Workshops, Wild Landscapes and Woodfired Pizza

Hi again everybody, Lisa here,

Long time, no newsletter! As usual, we’ve been busy running our workshops all over the place.

Since our last newsletter, we’ve run a Milford Sound & Wanaka workshop in September in the stunning South Island of New Zealand. At Milford, we had some very wet conditions, but everyone knows that’s when Milford shines the brightest and adds so much drama and atmosphere. We had an awesome bunch of enthusiastic clients who threw on their wet weather gear, got out there in it, and came away with some truly spectacular images. The highlight of the trip was undoubtedly an incredible sunrise helicopter landing on Roy’s Peak, overlooking Wanaka and the epic Southern Alps.

Not long after returning from NZ, we packed our gear again and headed to Iceland for this year’s much-anticipated workshop. We were truly spoilt, with Iceland putting on a real show for us all day and all night. Everyone seemed to enjoy each incredible location that Thor took us to and had a great time together. Iceland really is a photographer’s dream location. Brett and I stayed on for a week after the workshop and went exploring the Highlands — oh my goodness, that place is mind-blowing. We will definitely be back to visit again and, who knows, a new Iceland workshop could well be on the cards soon.

Early November saw us back home on the beautiful South Coast of NSW, running our NiSi ND Filters Workshop. We did lots of learning in the classroom and out in the field, shooting some epic local seascapes. A big thanks to Andrew Code from NiSi for joining us and bringing all his exciting new products, including the JetMag magnetic filter system, for us to check out along with his expertise.

Mid-November, we headed back to NZ for our final—and one of my favourite—workshops of the year, the Lakes and Lupins Workshop. We had a great time showing off how spectacular the Mackenzie region is in late spring. We had beautiful conditions for photography, including a couple of pink skies, and a fantastic group of clients who were keen to get the best shots possible, even if it meant standing in an icy cold stream! As Brett says… effort equals reward! I’m sure they all got rewarded for their efforts, and we really love seeing all the images posted from our workshops.

After finishing up our final workshop, we stayed on for another week in Twizel and did some resting up. The early morning starts and late sunsets at this time of year really catch up with you! After we caught up on some much-needed sleep, Brett was mighty keen to do some fly fishing and catch a few of those humongous local trout. I must say, he’s not bad at it, even if he almost drowned catching one big monster (read my Facebook for the full story). In the end, it all makes for a great story and another adventure.

We are now home and enjoying a quieter pace leading up to Christmas, catching up on a few jobs around the place and some office work. It’s good to be home, and we’ve been giving our pizza oven a run for its money! If you haven’t tried homemade sourdough pizza, you really are missing out.

Well, as always, thanks for following along with our newsletter and adventures.

We hope that you and your loved ones have a safe and very Merry Christmas, and we hope to see you out there with your camera soon!

Catch you around,
Best,
Lisa & Brett.

How to Shoot Creative Slow Shutter Speed Wave Photos

With the holiday season upon us, it’s the perfect time to get outside and take some photos! And what better subject than waves? Wave photography is fun, creative, and surprisingly easy to get into. The results look stunning — they make beautiful fine art prints, don’t require fancy gear or editing, and the whole experience is incredibly relaxing.

I often get asked how I create my slow shutter wave shots, so today I’m walking you through my entire process step-by-step.

What You’ll Need

Lens:
A zoom or telephoto lens is ideal — something like a 100–500mm. But really, whatever zoom you have will do the job.

Filters:
Use a circular polarizer to cut glare. If you’re shooting when the sun is bright (especially around midday), throw on a 3 or 6-stop ND filter to help control your exposure.

Tripod:
Not needed! This technique works great handheld.

Location:
Anywhere with waves — your local beach, a lake, or even small surf breaks. Don’t worry about them being huge; some of my favorite shots have come from little 1-metre waves.

If you can, find a slightly elevated spot to shoot from. A bit of height helps clean up your background and gives the waves more visual separation. Shooting from the beach, rocks, or shoreline also works perfectly fine.

I often position myself at a 45–90 degree angle to the direction of the waves. This composition helps the wave sweep across the frame and creates dynamic lines. If that angle isn’t possible, shooting straight on can still look great — the trick is to experiment and see what composition feels most balanced.

Technique and Settings

This part is where the magic happens.

Set your camera to Shutter Priority (TV) or Manual (M) mode. Make sure your focus mode is set to Servo/Continuous AF so the camera keeps tracking the moving wave and maintains a sharp focus.

My go-to shutter speeds are 1/4 sec, 1/8 sec, and 1/15 sec. I usually start at 1/4 and adjust from there depending on the look I’m going for.

If you’re in Shutter Priority, just set the speed and let the camera handle the rest. If your shots are overexposed, pop on that ND filter. In Manual mode, I typically set:

• Shutter speed: 1/4 sec

• Aperture: f/8 to f/11

• ISO: Auto

Shooting Technique

Now for the fun part!

Zoom in tight to fill your frame with the wave. Lock in your stance — firm legs, still lower body, elbows tucked into your sides for stability. Looking through the viewfinder, track the wave smoothly with your upper body, almost like you’re rotating on a tripod head.

As the wave rolls and shapes, follow it at the same pace and press the shutter just before it crests and turns too white. Keep moving as you press — don’t pause when you hit the shutter.

Expect lots of throwaway shots at first. A single session could easily mean hundreds of frames with only a few “keepers” — but trust me, when you nail one, it feels amazing!

Timing and Light

My favorite times to shoot are just after sunrise or a couple of hours before sunset. The light is softer, warmer, and more flattering. Try to avoid pointing your lens directly into the sun; side lighting usually brings out the texture in the waves beautifully.

Final Thoughts

The most important thing is to get out there, give it a go, be confident, and have fun with it. Don’t stress about perfection — enjoy the process, breathe in the sea air, enjoy nature, and let yourself experiment. Every attempt is progress.

I’d really love to see what you create and hear your feedback! Please share some of your photos and experiences with us — I can’t wait to see how you go with your waves. Brett.

“Adventures in Light: Workshops, Journeys and New Horizons”

Hi everyone,

Welcome to the latest edition of our newsletter! It’s been a little while since our last update, and in that time, we’ve been flat out both in the field and behind the scenes, curating some exciting new workshop opportunities that we can’t wait to share with you.

Since our last note, we have had the pleasure of leading a fantastic workshop in Tasmania. We explored the iconic Cradle Mountain, chased waterfalls, and wandered along the rugged coastline with its turquoise waters and fiery orange rocks. Our group was full of energy and creativity, and together we captured some truly epic images while enjoying an unforgettable adventure.

Not long after, we welcomed two wonderful guests from Singapore for a private six-day workshop along the South Coast and into the Snowy Mountains of NSW. On the coast, we were treated to spectacular light across some of Australia’s most dramatic seascapes. Then it was up to the mountains, where fresh snow set the perfect backdrop for photographing wild brumbies, snow gums in their winter coats, and even Australia’s quirkiest old railroad hut.

After dropping our clients at the airport, we made a quick detour to Sydney to celebrate Brett’s brother’s birthday at a Keith Urban concert—always good to mix a bit of music into the madness! From there, it was on to the Mallee region of Victoria, where Lisa grew up, to scout locations for a brand-new workshop we’re planning. The trip delivered in spades. Lake Tyrrell and the Murray Sunset Pink Lakes left us absolutely buzzing, with their surreal colours, striking salt textures, rolling sand dunes, silo art, and abundant wildlife. This region is such a hidden gem, and we are confident it will become one of our most exciting workshops.

This coming Sunday, we’re heading across the ditch for our Milford Sound & Wanaka Workshop in New Zealand’s stunning South Island. Milford is always a highlight—its mighty waterfalls, dramatic peaks, and endless foregrounds make it a photographer’s playground. With a fresh dump of snow blanketing the South Island, we are especially excited for the helicopter flight and mountaintop landing, which are sure to be unforgettable this year. Stay tuned for images from this trip!

After returning from New Zealand, we’ll be gearing up for our Iceland Workshop. We’re eager to revisit this incredible country after last year’s amazing adventure alongside our brilliant local guide, Thor. Iceland is simply a dream for landscape photographers—glaciers, volcanoes, waterfalls, black sand beaches—and with a bit of luck, we’ll be treated to another magical display of the Northern Lights.

Thanks as always for following along on our adventures. We hope this inspires you to get out there with your camera and immerse yourself in the beauty around us. Until next time, happy shooting, and we look forward to seeing you out in the field soon.

Warm regards,

Lisa & Brett.

Winter in New Zealand

Hi everyone, Lisa & I have recently returned home from our annual New Zealand Winter trip. The two New Zealand Winter Workshops we do every year are always our most popular workshops & book out quickly every season, some clients even return multiple times to shoot this magical landscape. I guess you could call winter in New Zealand “our speciality”, it’s something we’re both extremely passionate about & combined we have many years of knowledge & experience photographing these magnificent landscapes. I would say that our favourite photos we individually capture each year almost always include a majority from Winter in New Zealand. Why is winter in New Zealand so good, you may ask? Well combine already magnificent scenes of majestic Alps, glacial blue lakes & streams, rolling tussocklands, & pristine backcountry valleys with snow, ice, fog, pink skies, moody clouds & maybe even some hoar frost & you have easily one of the most photogenic landscapes on earth! Middle-earth!

So today I thought I’d share with you some of the images we’ve enjoyed so far from this winter & a brief story around each image, for me personally, i enjoy the story around an image just as much as the image itself & i think so much of this gets lost in the fast paced instant world of social media, so to document it here for you to read means something to me.

Taken on only our second day in New Zealand prior to the workshops, we briefly experienced a Hoar Frost & this image was a work in my head for a long time, a strong flowing stream foreground surrounded by Hoar Frost covered trees & fog.

An aerial view from my drone of the Hoar Frost covered trees & fog, I love the hint of orange & the softness of the fog.

A multi image vertical panorama taken with my drone of a braided glacial river delta with some gorgeous sunset glow on the alps. The recent snow storm really simplifies the scene.

A handheld multi image panorama of our first workshop group shooting sunset at Tasman Lake, in my humble opinion one of the best landscapes in the world.

Hoar Frost covered birch trees, took this one at f5.6 so as the back ground would fall out of focus & just have sharp trees at the front & pushed the exposure to the right, desaturated the blues.

Minimal colours in the scene to start with but i took more colour out to give it a blue steely feel, i especially enjoyed the moody clouds & fog on the lake.

Everyone knows this place, we had front & centre prime position & some really nice soft glowy pastel colours on our first workshop for sunrise.

This was a morning where the forecast wasn’t good, so i made a last minute plan change to shoot this location & attempt to move away from some rainy weather, the shoot was amazing & we nailed great images & some epic rainbows.

The final morning of the melting hoar frost & we chased the conditions hard, managed to get this stunner & you can still see tinges of frost on the tree limbs on the little island, again a colour palette i really enjoy.

A few days off between workshops & Lisa & I went chasing waterfalls after some pretty heavy rains, there’s a couple of videos on our YouTube channel about this. This location will be one we shoot on next years Ultimate New Zealand Workshop.

Probably one of my favourite images of the year thus far, compositionally its really strong, i just love the layers in the landscape, the tinge of snow in the foreground, all anchored by the pine tree & the blue colour contrast pulls you back to the background & the soft mountains & low cloud are perfect for this scene.

My style of image once again, you simply don’t need bright colours to make a great photo, I think i prefer the muted colour palettes to the vibrant colourful ones, it’s all about contrast & a clean, balanced, minimal composition.

One of the mornings on our first Winter workshop we were on the road early around an hour & a half before sunrise & you could see the crimson glow in the distant sky starting to build very early, we knew we were in for a colour show! Because I’ve photographed this place many times before I decided to roll the dice & try to shoot a composition I’ve never tried before, I like the way this one turned out.

If you’re still with us, now it’s time for some of Lisa’s images.

Our second Winter Workshop group shooting the ever beautiful Tasman Lake one moody evening. What a great enthusiastic bunch

Between workshops we headed to the Catlins to scope out some locations for our Ultimate NZ Workshops next year and couldnt drive past this very pretty pristine scene covered in some fresh snow

A stuuner of an evening at Tasman Lake. This place seriously never disappoints and this evening provided lots of happy smiles from our workshop participants.

Nugget Point Lighthouse has to be one of the most iconic lighthouses to shoot in NZ. We got very lucky with some stunning light this evening! Keep your eye out for our YoutTube coming soon from this location.

A fresh snow at Lindis Pass on our sunset shoot for Winter Workshop 2 made for some very pretty conditions and a great way to kick off the weeks photography.

Lenticular Clouds over Mount Cook and the Nun’s Veil for our final sunset shoot. It really doesn’t get much better than that!

Those epic Back Country vibes never fail to deliver beautiful scenes like this. This shoot was superb and kept us all on our toes as the light and fog just kept lifting and rolling in and out all morning.

Thanks for viewing the images & reading along, we’d really like to hear your feedback so please go ahead & post a comment below on the Blog. We filmed several videos from our Winter in New Zealand & the best place to watch those is on our YouTube channel here. Thanks as always, Brett & Lisa.

Some of Lisa's Favourite Images

Hello photography friends, below are some of my favourite images, each with my own little story behind them.

**Image 1: South Coast Sunrise**

This image was taken in my backyard on the beautiful New South Wales South Coast, at one of my favourite little coves. While we don't often get magnificent sunsets here, the sunrises are spectacular. This particular shot was captured during a workshop, and it makes me so happy when the conditions align at my favourite local spots and I get to see how excited everyone else gets. Sometimes I'm reminded that we don't have to travel far to get absolutely stunning images.  

**Image 2: Hoar Frost New Zealand**

These were some of the best photography conditions a landscape photographer could ever ask for. New Zealand in winter is divine, but a hoar frost transforms it into a fairytale wonderland. Brett and I had three full days of perfect hoar frost conditions; we were so excited that we often forgot to eat until mid-afternoon! I took many beautiful images that week, but I especially love this one for its soft, subtle tones. I'd really like to get this one printed for myself. We are heading back this week to start our 2 booked out Winter Workshops and hopefully get some more conditions just like this! It definitely doesn't get any better. 

**Image 3: Arrowtown Autumn**

Arrowtown in autumn is a riot of golden tones. This is one of my favourite autumn images because it captures the rustic old Policeman's Hut nestled among the beautiful autumn trees framed perfectly by the golden leaves of the hedge. The warm gold tones of autumn always capture my heart. It's become increasingly difficult to capture this shot as it's located in a very popular car park that gets busy after sunrise, so I'm even more thankful I was able to capture it.

**Image 4 and 5: Iceland's Northern Lights and Waterfall**

My first visit to Iceland last year exceeded all my huge expectations—I absolutely fell in love with the place. Brett and I arrived early to get a feel for everything, and it seemed every bend in the road was more incredible than the last. We met Thor, our local guide, and began our workshop. On night 1, we saw our first aurora right outside our hotel, and it was truly magical. This image is incredibly special to me as it’s the very first time I saw the Northern Lights, and it was so exciting. That was the beginning of an epic week of photography, filled with many more auroras, abundant icebergs, and incredible waterfalls.

The second image of the waterfall was taken on the first day of our workshop. I especially love the contrast of the rich reds and oranges in the foliage against the rocks and water. It’s a great memory, and I’m excited to return for our next workshop this October.

**Image 6: Utah - Another Planet**

Utah is insanely beautiful—literally out of this world. I've never seen landscapes like it in all my travels; it felt like leaving Earth and transporting to another planet. Brett and I constantly looked at each other, asking, "Are you seeing what I'm seeing here?" We went to the US to spend Christmas with my daughter and her partner in New York, and after five days there, we flew to Salt Lake City, picked up a Jeep, and explored Utah. We particularly loved the freedom of the wide-open spaces and the sheer scale of everything. Utah is HUGE!!!!  I had done my homework before we left, and when I saw a photo of a location called Long Dong Silver (yes, it's really called that), I knew I had to see it for myself. This ended up being one of my favourite images from my Utah trip, and it reminds me of a sci-fi movie set. We hope to return for a workshop in 2027, so stay tuned!

**Image 7: Dead Horse Point Sunset**

Here's another one from Utah, as I simply loved the place so much. I somehow managed to catch COVID during my travels to the US, and this evening was my first shoot after being pretty much wiped out for five days. I stumbled my way to the edge of the cliff, set up my tripod, and just sat there huddled in my puffer and beanie, waiting, as that was all the energy I had. Soon, it began to snow very lightly, and as soft white flakes drifted down, the sky began to part and light up. I captured a beautiful sunstar illuminating the incredible scene below. Nothing cures COVID like an epic sunset! This one would look great printed huge to really see all the details.

**Image 8: Snowy Mountains Snow Gums**

This is my most recent favourite shot, taken at our Snowy Mountains workshop last week. It’s an image I’ve been after for a long time, but some images are much sweeter when you have to wait and work for them. Some of Australia's best snow gums are high in the mountains, and access to them when it snows can be very difficult, as many roads close. We booked our workshop for the last weekend before the roads closed, then crossed our fingers and hoped for some decent snow, but not so much that we couldn't get there in our vehicles. We were very lucky that everything aligned perfectly with our organised plans, and we all had the most wonderful day among the snow gums. We also had a very special encounter with a mob of wild brumbies that allowed us to photograph them, even getting shots of a beautiful young foal.

I really hope you've enjoyed these images and a little bit of the moments behind the scenes of taking them. Keep snapping those images and never stop exploring and adventuring even if it's only your local. Hope to see you out there one day, Lisa. 

A Journey Through Stunning Landscapes: Our Recent Adventures and Upcoming Plans

Dear Photography Friends and Enthusiasts,

We hope this newsletter finds you well and inspired! Lisa and I are excited to share a glimpse into our recent adventures and what lies ahead in the coming weeks. It’s been a whirlwind of creativity and exploration, and we’re thrilled to bring you along for the ride.

A couple of weeks ago, the south coast of Australia, where we call home, was drenched in rain. When a rare break in the weather appeared one afternoon, we seized the moment and dashed to our local beach to film a seascape photography Video. The video is now live on our YouTube channel, and we’d love for you to check it out!

More recently, we embarked on an incredible journey to the Snowy Mountains to lead our annual Photography Workshop. The 3-4 hour drive from home was well worth it, as we opted for our 4WD vehicles to access remote, breathtaking locations that immerse our clients in nature’s finest landscapes. Before our participants arrived, we spent a few days fine-tuning our itinerary and revisiting key locations to ensure every detail was perfect. This preparation is a cornerstone of our workshops, as we’re committed to delivering an unforgettable experience for every client.

Our adventure began in Canberra, where we welcomed our group and set off for the Snowy Mountains. After checking into our hotel and briefing everyone on the exciting week ahead, we headed to an iconic cattleman’s hut nestled in a stunning landscape, surrounded by native wildlife and the unmistakable scent of eucalyptus. It was the perfect setting for our first sunset shoot.

Day two greeted us with an early breakfast and a full day of exploration in Kosciuszko National Park’s northern region. With rain in the forecast, we kept our plans flexible, ready to adapt to the weather. Our first stop was a picturesque alpine cattleman’s hut framed by gnarled snow gum trees under a dramatic, stormy sky—a scene we had entirely to ourselves. Later, we were thrilled to encounter a mob of brumbies (wild horses), including a majestic stallion and an adorable foal, allowing us to capture some truly special shots. To escape the rain, we took a self-guided tour through scenic caves, followed by a shoot at another historic cattleman’s hut and intimate photos of vibrant, colorful bark on high-country gum trees.

On day three, we ventured to a remote granite gorge adorned with cascades and waterfalls, where the morning’s photography was nothing short of spectacular. After a gourmet breakfast, we drove to Jindabyne, near Australia’s highest peaks. That afternoon, we braved an impending snowstorm to photograph a misty river and gum tree landscape dusted with light snow—an absolutely magical experience. The day, which also happened to be my birthday, ended with a vibrant pink sunset over a granite rock formation near Lake Jindabyne, followed by a cozy bistro dinner and a glass of red wine to celebrate.

Day four was a highlight for many, as we set out early to photograph the iconic alpine snow gum trees—twisted, vibrantly colored, and draped in fresh snow from the previous night’s storm. Despite navigating wintry roads, we were rewarded with a breathtaking scene of fresh snow and golden morning light. After a late breakfast in Jindabyne, we returned to the snow gums for an evening shoot, capturing their beauty under the glow of sunset.

Our final day began with a chilly -6°C sunrise at an alpine cascade creek, where frozen ponds offered stunning ice textures and patterns that became the centerpiece of our morning’s work. After an enthusiastic shoot, we warmed up at a local café with the best breakfast and coffee in the mountains before heading back to Canberra. The workshop was a resounding success, made even more special by the wonderful group of participants whose passion and camaraderie Lisa and I truly cherished. Exhausted but fulfilled, we returned home just before dark, reflecting on an unforgettable week.

Looking ahead, we’re thrilled to be heading to New Zealand on June 16 for our two fully booked Winter Workshops. Those who know us well understand our deep love for New Zealand, especially in winter—my favorite photography destination in the world. We can’t wait to share this magical experience with our participants.

Until next time, stay safe and keep capturing the beauty around you.

Warm regards,
Brett & Lisa

P.S. Our Snowy Mountains Workshop for next year is filling up quickly! Visit our website for more details and to secure your spot.

What's in my Camera Bag?

The Bag: Summit Creative 40-Litre Roll-Top Black-

I’ve been using this bag for over two years, and I absolutely love it. It’s traveled countless miles, flown on numerous planes, and explored the world with me. So far, it’s held up flawlessly. Here’s why I love it:

1. Build Quality: The bag is exceptionally well-made and durable.

2. Organization: It’s perfectly designed for my camera gear, with well-thought-out compartments.

3. Waterproofing: It’s truly waterproof. I’ve tested it in a hailstorm in the Dolomites and even accidentally dropped it in a stream. My gear stayed completely dry both times.

4. Laptop Sleeve: It has a dedicated sleeve for my 16-inch MacBook Pro, which is crucial for travel.

5. Hiking Comfort: The bag is ideal for hiking, with comfortable padding, excellent back support, and a waist belt that distributes weight to my hips for long treks.

6. Storage and Flexibility: It features plenty of pockets, including side pockets for water bottles. The roll-top design is a game-changer—it compacts for overhead plane lockers or expands by 5–10 liters for extra space. I often stow a rain jacket, beanie, gloves, or snacks in the roll-top section for hikes.

I can’t recommend Summit Creative backpacks highly enough.

My Camera: Canon R5 (Backup: Canon R6)-

My main camera is the Canon R5, which I’ve owned for over three years. It’s by far the best camera I’ve ever used, and I can’t fault it. The image quality, ease of use, dynamic range, and ability to handhold slower shutter speeds are outstanding. It also excels at timelapse and video. This camera has endured a tough life—dropped on rocks and in water multiple times—yet it still performs like the day I bought it, despite a few battle scars.

Compared to its predecessor, the Canon 5D Mark IV, the R5’s resolution and dynamic range are a significant leap forward. I confidently shoot two stops underexposed, knowing I can recover shadow details in post-processing. My backup, the Canon R6, rarely sees action. On overseas trips, I leave it at the hotel or in my luggage as a precaution. I get to use a lot of different camera makes and models owned by clients on our workshops, and no other brand, including expensive medium format brands will autofocus in low light like the Canon R5 with RF lenses.

My Lenses-

1. Canon 15–35mm f/2.8 Wide-Angle: My go-to lens for landscape photography. It handles most of my work and delivers tack-sharp results. It’s also weather-sealed and performs flawlessly.

2. Canon 24–105mm f/4 Mid-Range: Some claim this lens isn’t sharp, but I strongly disagree. It’s versatile, lightweight, and weather-sealed—an excellent all-purpose lens. In New Zealand, I use it almost as often as my wide-angle.

3. Canon 100–500mm f/4.5–7.1 Telephoto: This lens is heavy and expensive, but its sharpness is unmatched for a zoom. I use it sparingly, mainly for wildlife or zoomed-in shots of mountain peaks, trees, or intimate scenes. Paired with the Canon R5’s animal eye-tracking autofocus, it’s phenomenal for wildlife photography.

Video Camera: DJI Osmo Pocket 3 Creator Combo-

This is my primary video camera for YouTube content. I used to rely on bulkier cameras like the Canon R6, but carrying extra gear and a tripod became cumbersome. The DJI Osmo Pocket 3 is a game-changer: compact, with incredible battery life, 4K footage, and impressive low-light performance. Its dynamic range, image stabilization, and built-in gimbal are outstanding. It comes with a carry case that fits in my pocket and a clip-on DJI microphone for easy audio recording.

Filter Kit: NiSi JetMag Magnetic Pro Landscape Photography Kit-

I’ve used this magnetic filter system for over six months and have no complaints. It delivers excellent quality with no color cast or vignetting, even at 15mm with stacked filters. The system is lightweight, compact, and perfect for travel. The magnetic locking mechanism is a huge improvement over traditional glass sliding filter systems. For its portability and performance, this kit is my top choice.

Sea to Summit Tech Towel-

This microfiber cloth compacts into a small case that fits neatly in my camera bag. It’s high-quality and perfect for cleaning smudges, water droplets, or dirt from my lenses and filters while shooting.

Summit Creative Battery Bag-

This small bag, made by Summit Creative, stores my batteries inside my backpack. I carry 4–5 camera batteries and two headlamp batteries, always keeping them charged, especially in cold climates where batteries drain faster. It’s a handy way to stay organized.

NiSi Air Blower-

This is useful for removing dust from my sensor or lenses. It’s also great for blowing water droplets or snow off gear when shooting in drizzle or snowy conditions. While I don’t use it often, it’s a valuable tool to have.

Petzl Actik Core Headlamp-

A reliable headlamp is essential for landscape photographers, especially for early morning hikes, post-sunset shoots, or astrophotography. This headlamp is high-quality, with adjustable brightness settings, a red light mode, and rechargeable batteries that charge via USB. I always carry a spare charged battery.

Wired Cable Release-

I use a budget-friendly wired cable release purchased from B&H Camera in New York. I rarely need it, as my Canon R5 has a 2-second timer and a built-in bulb timer for long exposures. However, it’s invaluable for seascapes or moving water, allowing me to time shots perfectly without looking at the camera.

Macpac Traverse Rain Jacket-

This high-quality, lightweight jacket isn’t cheap, but it’s worth every penny. It’s breathable, keeps me dry in rain or snow, and rolls up small to fit in my backpack’s side pocket. It’s a must-have for unpredictable weather.

Leofoto Multi-Tool-

This compact tool includes Allen keys, a screwdriver, and a clip for attaching to my bag. It’s incredibly useful for adjusting L-brackets or other gear during photography workshops. Note: Be cautious when traveling, as airport security may flag it. I recommend packing it in checked luggage.

My Tripod: Leofoto LP-324C with LH-40 Ball Head & LB-60N Leveling Base-

While not stored in my bag, I carry my tripod by hand when shooting or hiking. This Leofoto tripod is the best I’ve ever owned. It’s well-made, waterproof, and stable, even in windy conditions—a critical feature for landscape photography. The lever clamp on the ball head is intuitive, and the leveling base is perfect for panoramas. It’s compact enough for travel yet robust for rugged use.

In a Nutshell-

Over the years, I’ve refined my kit to one camera and three lenses, covering 15mm to 500mm focal lengths—perfect for any scenario. My Summit Creative 40-litre roll-top bag, weighing around 12kg when fully loaded, fits in most plane overhead lockers. For airlines with strict 7kg carry-on limits, I carry a small calico bag to temporarily offload lenses if needed. On smaller propeller planes, I occasionally stow the bag under the seat.

I hope this breakdown helps you with your gear choices. I plan to create a YouTube video soon to showcase my equipment in more detail.

Some of the products I use are available on my website, so check out the Products under the SHOP tab on my website.