Camera Gear for Food and Drink Photography (Updated for 2024)

If I earned money every time someone asked me what camera they should buy, I’d be able to retire from paid work and just create art. 😉

However, for the sake of being useful, I’ve put together a master list of what photography gear is in my camera bag. Before I ever give a camera recommendation, I have to figure out what the person is trying to accomplish.

There are three key questions I ask them.

1. What is your budget?
2. How will you use the camera?
3. What is your skill level?

Budget only matters because it gives me a ballpark idea of what someone is looking to spend. Expensive cameras will not produce high-quality results on their own. How someone will use a camera matters in specific scenarios–sports photography, scuba diving, and hiking are some good examples. As for skill level, a skilled photographer can take exceptional photos with a cheap point and shoot or even a smartphone.

Expensive gear often has bells and whistles that the average person doesn’t need, whether it’s a camera’s dynamic range, high burst rate, large megapixel count, or other features.

The best thing to do is learn skills like lighting, composition, and foundational principles relating to optics, depth of field, et cetera.

With that out of the way, let’s dive into what’s in my camera bag, but first…

Why Trust My Gear List?

I have been a photographer and videographer for over 15 years. I come from a video production and post-production background working with brands like Walmart, NASA, Axiom Space, HBO, The Pioneer Woman, Red Bull, Carhartt, Hasbro, and more. Often I work as a 1st assistant camera operator, which could be considered the right hand man to the director of photography or cam op. It’s a very technical role, so gear is my forte. (Click here to work together or view my portfolio. My food and beverage portfolio can be found at Humble Garnish Studios.)

I’ve broken down this gear list into categories, and will add to it as needed. Off the top of my head, here is my current food and beverage photography setup for 2024.

Camera

• Sony a7 IV – This is my current workhorse. In my opinion, it offers the best hybrid functions allowing for photo and video capture. The jump up to 33 megapixels versus the previous model’s 24 is a nice touch. This serves most of my needs, and if a client needs a higher megapixel count for a campaign, I’ll rent a Sony A7 IV from LensRentals. (Get $25 off your first order with this link.) I love working with this camera. I use a lot of higher end rigs in video production that can cost upwards of $50,000 when fully built, but that would be overkill for most food and beverage photography. The eye-tracking auto focus is on-point. Buy just the body, then spend more money on good lenses.
• Sony a7C II – I recently bought this camera as a second body and I’m loving it! It has the same image sensor as the larger A7 IV, but in a much smaller size. This camera also has great video features, which was my main reason for purchase. I rig it to a DJI Ronin RSC-2. It’s not as comfortable in the hand as my primary camera, but this little cold shoe mounted thumb support helps.
• Sony a7 III – This was my previous body, and I shot with it for years. It’s still a very capable camera and a great buy at around $1,300.

Lenses

Sony’s native lenses work best with their AF system, but other third party options still excel and often do so at a fraction of the cost. I’m a huge fan of the Sigma Art series of prime lenses and that’s now what I exclusively shoot. They have excellent build quality and are tack sharp. These lenses listed below are made for full-frame cameras and I’ve linked to the Sony E-mount version. Just make sure you’re buying a lens that is compatible with your camera.

I’d also suggest picking up some vintage lenses for your camera if you want to get some interesting looks. Just Google “vintage lenses for Sony E-mount” (or whatever lens mount your camera may use) and you’ll find a ton of options, some of which can be found on eBay for $50-$100. The old Soviet Helios lenses offer a great aesthetic.

• Sony 24-105mm f/4 – This was the first lens I purchased with when I bought my A7 III. I’ve since sold it, but I do miss it. With a maximum aperture of f/4, it’s not the fastest lens (meaning the low-light abilities aren’t as good), however it is sharp and has built-in optical stabilization. Win-win. It’s a great buy for the price point.
• Sigma 24-70mm f/2.8 Art – The range from 24mm to 70mm covers so many photography situations, which is why the 24-70 lens for any camera model is a workhorse. The best part about this Sigma is that it’s half the cost of the Sony! I’ll take $1,000 in savings any day. If you could afford one lens, buy this one.
• Sigma 20mm f/1.4 Art – I purchased this lens to use with my A7C II on a gimbal. Most clients want vertical video of their food and beverage for use on social media, so this focal length provides a great field of view. This is especially true when shooting in a slo-mo mode and the sensor is cropped, resulting in tighter framing.
• Sigma 35mm f/1.4 Art – I probably use this lens more than any other in my bag. I particularly enjoy using it for low-light shots of bartenders making cocktails. It’s a very versatile focal length. Sigma has also released a newer version that sports an f/1.2 aperture.
• Sigma 50mm f/1.4 Art – If you had to choose a single prime lens for food and beverage photos, choose this one. It’s also a great lens for portraits.
• Sigma 85mm f/1.4 Art – This is another favorite lens and is known to be one of the sharpest of the Sigma Art series. It offers beautiful bokeh to really let your food and beverage shots pop.
• Sigma 105mm f/2.8 Macro Art – A solid macro lens is key as a food and beverage photographer for getting close up detail shots of things like garnishes. This has been my go-to for a couple of years now. I don’t use it on every shoot, but I’m always happy with the results when I do.

Filters

Controlling light and reflections is key for your food and beverage work. Buy a set of circular polarizers, I like Tiffen. You could buy one to go with every lens diameter you need, but I’d suggest buying one that fits your largest lens thread and then buying a set of step-up rings.

Bags & Cases

Few things are worse than a bag with zippers that wear out, case latches that bust, or are bags and cases that are generally cumbersome to carry. I love the bags that Peak Design has been putting out. Their range covers everything from smaller messenger-style bags to larger travel bags.

Lately, I’ve preferred the hard cases made by Nanuk. The main differences you’ll see between brands are in latch style and options for handles and roller wheels. Some cases are also stronger and more suitable for airline travel. The Nanuk 935 works as a carry-on and I normally travel with it and then use the Peak Design 20L Everyday Backpack as my “personal” carry-on. The lid organizer on this case is very useful, but take note that it will not fit a 16″ MacBook Pro, only 15″ models. I normally put the iPad in the case lid and then my MBP in my backpack.

Back to the Peak Design gear, I love how it’s all modular. I reconfigure my gear back based on the needs of the gig I’m working. This is everything from hiking Yellowstone to food and cocktail photography for high-end restaurants. Peak Design also has a lot of great sales throughout the year, so be on the lookout!

While this list may seem excessive, I do own every piece of this gear and plan on buying more. I can’t say enough about the durability and versatility of the Peak Design gear.

• Peak Design 45L – My main camera bag. I’ve loaded this bag up with my camera body, several large lenses including the Sony 100-400mm and Sigma 14mm, a tripod and more while hiking Yellowstone. I easily had 20+ lbs. of gear and this bag perfectly distributed all the weight.
• Rain Fly – A simple add on for the 45L bag to cover it from rain.
• Camera Cube – These cubes are the base of the modular system of Peak Design’s Travel Bags. In the larger backpacks, you can fit a few of the smaller ones or a single large one. In my 45L, I have a large Camera Cube and a Tech Pouch. They work reasonably well as a standalone bag. I have one inside my 45L and another that is standalone to hold my speedlights and MagMod diffusers.
• Tech Pouch – Cables, SD cards, hex keys, pens, miscellany. This a great little organizer pouch and the accordion-style design helps save space inside your primary bag. There are three divided compartments, that contain both slip-in pockets and ones with zippers.
• Slide Lite – I upgraded to this camera strap after buying the Leash and the Cuff. If you’re using a larger lens, this wider strap is essential. The thinner straps tend to dig into your shoulder when the weight of the camera is heavier.
• Leash – If you have a smaller lens on your camera, this is the strap to go with. It also rolls/folds up better than the Slide Lite, which is more rigid.
• Cuff – I use the Cuff when I’m waning to be mobile and not draw attention. A good example is when I’m taking photos of friends bartending. Perfect for on-the-go shooting.
• Capture – The Capture is a mount-point to give you easy access to various camera gear. It comes with an Arca-Swiss plate that can be attached to the base of a camera body. I’ve never used it with a camera, but I do use it with the Lens Kit add on to carry lenses.
• Lens Kit – I’ve used this setup a few times now, and am still evaluating it. It works with the Peak Design Capture and gives you two dummy mounting points for lenses. This way you can carry two lenses within easy reach on a belt or attached to a strap of a backpack. It works better with smaller lenses, but can be cumbersome if you’re using something larger like Sigma’s 85mm prime or Sony’s 70-200mm.

PS – If you’re looking for a good laptop messenger bag, I really love my bag from WaterField Design. These bags are handmade in San Fransisco of leather and waxed canvas. I find them to be well-designed, functional, and aesthetically pleasing, plus they start to develop a nice look once worn in. I own the Vitesse.

Lighting and Modifiers

• Godox V860II-S – I used to shoot Canon and owned several Canon speedlights after selling that camera. I tired of using a receiver adapter to make them work and went to these Godox models with integrated recievers. The two things that I love about them are the built-in wireless receiver (works with the transmitter listed below) and the lithium-ion battery. The batteries make for a quick recycle time on the flash and are large enough that they give more than enough flash fires for a session. That said, I always carry a spare battery. You can assign these units to groups to control them in conjunction. These are a great starting point for most people.
• Godox AD200 – A nice upgrade from the V860s. I have two of these and generally shoot them through a softbox.
• Godox AD400 Pro – Much more power and even suitable for outdoor use. I don’t often need this for food and beverage work, but I have it if I need it.
• Godox X3-S TTL Wireless Flash Trigger – This trigger attaches to the hot-shoe on your Sony camera to wirelessly trigger your speedlights. You can adjust the power level of each flash (or flash group) remotely from this unit. This upgraded X3 model came out in 2024 and is a great value at $89. I love that it has an integrated rechargeable battery and smaller form factor.
• MagMod Professional Flash Kit – I was hesitant to buy into this system, but it has been indispensable. Basically, you stretch the MagGrip over the head of your speedlight. This serves as the mounting point for the entire MagMod system, which is built around super strong magnets. If I were to suggest only one diffuser, it would be the MagSphere, but I find myself using the MagBounce and gels set often too! The MagGrid helps control your light and make more directional. If you’re wanting to isolate even more, opt for the MagSnoot.
• MagMod Starter Kit – If you’re not ready to go with the full professional kit, this is where to start. You get the MagGrip, MagGrid, and MagSphere.
• Neewer Portable Rectangular Softbox with Bowens Mount and S-Type Bracked for Speedlights – I’ve used both shoot-through umbrellas and soft boxes. Either work, but it’s a different look. The main difference will be the specular highlights on glasses and bottles–circles vs. rectangles.
• Manfrotto 367B Light Stand – A nice mid-priced stand for your speedlights. Sure, you can find stands that cost less, but the cheap plastic knobs always break and the action isn’t as smooth when setting up or tearing down. Buy nice or buy twice.
• 3-in-1 Bounce Cards – Before discovering these, I’d cut up pieces of foam board. These are much better. You can open them up to have a full white side, then the reverse has one half that’s silver and the other is black. These are simple to place beside a dish, and I use them on every shoot.
• 5-in-1 Reflector – Whether I’m diffusing, reflecting, or blocking light, this goes with me on every shoot and I carry it in three sizes.

Accessories

• Streamlight MicroStream – Hands down the best small LED flashlight for under $20 that I’ve come across. I’ve carried this flashlight on me every day for about 15 years. An upgrade pick is the Streamlight 88061 ProTac. They also have a rechargeable version now, so I’ve upgraded to it. Perfect to inspect dishes if you’re shooting in a dim environment.
• 12-Slot SD Card Case – Protect your media!
• Syrp Genie Mini II Motion Controller – Awesome little setup. I’ve used their larger device and loved it for the simplicity. When they released these smaller modules, I bought two (for X and Y movements) along with the necessary L-bracket to perform the complex moves. The mobile app can be frustrating if the firmware isn’t updated on the devices, so update before your shoot.
• MIOPS Flash Trigger for High Speed Photography – I learned about this one while on a shoot with official NASA photographer, Bill Ingalls. Trigger the shutter when lighting flashes, when the laser beam is tripped, or by sound. This one is on my wish list.

Client Review and Tethering

If I’m in the studio, I’ll shoot tethered with Capture One, but if I’m on-location I use the CamRanger wireless tethering option.

• CamRanger 2 – Mount this to your hot shoe or to your camera body using an L-bracket and you can wirelessly tether. It’s far better than any stock camera app I’ve used, but the unit is a little bulky. It creates its own WiFi network that you can connect any device to—Mac, PC or mobiles running iOS or Android. As mentioned, I connect it to an L-bracket since my hot shoe is in use by my flash trigger. You can put the companion app in a “client mode” where your client can see images but not control camera settings. For you, the shooter, you can have full camera control. What is most useful is the live view mode so you can have your camera set up on a tripod, then tweak your shot while seeing a live preview. One of the best purchases I’ve made in the past two years. I pair mine with an iPad Mini.

Media

• Sony 160GB CFexpress A – Sony has a propietary format called CFexpress A. It offers faster read and write speeds, so can be necessary for some high-speed video recording. The Sony A7IV and III accept this format in their dual-slot design, but not the Sony A7C II. Unless you’re shooting a lot of video for slo-mo, it’s likely overkill. They are also much more pricey than SDXC.
• SanDisk 256GB Extreme Pro SDXC UHS-I Card – Self explanatory… you need media to shoot. SanDisk is a trusted brand that I’ve always gone with. If you want faster read/write speeds for video needs, I suggest ProGrade’s UHS-II V90 cards.
• SanDisk 2TB Extreme Pro SSD – These SSDs are small and blazing fast. Even if you buy drives with USB-C connections that doesn’t necessarily mean that they support the fast USB 3.1 Gen. 2 specs. Note that there is a Pro and non-Pro version of this drive. The pro version has a write speed that’s nearly twice as fast. I use two of the 2TB models on shoots when data redundancy is essential—always. This inexpensive case is perfect for carrying them. Don’t consider these as working drives, these are field drives. It’s also worth noting that there was a bad manufacturing run of these drives awhile ago and some people reported failure and data loss. My professional opinion is that this is why you should always have redundancy. I’ve seen other drive manufactures have issues in the past. It tends can happen and shouldn’t be a reason to forever avoid a brand. That said, I always stick to trusted brands for media and storage.

Support (Tripods)

• Manfrotto 190 Go! M-Series Carbon Fiber Tripod – Tripods are one of the essentials that you can quickly spend a lot of money on. When upgrading to this model, I was looking for a few things. Most importantly, I wanted the 90° column that would let me “arm” the camera over what I was photographing. Other considerations were overall weight (carbon fiber really helps here, but adds cost), max height, and size when collapsed. When this tripod is collapsed, it will fit in the side sleeve of my Peak Design 45L bag. I slide two legs in, then the close the third leg against itself to help hold it in place.
• Really Right Stuff BH-40 Ballhead – These are the non-sexy gear items that are hard to buy….$485! I’d rather put that money towards a lens, but it’s worth it if you’re a pro. It offers more than enough support for my rigged up camera and is made and machined in the USA. This head will last a lifetime and I can move it to another set of sticks in the future.
• ODWARF R1 Ball Head with Arca Swiss Plate – I used this ball head for many years. It’s a good value at around $60, but not perfect. You’ll experience some play in it, but overall I trusted it for years with no incidents.

Power

• Sony NPFZ100 – Spare batteries are must. You can buy third-party (off-brand) batteries for your Sony, but the camera may give you an error when it recognizes that it’s not a Sony battery. Most of the time you can ignore the error, but I have had issues in the past with the camera not recalling settings on reboot.
• Manfrotto Pro Cube Twin Charger – I purchased this charger when it released and am still very happy with it. It’s a little bulky, but it has various inserts allowing you to charge different sizes of your camera brand’s batteries and even AAs. The LED status screen is a nice touch.
• Newmowa Dual Charger – This is an inexpensive dual charger without any bells and whistles. I like it because it packs well in my bag. There are certainly nicer chargers that will charge faster and provide better status indicators, but you’ll pay more and they are larger.
• Sony Vertical Battery Grip – The small size of Sony’s mirrorless cameras is great until you have a heavy zoom lens attached. Using this battery grip will double your battery capacity (it has a tray for two batteries) as well as improve the ergonomics when you’re using a larger lens. I used a third-party brand for years, but when I upgraded my camera to the A7 IV, they didn’t seem to fit properly and were poorly built. It’s frustrating that Sony charges so much for this, but again—cry once, buy once.

That sums up what’s currently in my camera bag for cocktail photography. If you have any questions about gear or want to hire me for a project, feel free to contact me.