Have you ever bought a piece of gear that promised to revolutionize your work or be the exact tool you needed just to find that it was a total dud? We all have those pieces sitting at the bottom of our gear closet that irk us every time they come in view. Alternately, we also all have pieces that have become our indispensable go-to’s that we can’t image shooting without. I asked five photographers to share their best and worst purchases. These juicy gear confessions are sure to land some pieces on your blacklist and others in your B&H cart.

Nat Wongsaroj who has photographed weddings worldwide and has been rated as the top 10 wedding photographers in the US shared this about his best and worst purchases. 

Worst Gear: The Holdfast MoneyMaker 2-Camera Harness

“I initially found the Holdfast Money-Maker 2 Harness ($250) impressive, but ultimately, it proved to be the most disappointing purchase. Despite its promising start, the harness deteriorated significantly within a few years. More concerningly, it caused considerable discomfort in my lower back during extended use, an issue that was resolved only after transitioning to a different system.”

Best Gear: The Canon RF 50mm f/1.2 L Lens

“This lens stands as my most invaluable photography gear, accompanying me on all my photographic endeavors. Its 50mm focal length captures scenes with a natural, lifelike perspective, while its exceptional low-light performance and ability to produce stunning bokeh highlight its versatility. This lens consistently delivers outstanding image quality across various photography genres including wedding and travel, solidifying its place as a fundamental tool in my photography kit.”

John Gress who is known for his expertise in lighting and has completed commercial work for Ben & Jerry’s, Best Buy, Burger King, Chrysler, ESPN, Nike and more shared this concerning his best and worst gear purchases.

Worst Gear: The Leica M4-P

“The most regrettable purchase in my photography journey was a Leica M4-P, a poor decision I made not once, but twice. I was working as a photojournalist back then, and I believed that owning this camera would be pivotal for my career. However, in practice, it wasn’t the most pragmatic choice. Juggling two SLRs during assignments was the norm, and adding the Leica into the mix meant dealing with an additional roll of film, which I had to process. This, understandably, became a hindrance, especially when facing extremely tight deadlines. The valuable lesson I gleaned from these missteps is that what you put in front of your lens in a lot more important than the lens itself. So just keep in mind, gear isn’t everything. “

Best Gear: Sekonic L-308X-U Flashmate Light Meter

“One of the most valuable investments I made in my photography journey was the Sekonic L-308 light meter. I relied on this trusty meter for a good 20 years. I took it in and out of my pocket so many times that all the paint wore off. The best part? It only set me back about $200. The meter significantly streamlined my workflow, allowing me to replicate my shots consistently over the years. I used it seamlessly as I transitioned from film to digital and used it with my Alien Bees, Profoto and finally Elinchrom lightings. In 2019, I upgraded to the L478, which seamlessly communicates wirelessly with the Elinchrom system.”

Annalise Kaylor is a full-time documentary wildlife photographer and conservation photojournalist. Her job has taken her to 39 countries around the world and has been published in many major US publications shared this about her gear wins and flops.

Worst Gear: Manfrotto Accessories

“For me, it was Manfrotto gear or anything else that is proprietary enough that you have to stick with one brand for every accessory. They make some nice accessories, no doubt, but now that everything I own is Arca-compatible, I can seamlessly move from tripod, to holster, to strap, to video head, to ball head without ever changing my lens foot or mount.”

Best Gear: The Gerhard Schaffer Floating Hide

Wildlife photography is all about access to your subjects, and my floating hide made by Gerhard Schaffer in Austria gives me unparalleled access in water. Unlike my kayak, my floating hide (or blind, as we tend to use here in the States) makes me look like just another muskrat hut on the water. The birds and wildlife have no idea I’m there, so their behavior is completely undisturbed, and being able to have my lens just an inch above the water for subjects like grebes and ducks makes for gorgeous, eye-level photography.

CJ Duncan holds the Master of Photography and Photographic Craftsman degrees and is the founder of Find Your Focus Education. He has photographed Presidents, Vice Presidents, dignitaries, and countless others. He has worked for such companies as Frito-Lay and Bayer CropScience and has been honored to photograph numerous weddings, portraits, and commercial assignments. 

Worst Gear: Countless ‘Game-Changing’ Speedlight Modifiers

“Unfortunately, I feel like there are more disappointing purchases than good, not because the product was necessarily bad, but rather because I did not need the product. I just got sucked into the idea that the gear would be the ‘game changer’ and it was not or it was rarely used. That being said, I would have to say the worst purchase has been any type of modifier to the speed light— domes, cards, flexible bounce, boxes, etc… They are useless in my opinion as they rarely seem to be effective while being cumbersome to carry and attach.”

Best Gear Purchase: Canon EF 200mm f/2L

“I would have to say the Canon EF 200mm f/2L. This lens is like Photoshop in a glass. The 200mm focal length is not rare and, in fact, is very common. I have used the staple 70-200 f/2.8 lens. However, with the fixed 200 f/2.8, the image quality is noticeably different. There is a look to this lens that is like no other. Last year when my 200 f/2 was stolen, it literally broke my heart, as Canon is no longer manufacturing this lens. Thankfully, I was able to find another one. I am hoping for an RF version but for now, the adapter works great.

Once I began to learn more about my craft, the less likely I was to purchase gear that is regrettable. I understand the physics of lighting and the science of photography and therefore I do not get ‘swindled’ into gear that cannot deliver what it advertises because it goes against the science of the craft. “

Lee Morris, is a Charlestown-based wedding photographer and the co-founder of Fstoppers. 

Worst: Gimbal and Other Gadgets You Won’t Use

“I can’t think of a single piece of gear that I regret, but there’s a ton of stuff I’ve bought and then rarely or never used. Just last week, we opened a gimbal that has been in its case for two years and because it hadn’t been charged, the battery was shot. Brand new, but unusable and impossible to fix because the battery is internal. Don’t buy stuff you aren’t going to use.”

Best: Nikon D90

“The Nikon D90 was the best piece of gear I ever purchased because it was the first DSLR to shoot video. This doesn’t sound like a big deal now, but back then, you either had cheap video cameras with small sensors or you had $100,000 cinema cameras. The D90 got me into video and inspired me to start Fstoppers. Without that camera, who knows what I’d be doing today.”

Micheal Hoss, owner, and photographer for branding studio Hass House shared this: 

Worst Purchase: Godox SL-60W

“My worst gear purchase is easy The worst purchase I’ve made is the SL-60W continuous light from Godox. Much love to Godox. I use their equipment to this day. But the SL-60W is massively underpowered for studio work. I didn’t know that when I bought it, but I quickly found out. If you’re starting out, get the Godox MS300 instead. It’s an absolute steal.”

Best Purchase: 

“My favorite purchase has been a second monitor for tethered shooting. My iMac will show captured images, and the second monitor will show a live view from my camera. This lets everyone on set see what’s happening on a big screen in real time. It’s not necessary, but it makes life easier.”

Brent Dosher serves as a director of photography and outside the office, you’ll often discover him braving a snow-covered mountain slope with a camera in hand. His clients include Patagonia, Runner’s World, Teva, Men’s Journal, and more. Brent shared this:

Worst Gear: Sony RX-100VA

“Maybe not necessarily my worst, but one of my most frustrating gear purchases was the Sony RX-100VA. I decided to buy that camera to bring along on fast and light adventures in the outdoors when I didn’t want to bring a full camera, as I could fit the Sony in a small hip pack. The concept was sound, and the camera was able to produce some good images in the right circumstances, much like a camera phone. However, I found the controls and settings to be absolutely maddening and the buttons so tiny, and because of this, I often had my settings set incorrectly and would miss a crucial shot. The image quality at the long end of the telephoto range was quite poor, and even at the short end, there wasn’t anything to write home about. It seems like it would be a great camera for a lot of hobbyists, but I was never super comfortable delivering images to clients from that camera. I still managed some good shots with it over the years, but I wish I had just brought the full-sized camera instead.” 

“My best gear purchase was my Nikon D750. It’s a body that has lasted me an incredible amount of time and has traveled the world with me.  It’s not the top-of-the-line camera by any means, but being more inexpensive allows me to bring it along with me on adventures and not be as concerned about damaging it. I have held it under spraying water, I have scraped it against rocks, I have frozen it in sub-zero temperatures.”

“The built-in flash won’t pop up, the rubber grip is tearing off the side, and it’s worn down to bare metal in places. It’s started acting a little weird in the past few months after close to 6 years of use, but if it dies I wouldn’t hesitate to buy another one. “

My Best and Worst Purchases

I have so many candidates for each category. My worst purchases ended up being pieces I never expected to be disappointed by. My Canon R5, let’s not talk about that again. I was beyond excited about the Westcott Optical Spot, and it exceeded my expectations until it joined the ranks of another pricey piece of gear that broke inexplicably. The lens on it jammed after about eight uses, and I could never use it again. It still sits in the corner of my studio. I grab it periodically and hope for a miraculous healing, but as of now, no “up from the grave” moments. In the “worst purchases column,” I echo Micheal Hoss with a long list of “not strong enough” continuous lights and Cris Duncan’s collection of light modifiers that were unimpressive. On a more positive note, my “best purchases” include almost every piece by Canon I’ve bought, apart from my R5. The 5D Mark IV, which came out in 2016, still delivers stunning work when I have to grab it as my backup piece. It has withstood years of shooting under every single condition and I haven’t had to repair it once. My 100mm lens is a gift from the camera gods of sharpness, and my 16-35mm creates the most epic hero shots.

It too has taken years of harsh conditions and held up flawlessly. I know I need to upgrade these two to the newest RF models but it’s hard to justify it when they still give me everything I need.

The Karl Taylor Light Cone is at the tip top of the list of my favorite tools. You simply must try it to see what it does. It surely was my best purchase for 2023.  

What Are Your Best and Worst Purchases?

One of my favorite parts of being a writer is hearing from you in the comments. What is the best and worst-ever gear you have ever purchased? Leave all the juicy details in the comments below.

by Jeroslyn JoVonn

December 26, 2023

Meet Cam Kirk, the Atlanta-based photographer/videographer who launched the first-of-its-kind record label-like agency for photographers.

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Meet Cam Kirk, the Atlanta-based photographer/videographer who evolved his career by launching a first-of-its-kind record label-like agency for photographers.

The Morehouse graduate was able to establish himself in the entertainment industry as one of the music industry’s most credible photographers and videographers by working with celebrated artists like Jermaine Dupri, Young Thug, Migos, Travis Scott, Future, Gucci Mane, Megan Thee Stallion, and fellow Morehouse alum Metro Boomin, among many others.

His photography skills and regard in the entertainment industry eventually helped him secure creative director roles on major brand campaigns including AirBnB x Big Boi, Budweiser x Lil Baby, Buffalo Wild Wings x Jack Harlow, and Nike x Megan Thee Stallion. After working his way to the top, Kirk sought to amplify other photographers and creatives by opening his 7,000 sqft photography studio in Atlanta, the Collective Gallery.

“My career trajectory as a photographer and entrepreneur is honestly difficult to describe because it’s constantly evolving,” Kirk told BLACK ENTERPRISE.

“I surpassed my personal goals and expectations years ago so I’m honestly having fun and exploring new things about myself that I didn’t even know existed.”

Since its 2019 inception, the Collective Gallery has served as an unparalleled record label-like agency for photographers that financially invests, manages, develops, and helps artist monetize their craft through touring, merchandising, and content distribution – much like a record label would support do for one of its signed artists.

As part of its growing legacy, The Collective Gallery has provided over 500 job opportunities to creatives and partnered their talent with brands like Nike, eBay, Adidas, Puma, and the NBA. In 2022, Kirk launched the Cam Kirk Foundation, a non-profit focused on art, education, and community within the local Atlanta area.

“I’m trying to change the game not only for myself but for those to come after me so I think that’s what keeps me inspired and motivated now,” Kirk said. “Every move I make is bigger than me. All of my companies follow that mission to leave the world better than we found it.”

Learn more about Cam Kirk, the success of The Collective Gallery, and how he’s creating profitable opportunities for other creatives below.

Tell us about the inspiration to launch the Collective Gallery and how you feel about its growth

Collective Gallery is the evolution of my personal success and journey in the photography industry. I like to compare it to a music artist who has experienced success and is now starting his own music label to help develop future talent. Collective Gallery is my Roc-A-Fella Records or my OVO. After finding my way in the photography and music industry creating major projects alongside brands like Nike, Coca-Cola, Puma, Adidas and more, and working with artists like Travis Scott, Metro Boomin, Megan Thee Stallion and more I felt it was time to develop something more impactful and bigger than just me. I also knew I had a very unique journey as a photographer because I did not have many mentors or examples of success amongst Black creatives, so in a sense I created my own blueprint on how a modern-day photographer can find success in photography and culture. For the legacy and impact of my own work and existence to truly have meaning I realize that I cannot be the only one to do it. True legacy is built based upon the impact of your vision and career on others.

I knew photography agencies existed so I wanted to create something different and more hands on. I took inspiration from music record labels and wanted to develop artists, not just photographers, who can build brands and monetize their followings outside of camerawork. At Collective Gallery we financially invest in our artists while also developing their business and brand. Unlike most agencies we don’t just show up for our artist when a project is on the table but we work around the clock with our artists. We launched Collective Gallery in 2019 and to date have worked with over seven artists where we have taken their career to new heights developing their portfolio and expanded their brand and client base tremendously. We have also expanded their revenue streams by developing brand partnership deals for them which allow them to step in front of the lens from time to time. I truly believe we are redefining the game and are hopefully influencing many other major labels to see the value in supporting more art styles outside of simply musicians.

“I imagine a world where a photographer one day can be signed to Def Jam or Cash Money and be label-mates with some of the music stars.”

How has Collective Gallery been able to support its 1,000+ creatives? Are you receiving support/ funding?

When we first announced Collective Gallery the response from the photo community was so overwhelming that we had to develop another part of our company that allowed us to work with photographers even outside of our label roster. We developed our brand agency arm that allows us to work with brands like Puma, Sprite, Nike, and more on projects all around the world utilizing our database of photographers who expressed interest in joining our label.

This model provides companies with a central trusted voice to vet and source new talented creatives around the world without the management stress. It allows us to connect with different photographers on a more project-to-project basis to determine if they could be a great fit for our label. To date, we have provided close to 1,000 opportunities for creatives to work with some of the biggest brands in the world on a number of different projects. We also have a number of companies on retainer that hire our agency to handle their content needs and we source the right photographers for their specific needs around the world.

What does the future of the Collective Gallery look like?

The future of Collective Gallery is something I am extremely excited about. We spent the first few years proving the model and making necessary tweaks to the structure of the company. In the next few years, we will be more present and forward-facing within culture expanding our business model and pushing our mission. Our goal is to completely change the landscape and position for photographers within culture creating a more favorable playing field for photographers around the world to receive support and a platform.

“We plan to also eventually expand into different art forms on the roster including even music one day.”

In October, Cam Kirk Studios partnered with Pharrell Williams’ Billionaire Boys Club. How is the launch of Billionaire Boys Club Creative Lab aiding in your overall mission?

Collective Gallery was also inspired by the direct success of my second company Cam Kirk Studios, a creative space and community based in Atlanta, Georgia. Through my studio, I directly mentor and provide a safe space for local creatives in Atlanta to thrive and develop their skills. The work I was doing with CKS inspired me to want to do it in a more global and hands-on way which is how I developed Collective Gallery. The studio just recently celebrated 30,000+ scheduled appointments booked in our six and a half years of existence. As our community continues to grow, so do the needs of our creative community.

With the help of Pharrell and his Billionaire Boys Club brand, we were able to build out a free creative space nestled inside Cam Kirk Studios. The space includes state-of-the-art technology and computers equipped with creative and editing software for those in our community to use. The space also can serve as a co-working space for those looking for an inspiring place to work outside of their homes or offices.

“With this creation of our space it makes my studio a one-stop shop where you can not only photograph content but also edit and distribute it all from one space.”

RELATED CONTENT: Pharrell Williams And Cam Kirk Studios Open ‘Billionaire Boys Club Creator’s Lab’ In Atlanta

Portland, Oregon: In an unexpectedly candid turn for the new year, local photographer Jack Bennett has resolved to ditch the artistic jargon and admit he’s simply “taking pictures.” This straightforward declaration is causing quite the stir in a community known for its often grandiloquent descriptions of their craft.

“For too long, I’ve draped my work in fancy terms,” Jack confessed. “I once described a blurry photo of my lunch as ‘an exploration in culinary abstraction.’ Let’s be real; I just forgot to focus.”

The change has been both refreshing and disorienting for Jack’s followers. “Last week, he posted a picture of a sunset with the caption, ‘Sunset.’ I spent hours trying to decode the deeper meaning,” said a long-time Instagram follower.

Jack’s new approach stems from a recent epiphany. “I attended a gallery where someone showcased ‘a meditation on the existential plight of urban pigeons.’ They were just pigeon photos. Good ones, but still.”

Responses from the photography community have been mixed. “It’s revolutionary,” praised a local art student. “He’s stripping away the veneer of pretense.” Conversely, a fellow photographer lamented, “Without the flowery language, how will anyone know we’re serious artists?”

Jack’s newfound simplicity extends beyond captions. “I considered explaining ISO settings to a beginner. Halfway through, I just said, ‘It makes your photo brighter or darker. Play around with it.'”

Some speculate this resolution might be short-lived. “I give him until February,” remarked a cynical camera club member. “By then, he’ll be back to calling a tree ‘a study in arboreal resilience.'”

Despite the skepticism, Jack remains committed to his resolution. “Next, I might start naming my photos with just numbers. Or better yet, the file names straight out of the camera. ‘DSC_0053’ has a certain ring to it, don’t you think?”

Whether this no-nonsense approach will catch on is yet to be seen. For now, Jack is enjoying his new-found liberation from the shackles of artistic verbosity, one plainly-named photograph at a time.

Later this week, family and friends will gather to honor a Kutztown University graduate killed in the crash of 6abc’s helicopter.

Christopher Dougherty worked as a photographer aboard the chopper.

He and pilot Monroe Smith died last Tuesday, when it crashed in New Jersey.

Visitation for Dougherty will begin at 9:30 a.m. Thursday at St. Luke the Evangelist Roman Catholic Church in Montgomery County.

A funeral mass will follow at 11:30 a.m.

It’s a cliché, I know. The ‘classic road receding into the distant horizon’ rendered in black and white is perhaps the ultimate cliché, but I simply couldn’t resist. The road inspires a sense of journey and adventure, inviting and enticing me to new and far-flung locations. Perhaps as a metaphor in these crazy times, the image evokes a sense of hope and optimism. 

It’s a photograph of a road in Dartmoor that was taken between ‘Lockdown 2.0’ and ‘Lockdown 3.0’. It’s not that far from where I live, but at the time it was one of the farthest places I’d travelled in the previous couple of years, so all things considered, it was relatively exotic. Cliché or not, this image suggested to me that there was a glimmer of hope on the horizon, and that maybe we were over the worst of the pandemic. 

Not too long later, I should have been on a ship sailing towards Antarctica, talking to passengers about the art and craft of photography… but that trip also fell victim to pandemic restrictions.

My talks and workshops on these ships use many of the images that have been featured in this column. The ideas that I like to explore are about using photography as a way to connect; to tell stories and say something about the world. For me, good photography is not so much about Arcadian vistas bathed in magic-hour light (although that can be superficially nice, and rewarding to capture), but rather a way to explore the world with a camera and express how it feels being part of it. 

Some folk, myself included, often talk about photography as a language that one can use as a tool of self-expression. As a ‘language’, photography is arguably the most widely spoken in the world. What you say with that language is important – and, like the written word, there are many ways to say it, from poets to journalists. Which kind of photographer are you? It’s worth thinking about.

Read more:
• The 50 best photographers ever
• 100 best photography quotes from famous photographers
• The best coffee-table books on photography

This year, Colorado lost a man who helped us see where we live more clearly. Not long before his death, landscape photographer John Fielder donated his archive to the people of his beloved Colorado. In January, roughly six months before his death, Fielder invited us into his home near Silverthorne, sharing memories from his decades in the wild. Later, a Colorado Wonders question about ice on your windshield.