UPDATED: Mirrorless System Setup for Landscape & Nature Photography

UPDATE: I originally wrote this post in early 2023, but with some recent changes to my setup, I needed to bring it current. Below is the original post, but with modifications to reflect three new lenses. I’m happy to answer questions - just contact me through the link at the top right of this page!

Contrary to what this article may seem to suggest, I’m not a very gear-centric photographer. But I know many photographers are, and with regular questions about my setup, I thought it made sense to write a blog post for those of you that are curious. I am a lifelong Canon shooter with an aversion to learning new technology and proprietary menus, so I have stuck with Canon for that reason and also because I have been pleased with the performance of their products.

For transparency’s sake, I am linking the products I discuss below to the Amazon listings - should you choose to purchase any of them, I’ll gratefully earn a small commission (though you won’t pay a cent more this way) ✌️

I don’t buy gear very often at all, but I did recently upgrade most of my setup out of necessity. I had been shooting with an older DSLR, a Canon EOS 5D Mark III, which was fine when I was shooting for myself. But with my recent transition to full-time landscape and nature photography, I felt I needed to upgrade so I could be working with (and selling) maximum resolution files.

My camera body of choice is the Canon R5 Mirrorless, and I typically shoot with two. I assign Body 1 to my telephoto lenses, and Body 2 to my wider ones. The logic is that by doing this, I only need a single L-bracket on Body 2, and then mounting plates on my telephoto lenses for Body 1. I am also able to work more quickly, which allows me to respond immediately to changing conditions, sudden inspiration, etc. At 45 megapixels, the R5 is definitely a huge step up from my previous 5D MkIII in terms of resolution. I love that I can now crop to my heart’s desire in post (well, sorta). I’m still learning about the added capabilities on this camera - so focus-stacking, for example - and have only used it for a short while, so I’m not going to make declarations on these functionalities yet. I will say that I feel this is a much more delicate build than my 5D MkIII beast was, which is a shame for me because I think I’m pretty hard on my gear. It took me a couple of weeks to get used to the digital viewfinder, and I’m still adjusting to the abbreviated battery life of this system - but I’m stoked that I can continue to use allll the extra batteries I had purchased for my prior system. Thank you Canon!

So I’m going to lay this out by each camera body.

Body 1 Setup

I replaced my Sigma 150-600mm 5-6.3 Contemporary DG OS HSM with the Canon RF100-500mm F4.5-7.1 L is USM and I’m very happy with the upgrade. Yes, I lost a bit of focal length at the long end, but gained some on the shorter end, too, making it a better fit with the focal range of the rest of my kit. I can carry the 24-70mm and the 100-500mm with only the 70-100mm range missing (vs. the 70-150mm range missing with the Sigma). The image stabilization in the Canon is far superior, providing up to 5 stops of stabilization. And the build quality and optics quality is obviously also superior in the Canon. The icing on the cake is that the Canon is more than a pound lighter in weight - and since I find my kit uncomfortably heavy at the best of times, this matters. It’s definitely a better fit for me overall than the Sigma.

The next upgrade to my kit was replacing my old Canon EF 70-200mm f/2.8 IS II USM with the native RF mount version - the Canon RF70-200mm F2.8 L is USM. I waffled endlessly on whether to go with the f/4.0 version of this lens, or the f/2.8 version. Saving weight is important to me, but I also know how much I loved the large max aperture on the EF version I was replacing. I do occasionally work in the portrait genre, and I also love working with very shallow depth of field - both of which were pushing me towards the f/2.8. But I was also very drawn to the small, lightweight nature of the f4.0 lens… In the end, I decided I wanted maximum versatility so I went with the larger max aperture version. It’s heavy, but I’m happy with my decision. This lens is pretty amazing - so sharp, gorgeous bokeh, and a very versatile focal length range for me - this is the focal length range at which I most often interpret scenes, so this lens gets a LOT of use. And since I also love to play around with bokeh and blur, this fast lens allows me to open up and experiment with shallow depth of field.

The last upgrade I made was to add a macro lens to my toolkit. I’ve been wanting to explore botanical close ups, so when I sold a bunch of disused gear, I decided to use some of the funds to purchase the Canon RF100mm F2.8 L Macro IS USM. I took this lens on a recent trip to Acadia National Park and used it for the first time. Using the fixed focal length is very different for me, and took some getting used to as I found myself continally reaching for the zoom ring on this! I was impressed by how close I could focus (3.6 inches from the lend of this lens!), and had a blast training it on the tiniest parts of some very interesting lichens I found in this park. The smooth bokeh is pretty dreamy, to. I’m still experimenting with this lens, but I’m excited to use it more and feel it was a good addition to my setup.

Lastly, for these large, long lenses I have a Really Right Stuff Universal Lens Plate attached to each tripod foot (details on the tripod mount below).

Body 2 Setup

My wide angle lenses include the Canon RF 14-35mm f/4 L IS USM. This is probably the lens I use the least, simply because of the way I see which tends to be longer. I’m an “excluder” rather than an “includer” when it comes to my aesthetic. But I definitely want to have this wider end of the spectrum represented in my kit and this is my widest angle baby currently.

One of my workhorse lenses is the Canon RF 24-70mm f/2.8 L IS USM. I love this lens for so many reasons, but like the R5 body, I do not feel the build quality on this lens measures up to it’s EF predecessor. It’s more delicate, and I’ve already damaged the front element and so I’ll be seeking a repair on this brand new lens.

I use an L-bracket on this body to streamline the process of working with a tripod. Mine is the Really Right Stuff L-Bracket, custom designed for the R5 body. This is a critical piece of gear for me, allowing me to switch quickly and safely between horizontal and vertical orientations.

Tripod Setup

My tripod is the Induro CLT-203 Stealth carbon fiber with 3 section legs. This is admittedly under-sized for my largest lens, but I can’t stand any additional weight so I am not planning to upgrade for now. I have used Induro tripods from the start at the advice of my mentor, and have been very happy with their design, performance, and longevity.

Attached to the tripod I have the Really Right Stuff BH-40 Ball Head with Quick Release Plate. It took me a couple of years to come to terms with the cost of this ball-head. I took a long, hard gulp right before pressing the Buy Now button. But it’s fantastic - secure, smooth, completely problem-free. I’m glad I have it now, and can’t image working with any other product.

UPDATE - I’ve now started working with 2 tripod setups whenever I am car based. It allows me to shoot wide and long at the same times when appropriate, and also gives me some flexibility on the trail when I’m looking to minimze weight (my second tripod and ball head are slightly smaller versions of my main tripod).

Accessories

I’m only listing the necessities here, though I do have quite a few accessories, some that would be expected, like polarizers and such, and others that are a bit more off the wall, like dresses, a prism, and more. But the meat here is my bag and my body straps.

The bag is a bespoke F-Stop Duradiamond Ajna 37L with the large pro insert. I had them customize the fit of the bag at the factory, since I am smaller and needed the ability to tighten the straps further.

Lastly, I have just bought a couple of Peak Design straps for both cameras, and am excited to have the ability to quickly detach the straps in certain (windy) conditions.

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