The fashion photography kit list

In the previous articles in this series, we spoke to fashion photographers Nina Zimolong, Ian Hippolyte and Emmanuel Oyeleke about the democratisation of fashion photography and explored how they are building careers within the industry. Here we take a deep dive into the cameras and lenses that help these photographers bring their fashion content to life, and seek their insights into how they engage their subjects and ensure a successful fashion shoot.

Nina began her journey with a Canon EOS 5D Mark II paired with a "nifty fifty" (EF 50mm) lens. A mirrorless equivalent today might be the full-frame EOS R6 Mark II with the RF 50mm F1.8 STM lens. Over time, she saved up for a Canon 70-200mm lens, which became the go-to for most of her work. Today's equivalent is the RF 70-200mm F2.8L IS USM, one of Canon's "trinity" of professional f/2.8 zoom lenses.

"I really fell in love with the 70-200mm lens. I think it's the depth. It's not what the eye can see, and that's what I love about it."

Her camera of choice now is the mirrorless EOS R5 Mark II with an RF 85mm F1.2L USM lens. However, she says, "for someone starting out today, I'd recommend the EOS R8 or EOS R7 – both are light, accessible mirrorless options with strong performance across stills and video. If you're leaning more toward content creation or hybrid shooting, the EOS R6 Mark II is an incredible all-rounder – fast, intuitive, and excellent in low light."

As for lenses, Nina recommends the Canon RF 24-70mm F2.8L IS USM as "a versatile go-to. It's sharp, fast and covers a wide enough range for portraits, fashion, documentary and behind-the-scenes content." If you’re working on a tighter budget, the RF 28-70 F2.8 IS STM is a great option. The RF 35mm F1.8 MACRO IS STM is a beautiful compact prime lens with gorgeous bokeh and sharp detail, great for both stills and handheld video.

Ian’s first camera was a Canon EOS 600D, which he notes was "really beginner-friendly" – he found it useful particularly because of its fully-articulating LCD screen. The mirrorless equivalent today is something like the Canon EOS R10, but as his career progressed, upgrading to the EOS R5 "completely changed the game" for him, he says, thanks to its autofocus capabilities.

"I think for someone just starting out, the EOS R10 would be a great choice. It's small, lightweight and able to deliver high quality photos as well as 4K video, so it's perfect for hybrid shooters and also creating content."

As for lenses, Ian suggests starting with the Canon RF-S 18-45mm F4.5-6.3 IS STM kit lens but "would also consider adding the RF 35mm F1.8 MACRO IS STM prime lens to your kit, which would be great for low-light scenarios and playing with depth of field."

Emmanuel says one of the first cameras he used professionally was the Canon EOS 60D. "It was lightweight, affordable and dependable." He now uses an EOS R5 Mark II, which he calls a "mirrorless powerhouse for shooting both stills and video content at the highest level", paired with RF 50mm F1.2L USM and RF 85mm F1.2L USM lenses.

For anyone starting in the industry today, if your goal is to work professionally in both photography and video, he recommends the EOS R6 Mark II as "the ideal all-rounder – 24MP stills, strong 4K video performance, and superb in low-light. It's great for events, portraits, behind-the-scenes, and content creation. I use it for all my video content."

For hybrid work, Emmanuel recommends a fast, lightweight zoom lens such as the RF 28-70 F2.8 IS STM, which has image stabilisation and a constant f/2.8 maximum aperture for consistent results.

While the gear is important, Nina believes you don’t always need the most extravagant equipment and in fact it is technique that sets your work apart. "It's about how you take the picture and how you frame it."

For her, she says, "connection is everything. I make a conscious effort to create a safe and open space on set – where people feel seen, heard, and understood. I don't rush into shooting. I talk to my subject, find a rhythm, and allow for moments in between. I've found that the best images happen when trust is there – when someone lets their guard down and feels empowered to just be.

"I also believe in directing through energy, not control. I guide gently, offer mood or movement cues, but leave space for the subject's personality to shine through. Whether it's a model, an artist, or someone who’s never been photographed before, the magic happens in the moments where they feel completely themselves."

For Ian too, communication is key. "To get the most out of my subjects, I always try to communicate and share my vision with them as much as possible. It's really important to remember that they are also part of the collaborative process, so I always share mood boards and visual references with them, so they can get an idea of what I'm looking for. Playing good music on set also really helps!"

Emmanuel's approach is remarkably similar. "I take a few minutes to engage and connect with my subject," he says. "Whether they're seasoned models or first-timers, making them feel safe, seen and respected unlocks authentic expression.

"I guide my subjects with clarity but keep the vibe playful and collaborative," he adds. "Music, laughter, and affirmations help people let go and open up."

Nina, Ian and Emmanuel all illustrate that it's the artist's vision, enabled by the right equipment and always in collaboration, that brings a story to life. It's a reminder that photography is not just about capturing an image, but about crafting a narrative that resonates with the viewer long after the picture is taken.

• Breaking into fashion photography
• Emmanuel Oyeleke: a creative journey