Robb Williamson

I’m Robb Williamson, an old-school commercial photographer who’s on the road forty weeks a year out of Tucson, Arizona, USA.

I’ve been shooting for thirty-eight years, starting my career as a photojournalist stringing for the wire services and a few newspapers. The airports around the world are generally my office.

My focus is mostly on infrastructure, architecture, and aviation images, with portraits for those clients as well.

My style is rooted in my early work as a photojournalist, capturing a day in the life with places and people as I find them. I’m more of an historian or witness, not a studio shooter. Very little is ever set up.

I was given a camera from my Dad, a Minolta XD-5, when I graduated high school and followed in his footsteps into the Army. Made it to college on the GI Bill afterward and took an introduction to photojournalism class.

After that, I worked every job I could get in news and sports, and almost every paycheck went towards bettering my gear, buying photography books and magazines to study long before the internet, and shooting more film to keep getting better at my skills and my eye.

As I get older and weight restrictions on airplanes remain a factor, I always try to complete assignments with the least gear possible.

Even though I have a large amount of gear to choose from in my home workshop, I’ll use my previous experience to know just how much to bring with me. This also keeps me from overanalyzing a moment; I make the images with what I brought and always keep it simple.

Normally, I grab two Leica SL2 cameras, sometimes combined with a Leica Q, and then add a set of three Apo Summicrons for a trip, and a drone with adapted longer lenses if needed.

I also sometimes add Canon tilt-shift lenses with tilt and shift for taller vertical elements or interior spaces.

I can also swap in the Leica 24-90mm and 90-280mm to simplify and get the whole range in just two lenses if I anticipate needing the most flexibility.

For anything longer than 90mm, I always use the E-shutter to minimize vibrations or shutter shock, even with the excellent in-camera IBIS stabilization.

When I’m asked to do video work or low-light stills, I grab two Leica SL2-S cameras and three to four Apo Summicrons, and I can combine them with my DJI Ronin 4D cinema camera with the L-Mount.   I also use one of my DJI drones, an Osmo Pocket 4, and Profoto lights.

If I need something a little distinctive for VIP’s, the silver SL2 bodies come out.

I use the Leica SL2 cameras on a tripod with their multi-shot mode for 200MP still images on occasion, and I can also bring or swap in two Hasselblad X2D cameras if I plan on needing higher MP images in single-shot mode or if I anticipate environmental portraits that I will strobe outdoors with the leaf shutters at high sync.

I grab the Canon R3 cameras if I need to cover an event, convention, or critical sports work, thanks to their lightning-fast autofocus, since all my other cameras are really only useful in single autofocus.

I don’t skimp on batteries and always bring 8 to 12 extras for my Leicas, 4 to 8 for the DJI Ronin 4D 8K, 4 to 8 for the Hasselblad, and 4 to 6 for the Canon.

Why do I primarily choose Leica as my workhorse camera?

The viewfinders are amazing. The user interface is easy. The build and feel of the cameras remind me that I am using precision tools for my work rather than plastic appliances.

The Ibis is game-changing. I can set the viewfinders to display only in monochrome black and white.

The multi-shot mode replaces the need for digital backs in most situations. The Cine settings are fantastic.

And most importantly, the APO lenses that Leica manufactures are the sharpest of any I have ever used by any manufacturer, and are corner-to-corner sharp even starting wide open. That helps differentiate my work while also keeping the weight down. I love that I can also use these lenses on my DJI Ronin 4D cinema camera, so I don’t have to carry extra systems anymore.

Laid it all out on my pool table, which I learned to love at the same time as photography a long time ago.

Cameras

Two Leica SL2-s – Great color, nice high iso, great size, not too big, not too small.

Four Leica SL2 – In silver and black, sometimes used with vertical grips, weatherproof, easy to use, great IBIS, great menus, great features. The continuous AF is the only real negative.

Leica Q2 and Q3 43 – Small, discrete, sharp, and quiet.

I love that I can set all my Leica viewfinders to always be in black-and-white mode, letting me focus on light and focus. I deal with the color RAW file after I’m all done shooting.

Leica M10-R 40MP x 2 – Cameras for traveling as very light with fewer complications and a lower profile.

Leica M10 Monochrom – Absolutely amazing tones. I wish they offered more cameras with monochrome sensors.

DJI Ronin 4D 8K – I love the camera’s look and the smooth motion. Controls are very easy. User interface and built-in ND filters are fast and super.

I only shoot ProRes Raw on the PRO SSD sticks. That’s the way to go for me as long as you keep adding hard drives for each project.

Autofocuses the Leica APO SL lenses perfectly from 40 feet and closer. Past 40 feet, the LIDAR focusing doesn’t really work that well. So for longer shots, it’s only manual focus use with peaking for me. Images grade nicely with what I also mix in on the Leica SL2-s.

Hasselblad X2D x 2 – primarily used for outdoor portraits with strobes and leaf shutter high sync speeds. I also love the Xpan crop because of my days with a 6×17 film camera.

Canon R3 x 2 – In-camera RAW video is super. AF is fantastic for everything. Lighter than previous pro Canon bodies.

DJI Osmo Pocket 4 – When you need steady moving video in a tiny package. Perfect to pair with the Leica M in a bag, since it doesn’t do video.

DJI Mavic 4 Pro Drone – Love using the longer lenses on this drone and the bigger rotating controller. I use ND polarizers along with the vertical video capabilities. I wish it were 8K.

Lenses

Leica SL 21,28,35,50,75,90mm f/2 APO Summicron ASPH – This matched set of six lenses gives you the sharpest images you can imagine. I have many images blown up to over ten feet, and you can count eyelashes in the portraits and see details. They are my favorite lenses ever made and are worth every penny. I cannot see any future sensor ever out-resolving them.

Leica SL 50mm f/1.4 Summilux ASPH – My primary lens for video interviews with my A-Cam shot wide open and for some portrait work.

Leica 24-90mm Elmarit ASPH – Used when I want to keep the bag small, but still keep a lot of options.

Leica 90-280mm APO Elmarit ASPH – Killer weatherproof combination with the wider zoom. Rediculously Sharp.

Leica M f/2.8 Elmarit ASPH silver – paired with a 50 for a great small travel combo.

Leica M 28mm f/2 Summicron ASPH– paired with the 75 and a 50 for the ability to do just about anything in a small package with the m system

Leica M 50mm f/1.4 Summilux ASPH silver – small, smooth, and fast.

Leica M 75mm f/2 APO Summicron ASPH – desert island lens, along with the SL version.

Leica M 50mm f/0.95 Noctilux ASPH – primarily for portrait use and for some people at work. Always used wide open.

Can also use all these M lenses on the SL2 cameras with a close-focusing adapter for even more versatility. I have the focusing module and mount for using M lenses on the DJI Ronin 4D 8K, but haven’t really needed them yet.

Canon EF lenses with the Sigma MC-21 EF-to-Leica L adapter offer more options, including all data transfer, IBIS, and single AF.

Canon 200mm f/2 L is

Canon 600mm f/4 L is II

Canon Extender EF 1.4x III

Canon Extender EF 2.0x III

Canon Tilt-Shift 17mm f/4 L

Canon Tilt-Shift 24mm f/3.5

Hasselblad 28mm f/4 P

Hasselblad 38mm, 55mm, 90mm f/2.5 V – Really enjoyable to use. AF is always spot on. Colors are magical.

Canon RF 28-70mm f/2 L – heavy but one stop shopping for close-in people getting work done.

Canon RF 135mm f/1.8L IS – Preferred to 70-200 for weight, size, and extra stop of light and blur.

Canon EF-to-RF adapters x 2 – to use the tilt shifts and super tele’s mentioned earlier.

Audio

DJI wireless mics x 3

Shure wired Lavalier Microphones plugged into DJI wireless x 4 – the cleanest setup for the dollars I could find. Love the wireless combo. I find that when I use these on my subjects, I don’t really need shotgun mics even for ambient sound.

Sennheiser MKE600 x 3 shotgun microphones with dead cats.

Not shown in photo:

1 Sennheiser MKE400

1 Sennheiser MKE200

Filters

I use two types of filters.

Heliopan circular polarizing filters in many sizes, outfitted for each lens I use in the field. So if I’m shooting with three lenses and a body, all the lenses are outfitted with the same filter.

B+W variable Neutral Density filters in 1.5 x strength and some solid ND filters stronger than those for all of my cine use on the Leica and Canon cameras. B+W red filters on my black and white work with the M10m Monochrom. The DJI Ronin 4D has built-in NDs in the body, so I only use polarizers on the lenses in that setup.

Lights/Triggers

Profoto B10 x 2 – Best lights I’ve ever owned, just don’t drop them. Beautiful light. Simple interface. Compact size. Used with an Elinchrom Octabank outdoors or indoors for portraits, and sometimes a magnum modifier outside for hard light and further distances.

Profoto Connect Pro Leica models x 2

Profoto Air Remote Transceiver x 2

Pocket Wizard Multimax Tranceivers

Gossen Luna Star F2 Light meter

Not Shown in photo:

Profoto B10x – for an extra stop of power for outdoor portraits

Profoto A2 – not used often, but a nice-to-have for extremely compact needs.

Profoto Acute 1200 R with two D4 Heads

Bags/Straps

Cooph Rope straps – they always feel more secure and substantial than anything else I have used. I don’t ever use a camera without a strap, so a quick-release solution was never needed for me. They are on all my cameras. The colors help me quickly see which camera to grab since many cameras look the same in basic black.

Not Shown in photo:

ThinkTank Roller Bags x 6 – Best out there for getting the most on the plane and back safely without breaking your back

Pelican 1646 – Used for the DJI Ronin 4D with four batteries and four lenses. The largest carry-on allowed for Southwest Airlines, which I fly most of the time. Not a fan of the handle or wheels, but the size is needed for the cine camera.

Billingham x 2 – used when it’s a minimal packing situation, for the smaller setups, drone, and laptop.

Domke – love using it with my 24-90mm and 90-280mm on two bodies or M cameras. I’m old-school, so the Domke is a trusted friend.

Lightware cases – used for lighting stands and modifiers, packing cases for monitors, and extra gear not going on as a carry-on. Built to survive pretty much anything.

I use Newswear pouches in different sizes to separate packed gear and round up small items like batteries, audio gear, and filters. I can then attach those to a padded belt that Lightwear in the field. They are super helpful, and the variety of sizes makes keeping things organized super easy.

Tripods

Gitzo carbon fiber x 3 – smaller sized, used mainly for video interviews for A and B cams. I will also use them if I need night shots, interiors, or stitching. Otherwise, I skip tripods.

Really Right Stuff heavy carbon fiber – used with my 600mm

Really Right Stuff Camera Plates, Long Lens Plates

Hardware & Software

MacBook Pro M2 Max with Apple Studio Display

Lacie D2 drives

SanDisk SSD Portable Drives

SanDisk SD cards V90

SanDisk CF Express Type B

Adobe Lightroom Classic

Adobe Creative Cloud

Topaz GigaPixel

Apple Final Cut Pro

Hasselblad Phocus

Miscellaneous

Extra card readers and the fastest USB cords.

Allen wrenches.

Color Checker Passport.

Cash for tips, valet, bags, etc.

Remember that you have to love what you do. My biggest advice to young photographers is to shoot as much as possible, as often as possible.

For me, 75,000 images a year or more is very normal. Print your favorites and get them up on your walls.

In the first ten years of working, you should learn all the typical rules of photography.

In the second ten years of working, you should learn how to break all the typical rules.

After that, you should mainly focus on your own look and style, and just hit everything you love and how you do things.

The work and clients will follow.

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