Disclaimer
This page is not meant to be a definitive guide, but rather a transparent overview of the tools I use in the field. What works for me may not work for you. Every photographer, subject and environment is different. Treat this as a reference only.
I am not affiliated with or sponsored by any of the brands mentioned on this page. All equipment referenced here is used by choice, based on personal experience.
I’m obsessed with lenses and I have never sold a single one. They stay with me for life.
How it all began…
Like many photographers, I didn’t start with a perfect setup. My equipment changed as my subjects, field conditions and personal preferences developed.
I began with a Canon 700D and my second camera body was Canon 90D paired mainly with:
Canon EF 100mm Macro
Canon 70–200mm f/2.8
Later, I added Laowa 100mm f/2.8 Macro which quickly became, and still is, my favourite macro lens. Its rendering, working distance and overall character suit my style perfectly, and it remains in active use today. The only downside of this lens is the lack of auto focus, which is tricky at first and which still becomes slightly bothersome for instance when photographing hundreds of insects in one night.
Cygnustech psychofan ❤️
Current equipment
At present, my primary camera is Canon R5. It has become my main working body and is used with all the lenses mentioned above. It is my go-to camera for most situations in the field. Before getting Canon R5, I also started exploring wide-angle wildlife photography. For this, I added Canon 8–15mm fisheye, which is still my favourite lens for wide-angle shots.
In addition to my macro and wide-angle lenses, I also use Canon RF 100–500mm. This is currently my only long lens, and it covers all my telephoto needs. While my work focuses heavily on macro and close-up photography, this lens allows me to document animals, behaviours and habitats at a distance without disturbance when getting close is not possible. I also sometimes use Laowa 15mm wide-angle, a lens I truly love for its look and creative potential although it is demanding and unforgiving, requiring careful technique and practice. One definitely needs a lot of patience for this particular lens.
Canon R5 with Canon 8-15 mm fisheye, Godox V860 III and Canon R5 with Laowa 100 mm.
Micro Four Thirds setup
Alongside Canon, I have been using OM System OM‑1 for the past two years, mainly with:
M.Zuiko 60mm macro
M.Zuiko 12–45mm f/4
This setup offers excellent portability and speed, making it especially useful in certain field conditions where size, weight or responsiveness matter more than absolute resolution. It’s way lighter than any other setup I have.
OM-1 with 12-45 mm lens. This is the only camera my wife agrees to use in the field; others are too heavy for her to carry for the whole day.
Light & flashes
Lighting plays a far greater role in macro photography than the camera body itself.
Flash units
For Canon cameras, I have used many different flashes over the years. Currently, my main choice is Godox V860 III.
For OM System cameras, I started with Godox V350 but more recently I switched to Godox V480, mainly because of its improved focus assist lighting, which is extremely useful in low-light field conditions.
Twin flash setup
I recently added two Godox MF12 flashes. This setup is still very much a work in progress for me as I am experimenting and learning how to better control light with it.
Diffusion
Diffusion is one of the most crucial, and most underestimated, aspects of macro photography.
Over the years, I have tried many diffusers, softboxes, and DIY solutions. While all of them can work in certain situations, my absolute first choice is the Cygnustech diffuser.
I rely on it primarily because of its simplicity, efficiency, and field practicality. I spend a lot of time working in difficult terrain, often at night, and frequently moving between subjects. In these conditions, it is essential that my lighting setup can be mounted and removed quickly without additional tools or complicated adjustments.
Cygnustech diffuser provides soft, even light while remaining lightweight and compact. Its design allows consistent results with minimal setup time, which is crucial when working with unpredictable wildlife or in physically demanding environments. Because of this reliability, it is almost always the first diffuser I reach for and the one I trust the most in the field.
Why does simplicity matter in the field?
Field conditions are rarely ideal.
When working in difficult terrain, at night, or for long hours in the field, simplicity becomes a real advantage. Fewer elements, faster setup and intuitive operation allow me to focus on the subject rather than the equipment. A setup that is quick to put together and easy to adjust often results in more successful images than a complex system that slows you down. And you tire less!
Left: Sometimes a good diffuser protects well from… snake venom!
Right: Tough choices when packing for a long trip with possible lack of electricity on some days.
Spending all day in the hide on the water.
Somewhere in the Amazon rainforest.
Moth survey with Roger Kendrick.
Decisions, decisions
How to choose the right equipment?
I personally prioritise a couple principles:
Practicality
How quickly the gear can be set up, adjusted, and used in tough field conditions; and how heavy it is altogether, as we travel a lot and all airlines have weight limits. Also, as I mentioned before, my wife won’t carry heavy equipment all day long so OM-1 was initially bought just for her to assist me in documenting our wildlife sightings. We now use it for underwater photography as well.
Robustness and reliability
Reliability in humid, hot and dusty conditions, as our cameras have to endure extreme conditions every year (silica bags are always packed in our backpacks). On top of this, I take tens of thousands of photos a year and I have to trust that the camera won’t let me down when I’m in the middle of the jungle photographing unique animals.
If a piece of gear supports these principles, it earns a place in my kit.
I never photograph in a studio so my cameras have to be very sturdy.
Even snakes approve!
Iconic tortoises in the Galápagos.
Photographing a tamandua in the middle of a jungle.
Photographing a Samar cobra in Bohol, Philippines.
The most iconic snake in China, Mangshan pit viper.
Does more expensive mean better?
Are expensive cameras better? Sometimes, but often not in the way people think.
Certain equipment is expensive because of specific features, but those features may or may not be useful for your style of photography. A good photograph is the result of many factors coming together: light, subject behaviour, composition, timing and photographer’s experience. The camera and lens are just tools.
You don’t need the latest or most expensive gear to create strong macro images. In fact, some of my favourite results were made with relatively simple setups. There is no perfect photo rig, only what works best for you, your subjects and your environment.
To be continued…