Our Complete Camera Kit for 2025
We get asked about our kit constantly. The honest answer is that the camera matters far less than most photographers want it to. A competent photographer with a ten-year-old body will consistently outperform an inexperienced one with the latest release. That said — the right tools do make a real difference to workflow, and since you asked, here is exactly what we shoot with and why.
Primary bodies
We shoot primarily on the Canon EOS R5 C and the Sony FX3. The R5 C is our workhorse for hybrid work — the ability to switch seamlessly between 45-megapixel stills and Cinema RAW Light video without changing bodies is genuinely transformative on commercial shoots where the brief includes both formats. The FX3 is our dedicated video body — the full-frame sensor, dual native ISO, and the form factor make it exceptional for run-and-gun documentary-style work. For personal projects and editorial shoots with tighter kit requirements, we reach for the Sony A7C V — compact, capable, and the best autofocus on any camera we have used.
Lenses we actually use
The 85mm f/1.4 handles roughly sixty percent of our portrait work. At f/1.8 to f/2, it produces a background separation that is difficult to achieve any other way, and the focal length is flattering for faces without introducing the compression of a longer telephoto. The 50mm f/1.2 is on the camera for most commercial and editorial work — versatile enough for environmental portraits and product context shots. For architecture, interiors, and wide environmental frames, we use a 16-35mm f/2.8. We rarely use zoom lenses — the discipline of moving your feet rather than reaching for the zoom ring produces better composition.
Lighting
We travel with a Godox V1 flash for portable work and a two-light Neewer softbox kit for controlled studio or interior setups. The majority of our portrait and commercial work is shot in available light — we believe strongly in understanding natural light before reaching for artificial sources. When we do add light, we are adding to existing light rather than replacing it.
The honest conclusion
If you are a working photographer, invest in lenses before bodies. A great lens on an older body will outperform a mediocre lens on the latest camera. After lenses, invest in storage and backup before anything else — losing a job's files is career-ending in a way that a missed upgrade cycle is not. The gear we use is the gear that disappears when we are working. That is the only meaningful criteria.