Favourite gear

I’m often asked about my thoughts on gear, which was one of the reasons I started reviewing and consulting in the early noughties. I’m still asked about gear all the time, so I thought I would list some of my favourite items. These days, I only review gear that I think I’ll like anyway, so it’s a lot more personalised and relevant to the type of photography I currently practice: architecture, homes, and gardens. Personal projects include the hybrid documentary landscape genre.

I have an Amazon page here where I list some of the items. However, this page here gives you an idea of why I like them and why I bought them. I’m brand-agnostic and have no affiliation with any manufacturer, although I have consulted with some in the past.

Lenses

Cameras are secondary to lens choice, so my advice is to select a lens or lens range first, and then choose the brand that best suits your needs. With mirrorless systems, the camera body choice is even less important, so you might pick one lens brand and a different mirrorless camera. This option is still a bit “left field” for most people, but it’s not uncommon with enthusiasts—especially video/filmmakers—and it will likely become more mainstream in the future.

Canon TS-E 24mm F3.5L

My most used focal length is 24mm (though 35mm is a close second), and I use the tilt-shift Canon TS-E 24mm F3.5L [affiliate link], which is invaluable for architecture and landscapes (especially panoramas but also for fine-tuning perspective in the landscape).  This version is much smaller and lighter than the current Mark II, and is ideal for handheld use. However, the current Canon TS-E 24mm F3.5 II [affiliate link] offers fully adjustable tilt and shift settings, allowing the two to be offset by 90 degrees or aligned. I don’t use the tilt feature that much, but shift (rise or fall) is essential, and I can’t see myself going back to lenses without it (except zooms for convenience). The original also has more fringing, but the Mark II is considered the de facto standard for this type of lens and focal length. Nikon offers an alternative, but their version has both unpredictable (wavy) field curvature and focus shift, making it difficult to focus. It has great build and looks the part, but sadly, I can’t really recommend it as it’s in serious need of an update. I intend to replace my Canon lens with the newer Mark II model when mine is worn out, but I’ll miss its compact dimensions.

Zeiss Distagon 35mm F2.8 PC Distagon

Thanks to its attractive, almost 3D-like rendering and general-purpose nature of the focal length, the Zeiss Distagon 35mm F2.8 PC Distagon [affiliate link] is my favourite lens. It’s a shift-only lens with no tilt, which isn’t a significant downside. Although no longer in production, this lens hits a sweet spot between my 24mm and 45mm Tilt-Shifts, and when space or reach isn’t a concern, I’ll choose it over both because of that rendering. However, there are a few downsides. Firstly, the lens is quite rare and pricey as a result, so I have to be careful with it as it can’t be easily replaced. And secondly, compared to the Canon Tilt-Shifts, handling is a little clunky—it has stopped-down metering only. There’s also a separate and equally tricky-to-find and use 86mm accessory ring required for filters and a hood. I have a review of the Zeiss PC Distagon here.

Canon TS-E 45mm F2.8

Like the TS-E 24mm, the Canon TS-E 45mm F2.8 [affiliate link] is compact and ideal for handheld use, but has the tilt and shift mechanisms set up 90 degrees apart. The TS-E 50mm F2.8L has since replaced it. I like this lens for its 45mm focal length and small size (it takes 72mm filters, like the 24mm). However, it is showing its age and has quite a lot of LaCA, though it cleans up well in Lightroom Classic (LrC). The new model is much larger, but, although I’ve not reviewed it, the 50mm is reported to be a first-class performer. Besides architecture and landscapes, the longer 45mm focal length allows it to be used for interiors (on select elements) and even portraits.

Memory cards

I recommend buying v4.0 cards over v2.0 unless there’s a special on them. CFexpress version 4.0 cards use the latest PCIe Gen 4 interface and are backwards compatible with current cameras. They will provide higher transfer speeds than CFexpress v2.0 cards when downloading to your computer with a suitable reader. However,  you won’t yet see an improvement with max write speeds in your camera. Still, because there are higher minimum write speeds with v4.0, you may well see a benefit with high-bit-rate video capture and high-burst continuous shooting. Prices are generally lower as well.

Lexar Professional CFexpress 4.0 Type B Silver Series 1TB

This card is claimed to have a minimum sustained write speed of up to 2600 MB/s and is just £279.99. It doesn’t have a software refresh option available (more than a secure erase/format, this is essentially clearing mapping tables and blocks, returning to (almost) as it was from the factory), nor is it VPG 400 rated, but it appears competitive in all other areas. I’ve not yet tested in a Nikon Z8/Z9, but it’s fast enough for the Canon EOS R5.

Lexar Professional CFexpress 4.0 Type B Silver Series 1TB [affiliate link] with a minimum sustained write speed of up to 2600 MB/s, is £279.99

I also like ProGrade Digital. They have a smaller 400 GB card in their high-end Irdium series, which offers a memory “refresh” option (with a compatible card reader). It is a bit more affordable, but note the lower sustained write speed of up to 850 MB/s. This is possibly too slow for high-end video with the Nikon Z8/9 and borderline for the Canon EOS R5. Still, it is VPG 400 rated, which means the card is guaranteed not to drop below 400 MB/s for any reason (thermal throttling or a multitude of other possibilities), so it may be just okay – I’ve personally not tested it, so I can’t confirm that.

ProGrade Digital CFexpress 4.0 Type B Card Iridium 400 GB at £157.99 (was £184.99). [affiliate link]

ProGrade Digital CFexpress 4.0 Type B Card Iridium 800 GB at £298.99 (was £351.99). [affiliate link] Sustained write speed of up to 1500 MB/s.

Tripods

Admittedly, I’m not a massive fan of tripods; however, I accept they are an essential bit of kit. I’ve also had to accept that no one tripod can do it all… so you’ll have to budget accordingly. Gitzo make some of the best tripods, but USA-made Really Right Stuff (RRS) seem like they’re at a similar level (I’ve not had the opportunity to test one, unfortunately.) They’re also similarly priced, or dearer, so don’t expect to make any savings there. Furthermore, if you live outside the US, getting spares or repairs made will involve shipping, so the case for an internationally supported brand like Gitzo makes a lot of sense.

I have one 5-series Systematic (the ‘Long’ version) and one 2-series, Gitzo. The 5-series is big and heavy, but it will support anything, including just about any supertelephoto lens and pro-body. The 2-series Gitzo is my go-to lightweight tripod that can still comfortably support a wide range of gear, but the 2-series has been dropped by Gitzo entirely. Because a still smaller tripod is needed, the 3-series Systematic would be my choice today.

Mud isn’t kind to these carbon-fibre tripods and particularly to their locking supports, so some care is needed there. Extending the last (smallest) diameter leg tube enough to clear the locking rings away from any mud is a good idea, and don’t forget to carry some wet wipes to remove it before retracting the legs.  Systematics come with ‘snowshoes’, which are also great for occasional, wet and muddy conditions. However, if I know I’m going to be working in a lot of wet mud, like a building site, I have an old heavy-duty two-section aluminium Uni-Loc 1600 Major (like a Benbo) tripod. With its reversed leg tube design and spiked feet, it is ideal for extreme outdoor use, shrugging off water and grit. It’s big and heavy (weighs 7.5 lbs min), but there’s nothing better for really adverse conditions.

For tripod “heads,” I recommend anything by Arca-Swiss, including the Cube, of course, but also lightweight ball-heads like the P0+ and their excellent L-plates. Another brand I trust is the Korean-made Markins range of Q10/20 ball-heads. This brand is among the best but isn’t widely discussed, probably because it’s not available through any affiliate (commission-based) sales. Learn how to use ball-heads correctly — adjusting the built-in friction device to counter the weight of the lens and camera, and avoid an issue with it collapsing. Another piece of advice learned the hard way is to avoid any quick-release clamp option. While they’re fine for their own brand plates, if you have a mix of these, even if they’re similar “Arca-style,” then they’re unlikely to fit. To avoid this, and maximise compatibility (there’s no guarantee, though, with all the plates), go for the screw-down clamp option, which is usually cheaper anyway. The clamp obviously adjusts to the different widths that each maker uses to avoid license fees to Arca.

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Links are to affiliates through which I may earn a commission on sales; however, this does not affect the price you pay.