded, and comes with a rain cover to boot. When I bought it, I didn't want a hip belt because I didn't think I'd need one and I didn't want it dangling on the bag and getting in the way. But in retrospect that was a mistake because the suspension starts to get uncomfortable when you really load it up, so now I wish it had an effective but removable hip belt and maybe a bit heavier-duty shoulder straps. It could also do with a couple more memory card pockets. Lowepro replaced this bag with an equivalent bag from the Fastpack II series, and it looks like they were listening: The new bag adds a removable padded waist belt and a lower flap with zip pocket, but I don't like the tripod leg pocket as much as on the original. Overall, it looks like a winner.
  • Maxpedition Thermite Versipack - This is not really a camera bag, but it works great for that purpose. It's the bag I use for my lightweight/low-fuss setup, based around the FujiFilm X20. I use this setup I use when I want to go minimalist and agile. The bag can hold the X20, extra batteries, charger, a couple of filters, filter adapter, and some small accessories. If I'm hiking and I need stability, the Versipack can be worn like a holster, with straps for the waist and thigh. But normally I use it as a shoulder bag so it doesn't look so police tactical.
  • OP/TECH strap system - I use three different OP/TECH straps.  The Super Classic strap with Uniloop connectors is a regular neck strap, but with a nicely padded neoprene pad for comfort and grip.  The Utility Strap Sling is my go-to strap for all-day outings.  When you have to do it for several hours, its amazing how much more comfortable it is to carry a camera slung across a shoulder rather than around the neck.  Finally, I use a couple of Swivel Hook System Connectors to attach my camera to the shoulder straps on the LowePro backpack for the ultimate in comfort!  All of these straps are pretty inexpensive, but what's most cool about them is that employ quick-release connectors so the I can switch straps on my camera, or move a strap between cameras, in a few seconds.
  • Westcott X-Drop Backdrop - The X-Drop is a portable backdrop system. At 5' x 7', it's only big enough for single-person, or maybe really cozy two-person, shoots. But that's exactly the sort of shooting I mostly do and my studio is too small for a full-size backdrop. The chief advantage of the X-Drop is that it travels and stores exceptionally well, collapsing down into a really compact package and setting up and tearing down very quickly and easily. I have the white and black drop cloths and they look and function exactly as you'd expect. The stand itself is a pretty clever design, stretching out the drop cloths to remove wrinkles, and stowing away into a handy bag when collapsed. However it's delicate in terms of build so I wouldn't recommend it to somebody who's tough on their gear and using it outside on a breezy day is just begging for trouble. But if your usual shooting parameters fit within its limitations, it's a terrific system.
Software - I consider post-processing to be as critical to what I do as working the camera.  That's not a hip thing to say as a photographer, but it's true.  I don't mean to diminish camera skills (you can't polish a turd, after all) but just like a song recording really comes to life during mixing, a photograph really comes to life during post-processing.  Transforms it from "That's nice" to "Wow!"
  • Adobe Creative Cloud Photography - In early 2015, I switch over to Creative Cloud. The Photography plan includes Lightroom and Photoshop, which are both industry standards. They're mature, highly evolved, and for the most part, best-in-class. I'm really glad I made the move. Now, the Creative Cloud subscription model is controversial among users, and it's not really "cloud" software, but from my point of view the Photography plan for CC is a no-brainer. I can't think of many other industries where the high-end, market-leading professional software tools are available at this low of a price (even factoring in multiple year ownership). Just skip eating out once a month and it's more than paid for.
  • Nik Collection - This suite includes Color Efex Pro 4 (a huge collection of absolutely killer filters covering a wide range of common and unusual post-processing techniques), Silver Efex Pro 2 (probably the best black & white conversion tool available), Dfine 2 (an excellent noise reduction tool), Sharpener Pro 3 (an outstanding sharpening plug-in), Viveza 2 (a selective color/tonal adjustment tool), and HDR Efex Pro 2 (an HDR app).  I use Color Efex Pro more than any other plug-in, and it alone is probably worth the price of the suite.
  • Topaz Labs Adjust - Topaz Adjust gives you amazing control over exposure, tonality, local contrast, and other elements of a photograph. The user interface is kind of quirky (and you can really make a mess with it) but it's incredibly powerful. Amazing tool, great price.