My Photography Gear

This is my principal stills camera. Its high-resolution files give me the detail and tonal flexibility I need for woodland photographs and large fine-art prints, while its screen and controls suit the slower way I prefer to work.

The lens I use for the majority of my photography. Its range lets me move between wider woodland scenes and more selective compositions without constantly changing lenses, and its optical quality makes full use of the α7R V’s resolution.

An older but still excellent lens that earns its place through its compact size and natural perspective. I reach for it when I want a simple, lightweight setup or when 55mm feels exactly right for the scene.

A tall, exceptionally solid tripod that gives me room to work on steep or uneven ground without sacrificing stability. It is not the lightest option, but its rigidity and generous height make it invaluable in the woods.

The Cube encourages the deliberate, precise way I compose. Its geared movements make small adjustments far easier than with a conventional ball head, particularly when lining up complex woodland relationships.

A small addition that makes a substantial difference on soil, leaf litter and sloping woodland ground. They help the tripod bite into the surface and stay put while I refine a composition.

A much lighter alternative to my Gitzo when filming. It is quick to carry and set up, with enough height for pieces to camera and a small footprint in woodland.

A compact full-frame combination that gives me excellent video quality without a large rig. The small 28–60mm lens keeps the setup light and unobtrusive when I am filming alone in the woods.

Reliable, compact wireless audio is especially valuable when I am moving around outdoors or speaking to camera. The DJI system lets me concentrate on the film rather than trail cables through the woods.

I make my own fine-art prints with the 24-inch PRO-2600. Printing in-house lets me control every stage, from soft proofing and paper choice to the final inspection, rather than handing that responsibility elsewhere.

Canon’s pigment ink system for the PRO-2600 delivers the tonal range and longevity I expect from a print intended to be lived with for many years.

My principal paper for prints. Its smooth, natural-white, 100% cotton surface suits the quieter palette and fine detail of my woodland photographs without introducing an obvious texture.

A colour-critical monitor that gives me a detailed, consistent view of the file while editing and soft proofing before print.

I use this to profile and regularly check the monitor, keeping the editing display anchored to a known standard rather than relying on appearance alone.

My active photography and video files live on the 2big Dock while I am working on them. It provides fast, convenient access, although it is working storage rather than my only backup.

The NAS holds a separate local backup of my working archive. Keeping it independent of the desktop storage protects against a single drive or enclosure failure.

These drives provide the physical storage inside the Synology NAS. I list them separately because the enclosure and the drives play different roles in the backup system.

Photoshop and the wider Creative Cloud toolset sit at the centre of my processing workflow, from preparing the original file to the detailed adjustments required for print.

A broad, bright task light for examining prints consistently at the worktable. It helps me judge detail, colour and surface away from the variable light coming through the studio windows.

A sturdy trimmer for clean, accurate cuts when preparing prints and other paper-based work. The A2 bed is useful for handling larger sheets without improvising around a small cutter.

I use Patagonia for virtually all of my outdoor clothing. The pieces work well as a layering system, stand up to repeated use and reflect my preference for buying durable kit that can be repaired rather than frequently replaced.

My favourite general-purpose photography gloves for colder days. They keep my hands warm while the fold-back finger and thumb sections preserve the dexterity needed for camera controls.

When conditions turn properly cold, the Skadi mitts add substantial warmth without completely surrendering access to the camera. I use them when the Markhof gloves alone are not quite enough.

My regular walking boots: supportive enough for long days and uneven woodland ground, but lighter than a traditional heavy boot. Their waterproof lining is valuable in the persistently damp conditions I often work in.

For very wet, muddy ground and shallow woodland streams, these insulated wellingtons are often the most practical choice. They are comfortable enough for walking rather than merely standing around in.

A robust umbrella that acts as mobile shelter for me and the camera while I wait or compose in rain. It is far more dependable in gusty weather than the disposable umbrellas I had grown used to.