Tools of the Trade: The Photo Equipment I Use for Various Shoots in New Orleans

What I pack depends on the job, the light, and how much we’ll be moving. Here’s a look at the cameras, lenses, and lighting I use for weddings, portraits, commercial work, and events in New Orleans.

After more than 30 years photographing in New Orleans, I know that choosing equipment starts with understanding the assignment. A wedding requires a different approach than a walking portrait session in the French Quarter. A convention headshot station needs consistency, while a second line demands mobility. I have a substantial kit, but bringing everything is not always the best decision. These are the tools I use and how I decide what comes along.

My camera bodies are the Sony a7V and Sony a7RV. Having two bodies lets me keep different lenses ready and gives me a backup. At a wedding or event, switching cameras can be more practical than changing lenses while something important happens. For a controlled portrait or food session, I may work primarily with one body and keep the other available.

My three main zoom lenses are the Sony 24–70mm F2.8 GM, Sony 16–35mm F2.8 GM, and Sony 70–200mm F2.8 GM. The 24–70mm covers everything from environmental portraits to closer event coverage. The 16–35mm is useful for interiors, architecture, and showing people within a larger setting. With the 70–200mm, I can photograph expressions from a distance without stepping into a ceremony or interrupting a conversation. With wide lenses, I pay attention to faces near the frame’s edges, where perspective can become distracting.

My prime lenses include the Sigma 35mm F1.2 DG DN Art, Sigma 50mm F1.4 DG DN Art, Sigma 85mm F1.2 DG Art, Sigma 105mm F1.4 DG DN Art, and Sigma 105mm F2.8 DG DN Macro Art. Each has a different role. The 35mm includes surroundings, and the 50mm works well when I want a tighter view without backing far away. The 85mm and 105mm F1.4 are portrait options when I have working room. The 105mm macro lets me concentrate on small details, from wedding rings to food textures. A wide aperture is useful, but I stop down when several faces or important details need to stay sharp.

For weddings, I bring all of those cameras and lenses, along with two Godox on-camera flashes. I also bring a Profoto B10 portable studio strobe, a Profoto 3-foot Octa, and a light stand. That gives me options for available-light coverage, reception lighting, and more deliberately lit portraits. A New Orleans wedding can move between a dim interior, a bright courtyard, and a nighttime street celebration. I want equipment available for those changes without making the couple wait while I solve a predictable lighting problem.

In the studio, I usually use one or both camera bodies with the 70–200mm zoom, the 85mm prime, and the 105mm F1.4 portrait lens. My studio lights are two Profoto D2 1000 monolights and two Profoto D2 500 monolights, all on stands with modifiers. Their flash energy ratings are 1,000 and 500 watt-seconds, respectively. Having four lights available does not mean every portrait needs all four; the setup follows the photograph.

My main studio modifier is a Profoto RFi 4-foot Octa, with a 3-by-4-foot softbox underneath it. That lower light can help control shadows beneath the chin and around the eyes. Profoto strip softboxes provide edge lighting when I want separation from the background. Modifier placement matters as much as the equipment itself. Small changes in height, angle, or distance can alter how light describes a face, clothing, or a product.

For portrait sessions that involve walking, I travel lighter: one camera body, the 24–70mm zoom, the 85mm portrait lens, and the 70–200mm zoom. That is a useful kit for individual portraits, senior portraits, engagements, and families in the French Quarter. Around Jackson Square or along the quieter surrounding blocks, staying mobile lets us respond to shade, foot traffic, and changing light. Comfortable shoes and a manageable route help more than adding another equipment bag. In warmer months, I also plan for breaks rather than expecting everyone to keep walking through the heat.

A more stylized location portrait or commercial portrait session calls for a different approach. If we are not moving much, I bring one or both Profoto B10 portable strobes, light stands, and lightweight softboxes, usually the Profoto 3-foot OCF Octa. This gives me control over the subject’s lighting while keeping the location visible. Outdoors, stands and modifiers need secure placement and attention to wind. We also need enough space to work without blocking a sidewalk or entrance.

For second line parades, I usually carry two camera bodies, choosing lenses according to daylight or nighttime conditions. At night, I generally have an on-camera flash. The priority is being able to move, anticipate, and photograph without getting in the way of musicians or participants. This is not the setting for a large stationary lighting setup.

For conventions and conferences, I bring the full wedding kit when I will be mostly stationary, or a smaller kit when moving between booths and meeting rooms. At the Ernest N. Morial Convention Center, the distances involved make that distinction important. For a headshot station, I bring two Profoto B10 strobes, modifiers on stands, a seamless paper backdrop, and two backdrop stands. I usually add a MacBook Pro and a USB tethering cable so photographs transfer to the laptop as I shoot. That supports immediate review and emailing images if needed. Power, cable routing, internet access, and a clear delivery process should be arranged beforehand.

Food photography usually calls for one or two Profoto B10 strobes, lenses covering multiple focal lengths, and one working camera body with another as backup. Different dishes need different viewpoints; the macro lens is useful when a small detail deserves attention. Still-life cocktail photographs use much the same equipment, though glass and reflective surfaces require careful light placement. If the assignment also includes portraits for a restaurant or beverage program, I bring more elaborate lighting to accommodate people as well as the food and drinks.

For travel assignments, the kit can range from nearly everything to one body and a couple of lenses. Mountaineering work makes weight and carrying space especially important. Whether I am packing for a mountain or a New Orleans event, the principle stays the same: bring what the photographs require, prepare for likely problems, and avoid letting equipment interfere with the work.