Gear Kits

Inside a Ski Photographer's Pack

Stay warm and dry while never missing a shot of the action.

Curated by John Entwistle

Photography is not easy. As soon as you throw in the variables of the outdoors and fast-moving subject matter involved in ski and snowboard photography, you need to make sure you have the best possible equipment. This is a list of my go-to gear to keep me dry, safe, and shooting all day long in the mountains. 

This is the perfect camera to use as either a backup camera or a camera to throw in your pocket when you want to pack light and focus on the skiing. I can't tell you how many times my a6500 has allowed me to capture a cool sunset or great last run of the day when I didn't pack my full camera bag.

You don't want your pants to fall down mid-shot. Turn to Arcade for the comfiest belts that actually work!

Expensive, yes...but if you had to spend all of your money on one lens to get you "the shot," this would be it. The focal range can take some getting used to if you are upgrading from a kit lens, but once you have this thing attached to your camera, you will be unstoppable.

Because you never know when things could turn dark on you. This headlamp is small enough to not even be noticeable in your pack, but could save your life when you are trying to ski out through the trees after shooting the sunset a little bit too long. With a rechargeable battery and USB charging, you also won't spend a fortune on batteries and you can use most battery packs to give it a little boost.

Having cold feet distracting you during a shoot is the worst. These socks look great, never smell, and are unbelievable comfortable.

Let's face it. To get the shot, you're going to have to get your buddy to absolutely drench you in snow. Now that your lens is covered in snow from getting that last banger, you're going to want to get it off. What do you do? Blow on it? No. The moisture in your breath then causes a beautiful layer of fog across your lens. Turn to the LensPen Hurricane Blower to erase any snow from the face of your lens, without leaving a single mark.

Eleven frames per second is the key here. You will never miss that critical shot. And, with the APSC (1.6x) sensor, what you lose in low light sensitivity, you gain in savings from super telephoto lenses.