A New Chapter: My Move to Sony

After a lot of thought, I'm incredibly excited to finally share that I've made a big change to my photography.

I'm moving to Sony.

Changing camera systems is not something I've taken lightly. My cameras have been with me through countless sunrises, sunsets, wildlife encounters, sleepless nights under the stars and a lot of very long days in the field. They become part of how you photograph, and changing that feels like a pretty big step.

But photography is always evolving, and so am I.

Over the years, I've found myself increasingly drawn towards photography that is fast, unpredictable and challenging. I love being in situations where you don't quite know what is going to happen next and having to react quickly to make the photograph. Whether that's working in incredibly low light, trying to capture a split-second moment with wildlife or pushing a landscape setup to its limits, I enjoy seeing just how far I can take both myself and my equipment.

That is a big part of what drew me to Sony.

The speed, autofocus and low-light capabilities really suit the way I love to photograph. Wildlife in particular has become a big part of my work, and I want a system that allows me to push harder in those situations. When the light is fading, a subject is moving quickly and you have one chance to get the shot, I want to know that my equipment is not going to be the limiting factor.

At the same time, I haven't suddenly become a wildlife photographer. Landscapes, seascapes and astrophotography are still a huge part of what I do, and I needed a system that could handle all of those things too.

There was also another side to the decision that was just as important to me: the people.

I've always believed that photography is about far more than the equipment. The community around photography is something I genuinely value, and Sony has an incredible community of photographers and a level of support that really appealed to me. Being able to work alongside a brand that shares that enthusiasm for photography, while also giving me opportunities to learn, experiment and create new things, is something I'm really excited about.

And this isn't going to change the way I run my workshops.

I work with photographers using all sorts of different brands, and I will continue to do exactly that. My job on a workshop isn't to convince you that you need the camera I use. It's to help you get the best possible photographs from the equipment you have in your hands.

In fact, one of the things I'm most excited about with this new partnership is being able to bring new experiences to you. Sony and I are already planning talks, workshops and other opportunities that we can bring directly to the photography community. There are some really exciting things being discussed, and I can't wait to share more about them.

So, what does the new kit actually look like?

I've gone for two camera bodies that give me very different strengths.

The Sony A1 II is going to be my main body for wildlife and those situations where speed really matters. It's the camera I'm going to turn to when I'm working in difficult light, tracking movement and trying to capture those split-second moments that are so easy to miss.

Alongside it is the Sony A7R VI, which is going to be my high resolution body. The resolution and detail are exactly what I want when I'm creating large landscape files, working with intricate foregrounds or photographing the fast flying birds.

For lenses, I've kept the setup relatively focused around the way I photograph.

The 16–35mm f/2.8 will be a big part of my landscape and astrophotography work. I love working wide, getting close to foregrounds and creating those expansive compositions, and the f/2.8 aperture is going to be particularly useful when I'm out photographing the Milky Way.

The 70–200mm f/2.8 is probably the most versatile lens in the bag. It's going to see plenty of use for landscapes, where I love compressing scenes and isolating details, but it will also give me another option for wildlife, particularly when I'm working in lower light or want to include more of the environment around an animal.

And then there is the new 100–400mm f/4.5, which I'm really excited about. This is going to become my primary wildlife lens. I love the flexibility of being able to go from 100mm to 400mm without changing lenses, especially when you're working with wildlife and don't have the luxury of knowing what is going to happen next.

It's a setup that gives me the flexibility to move between the different types of photography that I love, while also giving me the performance to push much harder when the situation demands it.

There is a lot to look forward to.

The gear has changed. The pursuit hasn't.

And I can't wait to see where it takes me next.