The Camera Ecosystem I’ve Built
People often ask me what camera I use or what camera they should buy, as if there’s one magic box that makes all the difference. But the truth is, the journey to the right system is personal.
When I first started looking, I asked the same question to my mates and got the expected replies: Nikon, Canon, Sony, Panasonic, and others. Each response was biased toward the ecosystem they were already wedded to. I didn’t want to buy into a system based on bias, I wanted advice built on experience.
So, I write this post from experience. From trial and error, evolving needs, and a few frustrating weather-soaked hikes where something failed, and I swore never again. If this helps inspire the next budding photographer to choose a system that fits them, it’s done its job.
The ecosystem I’ve built isn’t the most expensive, or the flashiest, or the one shouted about most on YouTube. It fits me, and it fits the way I shoot.
Starting with Fujifilm: The X-T3
My journey properly kicked off with the Fujifilm X-T3. I chose it for a few reasons, some practical, some emotional. The retro design and tactile controls had me hooked straight out of the box. Dials for ISO, shutter speed, and exposure comp right there on top, it felt like a photographer’s camera of old. No fluff, no buried menus.
And the colours. Fujifilm’s colour science really is something special. Straight-out-of-camera JPEGs had a filmic quality that suited my style at the time, and the Classic Chrome simulation? Chef’s kiss. (For context: I shoot in RAW, but those JPEGs are great. RAW just gives me more range when editing, more on that in another post.)
But over time, especially as I pushed into more demanding shoots, corporate work, low-light conditions, and more detailed landscapes, I hit its limitations. ISO performance wasn’t quite cutting it, dynamic range felt stretched, and I found myself needing more flexibility. I wasn’t outgrowing Fuji emotionally, but technically… yeah. It was time.
I could’ve stayed in the Fuji family, but I knew I needed to move up from a crop sensor into the full-frame arena. Since I’d be replacing my lenses anyway, it was the right time to consider something new.
Enter Sony.
The Move to Full Frame: Enter the Sony A7iv
Moving to full frame wasn’t just about more megapixels. It was about depth. Flexibility. Knowing my camera could handle whatever I threw at it, rain, low light, high contrast. No questions asked.
I landed on the Sony A7iv because it hit the sweet spot: pro-grade image quality without veering into “this should come with a studio crew” territory. It’s weather-sealed, the autofocus is world-class, and the dynamic range? Absolutely savage. It doesn’t try to do the job for me, it just steps aside and lets me work.
It also integrates beautifully with my workflow, whether I’m editing at my home desk or on the road. No lag, no weird compatibility headaches. Just smooth sailing.
Building Around the Sony System
(If you haven’t already, you can read Part One: The Tools I Trust to see the rest of the kit that pulls this whole system together.)
I currently shoot with the Sigma 24–70mm f/2.8 Art, a lens that finally gives the camera body the glass it deserves. It covers a lot: landscapes, detail shots, street scenes, and portraits. Solid all-rounder.
But I’m not done building. On the list:
Viltrox AF 16mm f/1.8 – for vast landscapes, night skies, and big, bold drama
Sigma 70–200mm f/2.8 DG DN OS Sport – for wildlife, distant subjects, or subtle candids
Viltrox AF 135mm f/1.8 – ideal for corporate work and tighter compositions
The thing I love about the Sony ecosystem is its openness. Loads of third-party lens support, adaptable mounts, and a vibrant community of users. It doesn’t feel like a closed club.
The Supporting Cast: Accessories & Adaptability
Every system needs its extras, the small things that keep you shooting without fuss:
iFootage TC5S Gazelle tripod – lightweight, rock solid
ND filters from NiSi Optics – to slow things down or tame a blown-out sky
Cable release, cloths, spare batteries and cards – boring but essential
At home, I edit on a Mac Studio. On the road, it’s the MacBook Pro. Same software (Lightroom Classic), same process, same results—just scaled to the surroundings.
Everything works together. No friction. That’s what makes it a real ecosystem.
Creative Fit
I didn’t pick Sony for the badge. I picked it because it lets me do my work the way I want to. Whether I’m halfway up a Munro in sideways rain or editing in a café with Sid the puppet monkey keeping me company, it just fits.
It helps me focus on light, on moments, on story, not on settings.
It’s Not Just Gear
This ecosystem isn’t about showing off or hoarding gear. It’s about building something that works with me, not against me. Something reliable. Something intentional.
At the end of the day, the camera system should reflect your creative intention. It should help you say what you want to say, not get in the way of saying it.
Thanks for reading.
Keep exploring. Keep creating. And if you see a guy in the hills with a camera and a puppet monkey called Sid, come say hello.
– Gav