In my kit ba g: Al­bert Dros

Award - win­ing Dutch pho­tog­ra­pher shares his fa vourite photo kit

Digital SLR Photography - - Snapshots -

“As a travel and land­scape pho­tog­ra­pher, it’s im­por­tant that I don’t get too weighed down with kit. For this rea­son, most of my day- to- day gear fo­cuses on re­main­ing light and com­pact – mir­ror­less mod­els are a revo­lu­tion in this re­gard as I can eas­ily fit every­thing into my hand lug­gage when I fly! I have two bags that I reg­u­larly use: my go- to so­lu­tion is the Case Logic SLR- 206, which is an amaz­ing bag for the price, but if I need a bit of a big­ger bag I use the Lowe­pro Pro­tac­tic 450AW.” 1) Sony A7R II: It of­fers the best im­age qual­ity pos­si­ble for such a tiny body. Per­fect for tak­ing any­where. 2) Sony A7 II: I use this as a back- up in case some­thing hap­pens to my A7R II. I also use this to shoot be­hind- thescenes im­ages, or a time lapse while my A7R II is do­ing the main job. 3) Man­frotto 055XPRO3: It can take any­thing I throw at it – it's durable and solid as a rock! 4) RMT- DSLR2 Re­mote: Sony’s IR re­mote is cru­cial for sharp im­ages when tak­ing long ex­po­sures. 5) Sony Vario T* FE 16- 35 mm f/ 4 ZA OSS: As I mostly shoot wide landscapes, I use this lens 90% of the time. It’s in­cred­i­bly sharp for a zoom lens and per­fectly matched to the A7R II’S full- frame sen­sor. 6) Sony Son­nar T* FE 55mm f/ 1.8 ZA: This is one of the sharpest primes I’ve ever had the plea­sure of us­ing. I mainly use it when I need a longer fo­cal length. It’s also amaz­ing for shoot­ing por­traits. 7) Mi­nolta AF 135mm f/ 2.8 with adapter: A cheap old- school light­weight prime lens that re­tains its sharp­ness on the A7R II. 8) Samyang 14mm f/ 2.8 ED AS IF UMC: I don’t al­ways carry this lens with me as I mainly use it for as­tropho­tog­ra­phy or su­per- wide landscapes. It’s very sharp at f/ 2.8. 9) Sea­gate 2TB hard drive: Sim­ple but ef­fec­tive. It’s never let me down. 10) Sony Xpe­ria Z5 smart­phone: Don’t un­der­es­ti­mate the cam­era in this – it boasts 23 megapix­els and shoots 4K. Per­fect for play­ing with while shoot­ing with the big­ger boys. It also acts as a wire­less re­mote. 11) SD Card re­tainer: The cards that I use are mainly San­disk 128GB Ex­treme Pro cards, which are fast enough to shoot 4K with the A7R II. 12) Rocket blower: Al­ways handy when you have to quickly re­move dust from the sen­sor. 13) Macbook Pro 15in Retina: I take this lap­top ev­ery­where to make sure I can edit im­ages and take care of so­cial me­dia on the road. 14) Lee Fil­ters pouch: Keeps my fil­ters or­gan­ised and clean. I use Ray Masters, Nisi and Haida fil­ters. 15) Mi­crofi­bre cloths: A must to keep on top of clean­ing my kit! 16) Rain pouches: Es­sen­tial for keep­ing my kit dry in bad weather. 17) SLIK PRO travel tri­pod: I usu­ally bring an ex­tra tri­pod along if I go on ex­tremely long hikes or if I want to take some ex­tra time lapses. 18) Power bank: For recharg­ing my phone while on the move. 19) Spare bat­ter­ies: Sony bat­ter­ies run out quite fast, but are very small. I usu­ally carry up to eight ex­tra. 20) Lens Pen: For clean­ing lenses. 21) LED Lenser M1 flash­light: A very pow­er­ful, su­per- small flash­light, handy for walk­ing to lo­ca­tions in the dark be­fore sun­rise or af­ter sun­set! 22) Busi­ness cards: Who knows who you will run into? I al­ways make sure I’ve got some cards on me. There are a hand­ful of places around the world that, when the el­e­ments align, cre­ate un­be­liev­able gold­en­hour im­ages. There are times when the sun seem­ingly rises out of the ocean through Dur­dle Door in Dorset, sun­sets per­fectly align with the street grid in New York City dur­ing ‘ Man­hat­tan­henge’, and ' Fire­fall' – an il­lu­sion in Yosemite Na­tional Park. What ap­pears to be a wa­ter­fall of lava is ac­tu­ally the last rays of warm light il­lu­mi­nat­ing the Horse­tail Fall. For the il­lu­sion to oc­cur, sev­eral fac­tors must co­in­cide: snow­fall in early Fe­bru­ary, warm tem­per­a­tures to melt the snow and clear skies to the hori­zon. There’s also just a ten- day win­dow at the end of Fe­bru­ary when the sun is in the right place! This year, pho­tog­ra­pher Sangeeta Dey de­cided to make the jour­ney to cap­ture the spec­ta­cle. Her im­ages have since gone vi­ral, ap­pear­ing on news web­sites around the world. “The area gets very busy with pho­tog­ra­phers, so I ar­rived early to set up,” ex­plains Sangeeta. “Come sun­set, my tri­pod was in­ter­locked with the legs of other pho­tog­ra­phers, so any move­ment by any of us could ruin ev­ery­one’s shots! I com­posed my im­age and used aper­ture- pri­or­ity mode, with ex­po­sure com­pen­sa­tion, to ex­pose the shot. A re­mote re­lease let me con­cen­trate on wit­ness­ing the event with my own eyes rather than through my cam­era's viewfinder. Noth­ing I’ve seen be­fore matches the beauty of this phe­nom­e­non. Af­ter the sun dis­ap­peared ev­ery­one clapped and cheered – some of them had been wait­ing for over a decade to see this hap­pen.”

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