What’s In My Kit: The Gear I Actually Use (2026)

People ask me all the time what gear I use, so here it is in one place: the kit I actually shoot paid work with, not a wishlist of things I have never touched. Everything here has earned its spot on real client jobs, weddings, commercial shoots and the stock footage I sell. I will keep this list updated as my kit changes.

Some links in this article are affiliate links. If you buy through them I may earn a small commission, at no extra cost to you. I only ever recommend tools and sites I actually use.

Camera and lenses

The camera is the heart of it, but honestly the lenses matter more than the body. This is what lives in my bag.

• Sony A7 IV. My workhorse for both video and stills. Reliable, brilliant in low light, and the file quality holds up beautifully for stock.
• Sony 24-70mm f2.8. If I could only keep one lens, this is it. The do-everything zoom that covers most of a shoot.
• Sony 16-35mm f2.8. My wide lens for interiors, landscapes and big establishing shots.
• Sony 70-200mm f2.8. The telephoto for compression, detail and getting close without being in the way.
• 50mm prime. My go-to for a clean, cinematic look with lovely separation.
• 35mm prime. The storytelling focal length. Close enough to feel intimate, wide enough to keep context.

Movement and support

• DJI Ronin gimbal. Smooth movement that instantly makes footage feel more expensive.
• SmallRig camera tool. A tiny thing that saves the day constantly. Keep one in every bag.
• Light stand and overhead clamp for rigging lights and cameras where you need them.

Audio

Bad audio ruins good footage faster than anything else. This is what I trust.

• DJI wireless mics. Quick to set up, reliable, and small enough that clients forget they are wearing them.
• Sennheiser MKE 600 shotgun. My directional mic for clean on-camera and boom audio.

Aerial

• DJI drone. Aerial shots sell brilliantly as stock and lift any commercial film.
• ND16 filters for the Mavic 3. Essential for keeping that natural motion blur in bright conditions.

Lighting

• Aputure Light Dome. Soft, flattering light for interviews and product work.
• Cinematic light and constant light for shaping mood on video shoots.
• LED projection attachment. For throwing patterns and gobos when I want something with character.
• Direct flash and outdoor flash for stills, plus a wireless flash trigger and a magnetic accessories kit for shaping flash quickly.

Odds and ends that punch above their weight

• Underwater housing. Opens up a whole category of footage most people cannot shoot.
• Wireless remote for Sony. For solo shooting and locked-off shots.

The tools behind the footage

Gear gets the shot, but software is where the money is made. I turn everything I shoot into sellable stock with Clip Up Pup, edit faster with Edit Pup, and never lose a card thanks to Back Up Pup. If you want to see how the gear and the software fit together, the whole toolkit is here.

I add to this list as my kit grows, and I share the new bits and why I bought them first in my newsletter. Join the Dispatch to get those.

Frequently asked questions

What camera does Reuben Mowle use?

My main camera is the Sony A7 IV, which I use for both video and stills. It is reliable, strong in low light, and the files hold up well for stock.

What is the one lens you would recommend to start?

The 24-70mm f2.8. It covers most of a shoot on its own, so if you are building a kit, start there and add primes and specialist lenses later.

Do you need expensive gear to make money as a videographer?

No. Good audio and good light matter more than an expensive body, and plenty of the footage that sells as stock is shot simply. Buy what earns its keep, not what looks impressive.