What's in my camera bag? An interview... with myself
A candid conversation about photography, style, and change
Dear friend,
I spent a long time searching for the perfect name for my Substack publication. Northern Wind was great, but it didn’t quite capture the essence of my topics.
Two weeks ago, after some soul-searching (or, as I like to call it, self-mentoring), I realized that three themes have shaped my life as a writer—and they still draw me in today:
Photography
Life as I know it (a.k.a. navel-gazing)
Love as an inexhaustible natural resource—in its broadest sense. That includes my love for life, the environment, public transportation, Sweden, dogs, tzatziki, books, and more.
So, what’s not to love about this new name?
Welcome to of light, life, and love.
—Nani
What’s in your camera bag, Nani Annette?
Nani Annette is an award winning portrait photographer from Finland. We sat down to chat about photography and to explore what’s in her camera bag. But it turned out, it’s not the bag’s contents that matter, but what’s inside her mind and heart. Let’s dive in.
A Theologian Turned Dog Photographer
“Oh, I don’t know why you picked me! Am I even a photographer anymore?” Nani Annette laughs as we attempt to shift the conversation from casual small talk to the day’s topic: her orange camera bag.
I remind her that she’s had an impressive career so far and that her shift in focus is fascinating. What does this shift mean—especially in terms of gear—to transition from portrait photography to shooting almost exclusively personal projects?
“I get it. But it’s mostly interesting to other photographers and creatives, right?” Nani says. “For me, it’s just a minor detail. The real news happened 15 years ago when I ditched my career and decided to test my ground in dog portrait photography.”
Nani has a Master’s degree in Social Ethics and is a theologian. She left her day job as a project manager in early 2012, just a couple of years after taking her first photography client. “My photography business ate up all my free time and still nourished me. My day job was badly supervised, which is something I really can’t stand. Bad management sickens people.”
Nani explains that nowadays, her professional identity is a blend of someone who runs a communications business, writes a Substack on Mondays, and tries to keep up with the many photography ideas that still pop into her mind. “That hasn’t changed. Since I picked up a camera in 2007, my mind has been buzzing with all sorts of photo projects.”
“Natural light chose me”
When Nani started taking clients, she was still studying at the university. A student in her twenties gladly accepts every extra dime, and so did she.
“My first money was made with the tiny Nikon D40 and the cheapest 50/1.8 lens,” Nani says. Every new photographer is introduced to this lens at some point, and for good reason—it’s versatile and doesn’t break the bank.
“Even from my first shoot, my photos already reflected my style. They were minimal, timeless, and made strong use of location,” Nani explains.
Nani is a natural light photographer who works on location. In a country like Finland, this means a couple of things. There is plenty of light in the summer months but awfully little from October to March. This sets limitations on your gear.
“I feel like natural light photography chose me. I’ve never had the urge to work in a studio or with studio lighting,” Nani says. Natural light is not easy to master, but all through history, it has been the go-to light source for photographers. “Gear-wise, it has meant big apertures and steady hands. Business wise, it was a crazy choice.”
A street photographer turned portrait photographer turned street photographer
Being a natural light photographer on the Northern Hemisphere means that the year’s income has to be earned, roughly speaking, between May and September. Nani Annette doesn’t feel it’s worth the toil anymore.
Nowadays, Nani runs a communications business and takes on portrait work only occasionally. She has returned to street and travel photography, her original love. The biggest reason for this shift is her lost interest in client work.
“I didn’t fall for portraiture. I fell in love with street photography, or the act of commemorating something fleeting. But portraiture felt easy, and it came naturally to me,” Nani explains. “I knew from the start that I’d do portraiture only as long as I wanted to get better at it.”
Becoming a photographer felt fairly easy to Nani. She mastered her style, and since the market wasn’t as saturated back then, her client base built up quickly. She worked as a full-time photographer until the pandemic hit in 2020.
“I’ve done all sorts of communications and PR jobs since 2017. When the pandemic hit, I realized I actually liked the comms jobs just as much as photographing for clients. But the money came more easily from communication assignments,” Nani admits.
But there was something else in the way of continuing as a portrait photographer. After becoming a parent, Nani feels differently about work and earning. “As a photographer, I’d be working when he’s at home, so long story short: I want to spend time with my son.”
The same damn picture every time
But we’re here to discuss the cameras. Let’s do it.
“My gear has never played a very big role in my photography. As long as I have a good camera I can trust and know how to use, I’m good to go,” Nani starts.
It’s clearly about trusting one’s own vision. But doesn’t that vision change over time?
“I can only speak for myself, but I’m always trying to take the same damn picture,” Nani says with a laugh, blushing. “My idea of photography is kinda lame. I love good light, perfect composition, layers, layers, layers, and a touch of luck. The subject is the only thing that changes.”
This might sound simple—and maybe it is, especially for someone who discovered her style early on. But there’s a confession Nani wants to make:
“I sometimes wonder if a true photographer, whatever that means, is always eager to learn new techniques. For me, growth as an artist has always meant falling in and out of different seasons. Like, there was a season when I photographed mailboxes, and now I create moody plant portraits. But I do all of it with the same twist.”
What’s in Nani’s camera bag?
The orange Wandrd PRVKE camera bag leans against a white desk in Nani’s living room. She’s just ended her office space rental and is now figuring out how to fit everything into her home.
“This isn’t an ideal solution, but it works for now,” Nani says, lifting the bag onto her blue couch—a couch that has been the backdrop for so many photos. “I’m super glad I’m not hoarding camera gear!”
Neatly nestled in the softness of the PRVKE bag are two cameras and four lenses. Can we get a tour, Nani?
First up – Fuji XT3
“I got this camera in the summer of 2020. I was still shooting client work with Nikon but wanted another Fuji to see if I could make a full switch. I drove 200 kilometers to Kouvola to get this camera. What I didn’t know then was that I was pregnant, and that pregnancy would shake my photography career to its core.
I’ve loved this camera so much. It’s nothing like my professional Nikons, but the way Fuji handles light is just something else. As a natural light photographer, that’s a big deal.
As you can see, the camera looks pretty worn out. I’ve lost the rubber eyecup and one button, but it still works perfectly.”
Already a second Fuji X100 model
“I owned an X100T previously but sold it to a friend after getting the XT3. When I switched to Fuji, I needed a backup camera, and an X100V was an easy choice.
As I’ve shifted my focus back to street and travel photography, I’ve been able to carry different types of cameras in my bag. With Nikons, the backup camera was usually a body I rarely used—often the one I had just retired.
I loved, and still love, the image quality these tiny X100-series cameras produce. I’ve shot some of my best street work with the X100T, and I highly recommend this camera as a travel buddy.
I haven’t used my X100V all that much because I’m really fond of my XT3. As this camera has a fixed 23/2 lens, I also have the TCL-X100 II teleconverter.”
Fujinon 23/1.4
“This lens is a must-have for me. I use it a lot on the streets and in family documentary sessions. It’s not the same as my old Nikkor 35/1.4G, but it does the job well.”
Fujinon 33/1.4
“When I switched my entire Nikon setup to Fujis, the salesperson—a photographer himself—told me I probably wouldn’t want to take this lens off once I attached it. He was right. This is probably the best lens I’ve ever owned.”
Fujinon 56/1.2
“Since my Fujis are crop sensor cameras, this lens is perfect for portraits. It’s also a statement about my style. The lens isn’t very fast or tack sharp, but it gives me what I want. Someone suggested I get the newer version, but I don’t even know if there is one. Why should I spend money on a new lens if there’s nothing wrong with this one?”
But how about that bag. It looks a bit trendy. Could it be?
Wandrd PRVKE
“Hah, that’s true—this is a trendy bag! I’m a fangirl of Monaris, Paola Franqui, the Puerto Rican street photographer.
When I was looking for a new bag for my Fuji gear, I saw her raving about her PRVKE. It was love at first sight—just like it was with her work. The bag isn’t perfect—Monaris probably loves hers more—but it suits me well.”
Gear doesn’t make a photographer
There are many photographers whose list of gear is longer than Nani’s, but she doesn’t mind. “As long as my clients and I are happy, I’m all good. I don’t need the newest camera to create the image I want.”
Nani shares that she uses her cameras as long as possible and would even buy the same camera body again if it were still the best choice. For her, cameras are simply an extension of the creative mind.
“For example, when I upgraded my Nikon D700 to the D800, I wasn’t satisfied with the outcome,” Nani says. “I switched back to the D700 and re-did the transition more smoothly. I don’t want to think about cameras when I work.”
But there is a downside to this gear minimalism. When it’s time to upgrade, Nani says she’s completely clueless about what the market has to offer because she doesn’t keep up with camera gear. “I’m not interested in cameras in general. I just stick to my personal preferences and rarely go with the hype. The camera bag makes an exception!”
Fuji vs. Nikon, tight ponytail vs. messy bun
As we approach the end of our chat, there’s one question still lingering in the air. Can Nani take the same shot with a Fuji that she took with a Nikon?
“Well, I still work with the same clients, so technically, yes. And if they can tell the difference, they embrace it. But there’s no way around this: Fuji is very different. I’ve said it before—Nikon is a tight ponytail, and Fuji is a messy bun. My photography doesn’t wear tight ponytails at the moment.”
Ultimately, the most important thing is having a camera that suits your needs. While some elements of the photographer’s style remain consistent, others evolve over time.
“In a way, I feel like I’m chasing the same image again and again. There’s a certain vibe in my portfolio that I try to capture each time. Of course, it’s impossible, but I get so giddy when I succeed. It’s crazy,” Nani says.
It’s time to say thanks, close the orange camera bag, and try to fit it under the desk. The home office doesn’t look like a photographer’s den but more like a place for writing, with a tiny laptop and notebooks scattered around.
“We’re multifaceted beings. It’s amazing if you want to be a portrait photographer for 40 years, but it’s also okay if you don’t. One of the best things about being human is that you get to change your mind,” Nani reminds me.
Nani’s journey reminds us that creativity isn’t static—it evolves, adapts, and surprises. What’s your artistic twist? I’d love to hear about it in the comments.
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Wonderful interview!
I love your minimal gear and that orange back!
I am not up to date with any camera gear either. And extension of the creative mind is exactly how I see it. :)