What’s In My Camera Bag?
Key Takeaway
Which camera should I reach for today? Well, that depends. My Sony Alpha keeps me quick on my feet, while my Hasselblad invites me to slow down. I love them both because each gives me a different way to tell the story. And then there is the pocket-sized plot twist.
Do You Really Need a Fancy Camera to Take Great Photos?
Honestly, no. Some of the most memorable images I’ve seen were captured with a mobile phone. Great photography starts with the story, the connection, and the way you see the world. Ted Forbes explores this beautifully in Visually Speaking: the camera supports the photograph, but the story gives it meaning.
I’ll admit, I didn’t always see it that way. When I started, I was obsessed with finding the “perfect” gear and thought the right camera or lens would transform my work. What actually made the difference was learning to connect with people, notice more, and understand the story behind an image. No camera can do that for me.
These days, I work with two camera systems: Sony Alpha full frame and Hasselblad medium format. They complement each other beautifully. Sony gives me detail, speed, and flexibility when a moment is moving quickly. Hasselblad gives me remarkable medium-format detail and a more deliberate rhythm. Both are wonderful creative tools that help me bring different ideas to life.
My Phone Takes Better Pictures. So Why Do I Carry This Camera Everywhere?
Pocket-Sized Plot Twist
The Camera I Never Leave Home Without
I have spent years thinking about lenses, resolution, autofocus, and color. Apparently, all it took to make me completely giddy was a camera small enough to hang from a zipper.
My phone takes better pictures, and everything else in my camera bag is far more capable. Still, the KODAK Charmera is the one I am ridiculously excited to carry everywhere. It clips onto my bag, fits in the palm of my hand, and turns ordinary moments into tiny photo adventures.
Street scenes, party snapshots, surprise selfies, whatever catches my eye is suddenly Charmera material. The photos are lo-fi, colorful, and delightfully unpredictable. I never quite know what I am going to get, which is exactly why I keep reaching for it.
The surprise starts before I even take a picture. Every Charmera arrives in a blind box, so I have no idea which of the seven retro designs is waiting inside. Opening one feels a little like unboxing a Sonny Angel figurine, except this surprise comes with a shutter button. Will I get the design I secretly wanted? Will I discover the transparent secret edition? Either way, I am already smiling.
Current retailer price: $34.99
My Cameras and Lenses
Retailer prices were checked July 31, 2026 and may change.
My Sony Photography Kit
Sony a7R VI
The Sony a7R VI is in my bag because it combines resolution, speed, and flexibility in one body. I use it for studio portraits, editorial assignments, location work, and fast-moving runway coverage. Its 66.8MP stacked full-frame sensor, responsive autofocus, and shooting speed let me move from controlled detail to unpredictable action without changing cameras. The tradeoff is the volume of large files, which requires more storage and a disciplined editing workflow, but the creative flexibility makes that worthwhile for demanding shoots.
Current retailer price: $4,498
Sony FE 35mm F1.8
The Sony FE 35mm f/1.8 stays in my bag because it is light, compact, and ideal for portraits that need a sense of place. I use it for location stories, low-light scenes, and full-body images where the surroundings matter as much as the subject. Its f/1.8 aperture gives me sharp detail and natural background separation without weighing me down. The wider perspective requires careful framing, especially near the edges, but that same view makes it a strong storytelling lens.
Current retailer price: $798
Sony FE 28-70mm F2 GM
The Sony FE 28–70mm F2 GM is the lens I reach for most often because it combines the flexibility of a zoom with a constant f/2 aperture. I use it for runway coverage, location portraits, studio sessions, and group photographs, moving quickly between wide scenes and tighter details. Its sharpness, smooth bokeh, and fast autofocus make it a dependable all-around choice.
Current retailer price: $3,298
Sony FE 50-150mm F2 GM
The Sony FE 50-150mm F2 GM gives me flexible telephoto framing without giving up a bright f/2 aperture. I use it for portraits, editorial details, and runway events where I need to move from a full look to a close expression without interrupting the flow. Its reach, subject separation, and autofocus make it a strong partner to the 28-70mm.
Current retailer price: $3,998
Sigma 85mm F1.4 DG DN ART
The Sigma 85mm F1.4 DG DN ART is in my bag for headshots, close portraits, and editorial images that need strong subject separation. Its f/1.4 aperture produces smooth bokeh while retaining the sharp detail I want in skin, fabric, and expression. I use it in the studio and on location, and most of the photographs in The Melbourne Portraits Project were made with this lens. The fixed 85mm view means I need enough working distance and must move rather than zoom, but that slower approach often helps me concentrate on the person in front of me.
Current retailer price: $1,100
Why Sony Alpha?
Fast, flexible, and almost psychic. The menus keep me humble.
How I got here
I started with Canon, then Nikon, and I still have a lot of respect for both. They gave me a solid foundation. When Sony’s full-frame mirrorless cameras came into their own with the Sony a7R III, I switched. The smaller bodies and newer technology were appealing, but the real draw was simpler: Sony Alpha felt built for the way I work and the stories I want to tell.
Why it stays in my bag
Sony’s sensors are a big part of that. I value their dynamic range, detail, and low-light performance. Sony sensor technology also appears across the industry in products from Nikon, Panasonic, Fujifilm, Apple, Google, and Samsung.
Then there is the autofocus. Subject tracking is fast, confident, and sometimes feels almost psychic. The menus are less intuitive, and I still find myself hunting for a setting now and then. Consider it Sony’s way of making sure I stay humble.
The bigger picture
That does not stop me from admiring what other systems do well. Fujifilm’s APS-C cameras and film simulations still inspire me. Leica’s 35mm film cameras have timeless appeal, and Hasselblad’s legacy continues to shape what medium format can be.
Every photographer has their own rhythm. For me, the right camera is the one that makes me want to pick it up, head out, and shoot.
My Hasselblad Photography Kit
Hasselblad X2D II 100C
The Hasselblad X2D II 100C is in my bag for fashion and editorial work that benefits from a slower, more deliberate approach. I use it when color, texture, tonal depth, and fine detail are central to the photograph. Its 100MP medium-format files and quiet working rhythm help me stay connected to the subject and shape each frame with care. The tradeoff is that this approach asks for more planning and produces very large files, but that is part of what makes the experience rewarding for the right project.
Current retailer price: $7,799
Hasselblad XCD 2,5/55V
The XCD 2,5/55V is one of my everyday Hasselblad lenses because its roughly 44mm full-frame equivalent view feels natural and balanced. I use it for fashion and editorial photographs where the model, clothing, and setting all need room to contribute. Its compact size, crisp detail, gentle transitions, and natural background falloff make it comfortable to carry and easy to trust. The tradeoff is that it is neither very wide nor tightly compressed, but that middle ground is exactly what makes it so versatile.
Current retailer price: $3,699
Hasselblad XCD 2,5/90V
The XCD 2,5/90V is in my bag for portraits where expression, fabric, and smaller details need to lead the frame. Its roughly 71mm full-frame equivalent view provides flattering compression, while the f/2.5 aperture softens the background without losing important texture. I use it for close editorial portraits and quieter moments when I want the model to hold the viewer’s attention. The tighter field of view requires more working distance and includes less of the environment, but that focus is its creative strength.
Current retailer price: $4,299
Hasselblad XCD 2,5/25V
The XCD 2,5/25V is in my bag for photographs where the location is part of the story. Its roughly 20mm full-frame equivalent view lets me include architecture, landscape, scale, reflections, and atmosphere while staying close to the model. I use it when strong lines and unusual spaces need to share the frame with the clothing and subject. The wide perspective requires careful positioning near the edges and thoughtful control of distance, but it gives me an immersive sense of place that the longer lenses cannot create.
Current retailer price: $3,699
Frequently Asked Questions
What camera does Paul Tocatlian use?
I currently use the Sony a7R VI full-frame camera and the Hasselblad X2D II 100C medium-format camera. They are two great systems with different working rhythms, and I choose between them based on the project and the kind of experience I want while shooting.
Why do you use both Sony and Hasselblad?
Sony and Hasselblad complement each other. Sony gives me a fast, flexible full-frame system, while Hasselblad offers a thoughtful medium-format experience with beautiful detail and color. I value both as creative tools and choose the one that suits the assignment, pace, and visual direction.
Which lens do you use most often?
The Sony FE 28–70mm F2 GM is the lens I reach for most often with my Sony system. Its zoom range and constant f/2 aperture make it useful for runway coverage, location work, portraits, and studio photography.
With Hasselblad, I most often reach for the XCD 2,5/55V. Its natural perspective makes it an easy choice for portraits and editorial work when I want to slow down and compose more deliberately.
Which lenses do you use for portraits?
For Sony portraits, I often reach for the Sony FE 50–150mm F2 GM. It gives me 50mm, 85mm, and 135mm portrait perspectives in one lens, so I can move from wider environmental portraits to classic half-length framing and tighter headshots without interrupting the flow. The constant f/2 aperture also gives me strong subject separation throughout the range.
With Hasselblad, I reach for the XCD 2,5/90V. Its short-telephoto perspective gives faces flattering proportions and beautiful separation, while letting me keep enough distance for the portrait to feel relaxed. It is the lens I choose when I want to slow down and focus on expression, fabric, and fine detail.
Do you need expensive gear to take great photos?
No. Strong photographs come from observation, timing, connection, light, and story. Good equipment can support a particular way of working, but the best camera is the one that helps you stay present and make photographs you care about. And if you want a reminder that photography can be wonderfully unserious, give the KODAK Charmera a chance.
Wrapping Up Gear Talk
At the end of the day, my camera bag isn’t just gear. It’s the foundation for how I approach every project. Each camera, each lens feels like a unique tool, helping me translate ideas into visuals that tell a story. Learning how to bring out the best in each lens is something I’m still working on, and that’s what keeps it exciting.
Whether it’s the sharp precision of a prime lens or the adaptability of a zoom, each piece of equipment is part of a larger creative puzzle. Photography is a constant process of experimenting, refining, and pushing boundaries, and that journey is what makes it so fulfilling. Here’s to capturing stories that matter and embracing the unexpected moments along the way.