The tools that matter.
People ask what equipment I use. The honest answer is it depends on the shoot, but there are a few core pieces I rely on everywhere I go.
I'm a Phase One Global Ambassador, which means I shoot almost exclusively with full medium format systems at 151 megapixels. When you're creating images for hotel lobbies or limited edition prints that need to scale to 2 meters wide, resolution isn't optional.
Here's what's actually in the bag.
Camera system
Phase One XF and XT camera bodies with IQ4 150MP digital backs. Paired with Schneider Kreuznach and Rodenstock lenses - the sharpest glass available for medium format.
I still keep a couple of Canon R series bodies for specific situations (concerts, fast action), but 95% of my landscape and commercial work is shot on Phase One.
Post-production
Capture One for all processing. I've worked with their development team in Copenhagen for years, testing features and providing feedback from the field. It's the only software I trust for medium format files.
I edit exclusively on Mac - Mac Studios with M-series silicon. I moved from Mac Pro towers when the new generation came out. The performance is extraordinary, and my entire workflow runs on Mac, from capture in the field on MacBook Pro and iPad to final delivery.
Support
Gitzo tripods - Series 3 and 4 depending on the location. When you're shooting long exposures in wind or setting up on uneven ground in the dark, the tripod matters as much as the camera.
NYA-EVO Fjord backpacks for expeditions. I helped design elements of their current range because I needed bags that could actually handle the weight and weather of serious location work.
Aerial & Drone
For high-resolution aerial work, I shoot from helicopters with the Phase One. For smaller productions or tactical approaches, DJI drones - their control, reliability and sensors make them the only option I trust.
Filters & Accessories
LEE and PolarPro filters. LEE for landscape work on the Phase One, PolarPro for drones.
SanDisk and Sony memory cards. When you're shooting 150MP files in remote locations, card reliability isn't negotiable.
The right tool for the job
None of this gear is cheap, and maintaining it isn't either. But when a hotel commission depends on getting usable files from a single shoot, or when a print buyer expects an image that can fill a 3-meter wall, the equipment needs to deliver.
I don't change gear often. When I find something that works, I stick with it until there's a genuine reason to upgrade. These partnerships exist because the companies make tools I'd use anyway - and in some cases, because I've had input into making them better.