The honest breakdown of what's actually in my camera bag (and why I'm still using that adapted 85mm)


Okay, so I've been getting a ton of questions lately about what gear I actually use for my fall sessions, and honestly? It's not as fancy as you might think. I mean, don't get me wrong—I love good equipment—but I've learned over the years that it's more about knowing your gear inside and out than having the latest and greatest everything.


Fall is probably my favorite season to shoot (cliché photographer alert, I know), but seriously, the light is just chef's kiss perfect. The colors are insane, the temps are actually bearable, and there's something about that crisp autumn air that just makes everything feel more... I don't know, intentional?

Anyway, let me break down what's actually in my bag when I'm heading out for those golden hour sessions in October.


My Camera Bodies: The Dynamic Duo


NIKON Z6 - MY RIDE OR DIE


This is my primary workhorse, and honestly, I can't imagine shooting without it at this point. I switched to mirrorless a couple years back (yes, I was one of those DSLR holdouts for way too long), and the Z6 has completely changed how I work. The dynamic range is incredible for those tricky fall lighting situations where you've got bright sky and deep shadows under the trees.


What I love most about it for fall sessions is how it handles those golden hour situations. You know when the light is streaming through the leaves and creating these gorgeous rim lights? The Z6 just nails the exposure every single time. The in-body stabilization is a game-changer too, especially when I'm handholding at slower shutter speeds to capture that dreamy, soft look.


One thing that took me forever to figure out though—the autofocus can be a little finicky with back-lit subjects (which, let's be honest, is like 90% of my fall shots). I've gotten better at using single-point AF and being more deliberate about my focus points, but it definitely has a learning curve.


NIKON D500 - THE BACKUP THAT'S MORE THAN A BACKUP


My secondary body is the D500, and I know what you're thinking—why am I mixing DSLR with mirrorless? Well, first of all, I already owned it when I made the switch, and second, it's honestly still an incredible camera. The autofocus tracking on this thing is phenomenal, which makes it perfect for those sessions with kids who literally cannot sit still for more than 2.5 seconds.


The crop sensor actually works in my favor sometimes too. When I need that extra reach for candid shots or when I'm working in tighter spaces, the 1.5x crop factor is clutch. Plus, the battery life is still way better than my Z6, so it's nice to have that reliability as backup.


My Glass: The Holy Trinity (Sort Of)


50mm f/1.8 - The Workhorse


This lens lives on my Z6 probably 80% of the time. I have the Z-mount version now, and wow, it's sharp. Like, almost too sharp sometimes (first world problems, right?). For fall family sessions, this focal length just feels natural. It's wide enough that I can get everyone in the frame without having to back up into the next county, but it's not so wide that I'm dealing with distortion issues.


The f/1.8 aperture is perfect for that shallow depth of field that makes the fall colors just melt into this gorgeous bokeh behind my subjects. I probably shoot at f/2.2 or f/2.8 most of the time though—learned the hard way that f/1.8 can be a little too shallow when you're trying to get multiple people in focus.


85mm f/1.8 - The Portrait King (With an Adapter)


Okay, so here's where things get a little janky. I'm still using my old F-mount 85mm with the FTZ adapter on my Z6. I know, I know—I should probably upgrade to the native Z version, but honestly? This combo works so well that I can't justify the expense right now. The adapter adds a little bulk, sure, but the image quality is still phenomenal.


This is my go-to for individual portraits and those dreamy close-ups. The compression at 85mm makes the fall foliage backgrounds look absolutely magical. It's also perfect for capturing those candid moments from a bit of distance—kids playing in leaf piles, couples walking hand in hand, that sort of thing.


The autofocus is slightly slower with the adapter, but not enough to be a real problem. Just something to keep in mind if you're thinking about going this route.


105mm f/1.2 - The Special Occasion Lens


I don't bring this out for every session (it's heavy and honestly kind of intimidating), but when I do... chef's kiss again. This lens is pure magic for portraits. The bokeh is just otherworldly, and at f/1.2, you can create this incredible separation between your subject and the background.


It's perfect for those really intimate moments—a mom and her toddler, a couple's engagement session where you want those super dreamy shots. The 105mm focal length means I can stay back and let people be natural while still getting those tight compositions.


Fair warning though: focusing at f/1.2 is no joke. I probably miss focus more with this lens than any other, but when you nail it, it's absolutely worth it.


Flash: Because Sometimes Nature Needs Help


Godox V1 Pro - My Light Shaping Savior


I'll be honest—I resisted using flash for outdoor sessions for the longest time. I was one of those "natural light only" photographers who thought flash would ruin the whole vibe. But then I started having those situations where the light was just... not cooperating, and I finally broke down and got the Godox V1 Pro.


This thing has been a game-changer for fall sessions. Sometimes those gorgeous overcast October days create really flat light, and a little fill flash brings so much life back into people's faces. The round head design creates really natural-looking light, and the modifier system is pretty slick.


I mostly use it for fill flash—usually at like -1 or -2 stops just to lift the shadows a bit. It's especially helpful when you're dealing with those tricky lighting situations where you have bright sky and your subjects are standing under trees. Instead of blowing out the sky or losing detail in the shadows, I can balance everything out.


The battery life is solid too, which is important because I'm definitely the type of person who forgets to charge things. The modeling light is actually really helpful for seeing how the shadows are going to fall, especially when I'm trying to be quick with kids who are getting restless.


The Real Talk: It's Not About the Gear


Look, I could go on about camera straps and memory cards and all the little accessories, but honestly? The stuff I just talked about covers like 95% of what I actually use. I've learned that having fewer pieces of gear that you know really, really well is way better than having a bag full of stuff you're not totally comfortable with.

The best sessions I've had weren't because I had the perfect lens or the newest camera—they were because I knew my equipment well enough that it became invisible. I wasn't thinking about settings or focus points or whether I had the right focal length. I was just capturing moments.


That said, good gear definitely makes things easier. The Z6's low light performance means I can keep shooting even when that golden hour light starts to fade. The 85mm's beautiful bokeh helps create those magazine-worthy portraits that my clients love. And having that flash as backup means I never have to cancel a session because the light isn't perfect.


What's Next?


I'm honestly pretty happy with this setup for now. I keep eyeing that new Z 85mm f/1.2, but realistically, my adapted version works so well that it's hard to justify. Maybe next year when tax season rolls around (you know how it is).


The one thing I might add is a longer lens—maybe the 70-200mm f/2.8. Sometimes I wish I could get those really compressed, isolated shots from even further back, especially for engagement sessions where I want to let couples be completely natural.


But for now, this setup handles everything I throw at it. Fall sessions, winter portraits, spring family shoots—it's all covered. And at the end of the day, that's what matters. Having gear that doesn't get in the way of creating beautiful images for my clients.


What gear are you guys using for fall sessions? Drop me a comment—I'm always curious to hear what's working for other photographers!