I’ve used Fujifilm cameras professionally ever since the X-T1, and currently use two X-T5 cameras and a core set of prime and zoom lenses. So based on over ten years experience with the brand and tens of thousands of hours shooting and editing here’s the kit I’ve settled on. I think these are the best Fujifilm lenses for event photography, freshly updated for 2024.

In 2023 I personally delivered over 31,000 photos to my clients, across events, parties, conferences, weddings, couple portraits, corporate headshots, PR, food and drink… everything, so I’ve also listed how many photos were shot on each lens. It made for interesting research and I was surprised at some of the results, especially given how much I say I prefer primes over zooms – no spoilers though!

If you don’t fancy scrolling through this page just click here for a handy list of all my favourite Fujifilm event photography kit on Amazon.

(By the way, links on this page are affiliated and as an Amazon Associate I earn from qualifying purchases. This doesn’t affect my recommendation in any way – if I don’t use it and don’t like it I don’t recommend it.)



The best Fujifilm prime lenses for event photography

I love Fuji’s fast prime lenses because they’re small, light, and produce beautiful images. I love using them wide open, and I feel like the fixed field of view encourages more thoughtful and creative framing. I’ve got a set of Fuji’s pro f/2.8 zooms too and they’re my go-to for things like conferences and stage performances. But for everything else I usually prefer to use primes if I can.

Fujifilm XF 16mm f/1.4 WR

SophiePhil 200831 175 scaled - The best Fujifilm lenses for event photography in 2024 Bridal Prep at Gaynes Park | Fujifilm XF 16mm f/1.4 WR

SophiePhil 200831 543 scaled - The best Fujifilm lenses for event photography in 2024 Bride and groom make their wedding breakfast entrance at Gaynes Park | Fujifilm XF 16mm f/1.4 WR

HOW MANY? In 2023 I delivered 1087 images with the Fujifilm XF 16mm f/1.4 WR, approx. 3.5% of the 31,000+ total. 

The Fujifilm XF 16mm f/1.4 WR quickly pushed the 14mm f/2.8 out of my bag. It’s now one of my favourites and definitely one of the very best Fuji lenses for event photography. People rave about this lens with good reason.

Providing roughly a 24mm-equivalent field of view it’s solidly built, and excellent in low light. Overall it’s a superb documentary lens in small spaces allowing you to take in more of a scene especially at close quarters, which I find makes for better story telling photography. It’s also great for dramatic wides in a pinch, especially if you can get a bit of distance, but for really impressive ultra-wides I’m carrying the 8-16mm f/2.8 these days.

It’s weather sealed too, which is great for events in the crappy British weather. Mind you, many of the rest of my favourite lenses aren’t weather sealed unfortunately. So I think I’d probably switch to the 16-55 f/2.8 zoom if I had to spend extended time outside in the rain.

There’s really one thing I’m not so hot on – the shifting focus ring. A few Fuji lenses have this feature, including the original 23mm. Push the focus ring forward and it locks, putting the lens in AF mode (assuming that’s enabled on the camera body too); pull it towards you to unlock the ring and manually focus (over-riding the AF/MF mode on the camera). I expect the people that use this feature love it, I just would rather the focus control was only on the camera. There’s been a few times I’ve attached it during a shoot and missed my first shots because the focus ring had shifted to manual mode in transit and I’d not noticed. Not the end of the world but I can only speak for my own experience.


Fujifilm XF 23mm f/1.4 LM WR (Mk 2)

best fujifilm lenses event photography 23mm mk2 001 - The best Fujifilm lenses for event photography in 2024 Close-quarters documentary photography at a packed event | Fujifilm XF 23mm f/1.4 WR

best fujifilm lenses event photography 23mm mk2 002 - The best Fujifilm lenses for event photography in 2024 Caught the groom, bride, and her father, sister, and brother in this blink-and-you’ll-miss it wedding moment | Fujifilm XF 23mm f/1.4 WR

HOW MANY? In 2023 I delivered 3153 images with the Fujifilm XF 23mm f/1.4 LM WR, approx. 10% of the 31,000+ total. 

The second version of their iconic lens, equivalent to the full-frame 35mm focal length, is damn sharp wide open, focusses fast, and along with the 33mm and 56mm it goes on every shoot with me. It’s wide enough for most reasonably close-quarters documentary shots and perfectly complements something tighter like the 56mm. It’s too tight for scenic wide shots, and for very tight close-quarters coverage, which is where the 16mm f/1.4 comes out – if not the 8-16mm. But it’s best at medium-close quarters to get story-telling shots that take in your subject’s surroundings, to give a sense of what’s actually happening in that moment.

I had the original for years and it’s a sturdy metal build with one of those focus rings you pull back to unlock and use manually, revealing zone focus markings. But in 2022 Fuji launched a slightly smaller, weather-resistant version (the WR in the name), designed to resolve more detail on Fuji’s new 40MP+ sensors. It has a sleek, modern, solid metal build with a standard focus ring (no clutch mechanism), and so it loses a little something of the original’s characteristic old-school aesthetics, but it looks and feels great on an X-T body.

And performance wise it’s really excellent. I’ve long since grown out of the urge to pixel-peep at 100% crops trying to find marginal imperceptible softness (our clients can’t see it and don’t care if you can) but I can tell you it’s much faster to focus due largely to the improved linear motor inside (the LM in the name), super sharp, and has almost no chromatic aberration wide open. The original 23mm had such bad CA that I ended up creating a ‘lens correction’ profile for it in Lightroom with a ton of CA removal baked in. But with this new Fuji 23mm f/1.4 WR there’s no need.

My one minor complaint is that the redesigned barrel is almost indistinguishable from Fuji’s new 33mm lens. Compare them and the 33mm barrel is about 5mm shorter but that’s it: same 58mm filter diameter, same sleek barrel design except for the focal length designation. If both are in my lens bag and I need one during a shoot I’ll usually need to peer at the barrel to check the focal length, so I’m considering sticking something to one of them for easier identification by sight and touch.


Fujifilm XF 33mm f/1.4 LM WR

best fujifilm lenses event photography 33mm 001 - The best Fujifilm lenses for event photography in 2024 A scenic wedding portrait at Hampton Court Palace Golf Club | Fujifilm XF 33mm f/1.4 WR

best fujifilm lenses event photography 33mm 002 - The best Fujifilm lenses for event photography in 2024 A serous game of shuffleboard at a corporate event in Bounce Farringdon | Fujifilm XF 33mm f/1.4 WR

HOW MANY? In 2023 I delivered 8733 images with the Fujifilm XF 33mm f/1.4 WR, approx. 28% of the 31,000+ total. 

The deserving winner of my Most Used Lens of 2023! This lens replaced the Fujifilm XF 35mm f/1.4, which I still have just in case I need a backup one day… and also because it’s a classic. It’s this stubby wee metal beauty that focusses plenty fast enough, is plenty sharp enough, and if you spend enough time with it really does have this subtle look to images in the right light. The new 33mm is a better choice for me but really it’s about how useful this focal length is despite being closer to the 23mm than the 56mm, my previously most used lens.

I used to think it was a boring middle ground neither wide enough for close groups nor long enough for a wide range. But I changed my mind after thinking more about what I was really capturing with the 56mm. I love the 56’s contrast and creamy bokeh, but often I couldn’t see what was happening around the subject so it wasn’t telling much a story. The 33/35 field of view fixed that, I just needed to shorten the range around me that I was looking for moments.

Is it worth switching from the Fuji 35mm to the Fuji 33mm?

If you’re sold on the focal length already and love your Fuji 35mm for event photography why upgrade to the 33mm? I didn’t really enjoy using it professionally, it just felt a bit too short and light in the hand. And in low light the focus could struggle a bit.

The new 33mm is almost identical in appearance to the new 23mm WR (which can get confusing in a hurry at an event), with a sleek modern black metal barrel and optics designed to resolve much higher detail on Fuji’s new 40MP+ sensors. Plus it’s sharper and faster to focus even in low light. Some people say it looks too clean now and I get that. But I prefer having lenses I can rely on in every situation. And the weather resistance helps with that too.

Ultimately I think the focal length is the most important thing, and you can choose which lens speaks most to you.


Fujifilm XF 56mm f/1.2 WR

Amadea21st 076 - The best Fujifilm lenses for event photography in 2024

owenbphoto 190809 FesTRVal 377 scaled - The best Fujifilm lenses for event photography in 2024 Beer and friends | Fujifilm XF 56mm f/1.2

HOW MANY? In 2023 I delivered 5147 images with the Fujifilm XF 56mm f/1.2 WR, approx. 16.5% of the 31,000+ total. 

The original Fujifilm XF 56mm f/1.2 was one of the first Fuji lenses I ever bought for my new X-T1 kit back in 2014, and it became easily my favourite lens with it’s gorgeous colours, rich contrast, and creamy bokeh, let down by awful focussing speed in low light. The Mk2 version is a great upgrade all round, but the low light focus speed is now only ‘good enough’ where previously it was ‘bad’. I don’t really know why it’s so slow compared to their other lenses but  I think Fuji lets themselves off the hook by calling it a ‘portrait lens’. Hmmm.

The new version is as expensive (about a grand) and ever so slightly bigger than the original, with a slightly wider lens barrel that tapers towards the mount width at the back. It actually feels better to me on the X-T5 than the original, like it’s better balanced. The image quality is absolutely superb – the original was prone to softness around the edges but the new one is much sharper across the frame, and I don’t think I’ve ever noticed bad CA either.

That focussing though… Even though the Mk2 is definitely much better, it’s still prone to all kinds of focussing quirks: with the Mk2 I’ve seen the X-T5 EVF pause for as long as half a second when locking focus certain modes – and this never happens with any other lens. Switching to CF mode with tracking enabled seems to solve that issue but introduces another one: with the Mk2 in CF tracking mode the the camera burst speed drops significantly, presumably because the lens just can’t focus fast enough between each frame.

I think most photographers won’t notice focussing issues with the Mk2 until they get into low light. But I experience them nearly every shoot. For the price (a grand new) that shouldn’t happen but I still love this lens. I love the reach, the sharpness, the colours, the bokeh, the size, the weight… It just isn’t quite as useful to me as the 33mm for storytelling event photography.


Fujifilm XF 90mm f/2 LM WR

HOW MANY? In 2023 I delivered 347 images with the Fujifilm XF 90mm f/2 WR, approx. 1% of the 31,000+ total. 

The 90mm is a lens I very rarely take on shoots – it’s only 1% of all my delivered shots last year – but it can be useful so it’s on the list. As a 135mm-equivalent to full frame sensors the 90mm is ostensibly a portrait lens, perhaps even more so than the 56mm. But I generally prefer to be a bit closer to people for portraiture than this lens necessitates so I don’t really use it for that. Instead, I pack it into my ‘all primes’ kit so I’m covered if I’m not able to get close enough to important stuff like speeches and presentations, or even the ceremony if it’s one of those churches that banishes photographers to the very back.

If I need it for reach why not just take the 50-140? Because the 90mm is much smaller, lighter, and sharper; it’s better in low light (f/2 rather than f/2.8); and frankly I probably won’t use it anyway so why lug the 50-140 around?

It’s also really good for ‘sort of macro’ shots. It’s not a macro lens but it focusses really close so at a wedding it can be nice to get good ring shots before the ceremony.


The best Fujifilm zoom lenses for event photography

I typically use the holy trinity of professional Fuji zooms for conference-type events or anything where it all moves so fast I can’t afford a few seconds to change a lens such as family shoots with kids racing around a park, or a PR event with a ton of dignitaries shaking hands with a ton of other dignitaries.

Fujifilm XF 8-16mm f/2.8 LM WR

london conference photographer qeii moneylive 025 - The best Fujifilm lenses for event photography in 2024 I’m crouching less than a foot from the front of the stage – that’s how wide it is! | Fujifilm XF 8-16mm f/2.8 WR

pr photographer london vacherin 040 - The best Fujifilm lenses for event photography in 2024 I’m so close here I could easily reach out and high five the chef at the front | Fujifilm XF 8-16mm f/2.8 WR

HOW MANY? In 2023 I delivered 1961 images with the Fujifilm XF 8-16mm f/2.8, approx. 6% of the 31,000+ total.

This is a BEAST of a lens and I think that’s the only time I’ve used block capitals so that’s how you know I’m serious. It’s also bloody expensive, at £1500 new, compared to around £1100 for Fuji’s smaller 10-24mm Mk2, or about £500 for the 10-24mm Mk1 (which I bought first, and which made me realise how awesome the 8-16 could be). Both those alternatives are much smaller, much lighter, and have OIS built in, so why go for the 8-16mm?

The main reason is the extra 2mm, which make all the difference especially shooting spectacular venue wide shots. There’s also the f/2.8 aperture which helps get a faster shutter speed to freeze movement in the frame if that’s required – OIS can’t do that. And it really is sharp as a pin from corner to corner which counts when you’re producing spectacular hero shots for clients.

Typically I’ll take this zoom on every event shoot, whereas the other two zooms are mostly just for conference-type events. I’ll use it for venue wides at the start before guests arrive and then I’ll get a few more wides later when the party’s bouncing, or for shots like the second one above where I’m capturing a lot of activity in a small space (the motion blur is deliberate).

The only downside is the relatively short length at the long end, only 16mm compared to 24mm on the cheaper Fuji alternative. I think if this was 8-24mm I might be able to get away with just this and the 50-140mm most of the time, leaving the very boring 16-55 in the bag. But it’s not the end of the world. As for lacking OIS, it could have helped handhold for longer in a low-light venue, but it’s so wide that light camera-shake isn’t too obvious and now I have the X-T5 I’ve got OIS built into the body anyway.

If you’re not sure if you need this definitely try and get a second hand Mk1 copy of the 10-24 first, or rent one. And then if you catch the ultra-wide bug then start saving!


Fujifilm XF 16-55mm f/2.8 LM WR

best fujifilm lenses event photography 16 55mm 001 - The best Fujifilm lenses for event photography in 2024

best fujifilm lenses event photography 16 55mm 002 - The best Fujifilm lenses for event photography in 2024

HOW MANY? In 2023 I delivered 2839 images with the Fujifilm XF 16-55 f/2.8, approx. 9% of the 31,000+ total.

Fuji’s version of the ubiquitous 24-70mm full frame lens, favoured by many press and event photographers. Sharp and relatively fast with a fixed f/2.8 throughout the range, and not quite as big or heavy as the full frame equivalent although it can still be quite intimidating at close quarters. If you can only afford or fit a couple of lenses it’s probably going to be this one and the 50-140, covering most or all of the range that most of us will ever need outside of sports and wildlife.

Sadly I really don’t like using this lens outside of conference-type shoots, where I favour the utility of pro zooms; being able to capture what’s happening almost anywhere in a conference room without needing to move is much more important to me than having fun or being creative.

However, for almost everything else and especially social events I find myself incredibly bored using this lens. It makes me lazy and I find the shots I produce on it are always safe and rarely interesting. Finding a couple of images for this entry was hard not because there’s so many great shots to choose from but because they’re all so… standard.

So, not the most exciting lens, but so reliable that most event photographers looking for the best Fuji lenses will have already bought it without thinking twice, and you probably should too.


Fujifilm XF 50-140mm f/2.8

london family photographer london belgravia w1 003 - The best Fujifilm lenses for event photography in 2024

HOW MANY? In 2023 I delivered 8134 images with the Fujifilm XF 33mm f/1.4 WR, approx. 26% of the 31,000+ total. 

Fuji’s equivalent to the 70-200mm, with built in vibration reduction, and like the 16-55mm it’s simply fantastic, a proper workhorse. It’s heavy, but it’s nowhere near as heavy as the full frame versions. I wish I got more use out of it, as so much of my work is in dark rooms where the widest aperture of the Fujifilm XF 50-140mm f/2.8 just isn’t fast enough. But anywhere with reasonable light levels, and especially outdoors, wowsers, it’s just incredible. I’ve heard it called ‘the zoom that thinks it’s a prime’ and that’s about right in terms of the sharp images it produces, especially with the OIS activated.

Combined with the 16-55mm it’s the perfect pairing for chasing hyperactive kids about on an outdoor family shoot. It’s also indispensable for well-lit corporate conference stages, so you can stay in the aisles and get both tight shots of speakers on the stage, and wider down-the-line shots of audience listening, without needing to get too close to anyone. When it comes to wedding ceremonies and receptions I really want the shallow depth of field and the wider apertures my primes give me, but I always have it in my bag, especially in churches, as it’s useful for getting in close visually when circumstances keep you at a distance.

My ‘retired’ Fujifilm X-mount lenses

Fujifilm XF 14mm f/2.8

The Fujifilm XF 14mm f/2.8 is an impressive prime lenses, approximating a 21mm field of view on full frame cameras, for stunning rectilinear wide shots, and great storytelling shots of people partying, from very close quarters. Unfortunately the f/2.8 aperture just feels wrong on a prime, especially once the way more impressive and useful 8-16mm arrived. So I got the 16mm f/1.4 instead – it’s a touch tighter but way faster, so much better in dark venues. If you’d like a wider prime you could consider the Rokinon 12mm f/2 which is affordable, a stop brighter than 2.8, but it doesn’t have auto-focus at I don’t want to faff with manual focus at busy events.

Samyang 8mm Fisheye f/2.8

The fisheye look you get from the Samyang 8mm Fisheye f/2.8 is distinctive but pretty gimmicky so it’s not something you want to use for much, if any, professional event work. But used very sparingly in the right context it can be interesting. I made one of my favourite images using it, overlooking a private function in the Hintze Hall at the Natural History Museum. But it’s probably best for personal or at least more creative visual work – it works really well in both the confined connecting tunnels and cavernous halls on the London Underground. It’s manual focus only, and as it doesn’t have electronic contacts you’ll need to set your camera to work ‘without a lens attached’, but it’s cheap and fun, and I like fun, so I keep it around.

Fujifilm XF 18-55mm f/2.8-4

The Fujifilm XF 18-55mm f/2.8-4 is the kit lens available with many of the Fujifilm X camera bodies, but it’s without doubt the best kit lens I’ve ever owned. It’s not quite as wide as I’d like – equivalent to 27mm rather than the usual 24mm – but whereas most kit lenses range from f/4.5 to f/5.6, this one starts at f/2.8 up to f/4! And it’s got built-in image stabilisation, something even the pro version (16-55mm, above) doesn’t have.

I’ve actually photographed an indoor private event using this as my wide lens all night and the results were just fantastic, you would never have known I was using a ‘crappy kit lens’. I’ve mostly stuck with my pro zooms and primes for professional work since then, but I kept this this lens for personal use as it’s so much lighter and smaller for travelling with than the 16-55mm.


Recommended bags for Fujifilm event photography

Think Tank Street Walker Hard Drive

If you want a backpack rather than a rolling bag, this could be the one for you. Think Tank make superbly functional and well designed camera bags and this beauty can put just about everything I might need comfortably on my back. I can even strap a tripod or stands to the outside – which I try to avoid using anyway, but it’s good to know I could if I needed to. I have the V1 – the V2 has some usability nice improvements – and about ten years later it’s still in almost perfect condition, even the strap stitching’s still going strong, touch wood…

What can I fit in the Street Walker Hard Drive?

When it’s fully loaded I pack in two capped X-T5 bodies, my Peak Design 6L sling containing four primes and spare batteries (down the centre space), all three pro zoom lenses, a flash or two, a rocket blower tool, one or two Boling P1 LED lights, my Spider Holster clips, a 14″ Macbook Pro, and cables, batteries, ear plugs, velcro straps, lens cloths… EV-ER-Y-THING.

Of course I rarely need to take all of that but even if I do it’s wearable enough for basic commuting and even better without the laptop. It even fits as a carry-on bag on an international flight, or at least it did at the time of writing so do double check.

So that’s how I get everything to the shoot. During the shoot I use…


Peak Design 6L Everyday Sling

The search for the perfect bag to carry lenses and other bits and pieces on a shoot can seem never ending, but I finally found THE perfect bag – for me, anyway. It’s the Peak Design 6L Everyday Sling. It used to be the 5L Everyday Sling until the zip broke and Peak Design literally just sent me a brand new one – but I needed it before it arrived so I bought a new one upfront and kept the replacement as a spare. At that time only the newer 6L was available, and I much prefer it!

Inside it’s typically divided into three compartments using the provided dividers, but the two compartments on either side of the central one can be further split into two smaller compartments using the folding ‘shelf’ on the dividers. Those two smaller compartments are big enough to hold a smaller Fuji lens without a hood attached, such as the 16mm, the 23mm, the 33mm, or even the 56mm (it’s tight but doable). I don’t use hoods on any of my lenses so that’s perfect for me.

There’s also small pockets on either side inside, perhaps for business cards, a flat space at the back of the interior you could keep a few flat objects (I sometimes fold printed running orders and slip them in there), a zip pocket inside the main opening that has stitched compartments for four batteries, and another zipped pocket on the front exterior that I use for lens cloths and other small bits and pieces. Finally, there’s an element stitched to the outside that’s designed to attach the Peak Design quick release plate, although I don’t use that myself.

How do I use the 6L Everyday Sling on a shoot?

So when I’m shooting event photography I’ll have two lenses on my two X-T5s, and almost everything else I might need in this bag. Let’s suppose I’ve got the 23mm and the 56mm attached, here’s what’s in the bag:

  • Fujifilm XF 16mm f/1.4
  • Fujifilm XF 33mm f/1.4
  • Fujifilm XF 8-16mm f/2.8 (usually in the middle slot)
  • four spare batters
  • lens cloths and lens brush
  • spare allen keys to adjust spider holster clips
  • Peak Design wrist strap in case I need to use the camera over a ledge (to prevent drops)

But here’s the really awesome thing, I could easily squeeze another lens in there if I wanted. I could squeeze the 16mm and the 33mm into the two smaller compartments on one side, then the 8-16 in the middle, and the 56mm in the right hand compartment.

Or if I was shooting all pro zooms for a conference I might have the 16-55mm and the 50-140mm attached, and just the 8-16mm in the bag. What to do if I swap the 50-140mm off a camera, though? Well get this: that lens ALSO FITS IN THIS BAG! It goes easily into the middle compartment, without a hood attached at least.

When I’m packing my bag for a shoot I actually load all my primes into the bag (so for example 23 and 33 in the left side, 56 in the middle, 16 on the right) and then drop the bag itself into the central compartment of my Street Walker backpack, and then I can put any additional zooms I want to take elsewhere in the backpack.

It’s absolutely perfect for me, highly recommended.


Recommended accessories for Fujifilm event photography

SpiderHolster Kit – the best strap-free way to carry cameras

Carrying two cameras with straps means that there’s always one swinging around as I lean or crouch or even run to get a shot. I’ve tried all kinds of straps, and even that Moneymaker Holster thing, and I just cannot stand anything that leaves cameras swinging around, and anything putting weight on your shoulders all day (even the harness) is bad for your posture and body. I’ve used the Spiderholster kit for over a decade now and it’s fantastic.

With the SpiderHolster the cameras hang off my hips a bit like a cowboy, no more strap tangles or swinging cameras. You just attach a plate with one or two strong metal pegs onto the base of your camera, then wear clips on your belt (or use their own custom belt product), into which you slot the pegs so the cameras hang on your hips. The peg travels a good 1-2 inches into the clip so it’s unlikely to jump out accidentally while you’re standing up, but you can also lock it in with a switch so they aren’t pushed out if you kneel, sit down, or run to get a shot. The whole ‘quick draw cowboy’ thing is a different look for sure, but it takes the weight off my shoulders and makes movement much easier.

I started with the SpiderHolster Pro kit, which includes their belt with two holster clips, and two dual-sided plates. These are really designed for big full frame cameras, and I’ve since switched to their newer Mirrorless plates, swapping their big belt for two Pro metal holster clips that go on my own leather belt.

The main difference between the bigger ‘Pro’ plates and the smaller mirrorless plates is that the ‘Pro’ plates are dual-sided: they have two metal prongs, so that whichever side you slot your camera onto your hips, the lens always faces backwards and any flash always faces down. The mirrorless plates are the exact same build quality but only have one prong. This means that only the right hand camera will slot onto your hip with the flash pointing down. On the left by default the flash will stick out to the side unless you just slightly rotate the camera as it goes into the clip, so that the lens is facing forwards and not backwards. In practice this really isn’t an issue; if the flash is on your left-hand camera you’ll get used to just slightly rotating the camera as it slots into the clip.

By the way if you’ve seen the Peak Design capture clip, that’s similar but in my opinion nowhere near as good as the Spider design. Firstly, the ‘capture’ zone on Peak Design’s clip, when you’re trying to fit the camera to the clip, is fiddlier and easier to miss. But the deal-breaker for me is that flashes can never point downwards using the Peak Design Capture clip. They’ll always face out 90 degrees from whichever surface the capture clip is attached to such as your belt or a strap on your backpack.


Think Tank Battery Holder

Designed for DSLR batteries, these work great with the Fuji X-series NP-W126S batteries too. I keep batteries with the contacts face up for ‘full’ and face down for ’empty’.


Think Tank Pocket Rocket Memory Card Holder

Designed for CF cards, it’s also perfect for SD cards in their cases, and comes with a strap you can attach to a belt loop so you’ll never drop it, and a pocket for business cards too. Rather annoyingly they went with a Velcro fastener though, so make sure you’ve swapped cards before the ceremony or speeches start, to avoid ripping through the atmosphere as you tear back the fastenings.


Sandisk Extreme Pro SD cards

Don’t skimp on memory cards for professional work! There are many websites that analyse the read and write speeds of the various cards and brands available, and you could argue that Lexar is better than Sandisk, or Sandisk is better than Lexar, for hours. I’m happy with Sandisk, so I just stick with the fastest Sandisk Extreme Pro cards my cameras can take. The Fujifilm X-T2 slots both accept the faster UHSII cards, by the way.


Eneloop Pro AA Batteries

Utterly amazing batteries, just stop buying other brands and get Eneloop Pro batteries for all your pro photography kit that needs AAs. I have two dozen of these all boxed up in sets of four ready to go. They’re recommended by pros everywhere for a reason: they hold charge when not in use for a long time, and they provide consistently excellent cycling times for your flashes.


Youshiko/Technoline Intelligent Battery Charger

The best battery charger I’ve ever used! Can recharge at variable power levels, and can also refresh apparently-dead rechargeable batteries, giving them a new lease of life.


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