It all stands or falls on the backpack. Living in the city means I can totally appreciate the ingenious access from its back because it makes me feel much safer about the equipment I carry on me.

And this piece is the answer to the “one bag does it all” for me. The idea of having the internal compartment as a separate unit is great - and the the fact that you can change the ICUs as freely as you want depending on the type of photo gear you need to bring along is a win-win.

This piece is one of my kind - an all-rounder. I use it almost on a daily basis for a wide range of jobs - from weddings and reports to interior photography, portrait sessions and trips to the wilderness, too. Currently, the shutter count has stopped on more than 180,000 shots!

The D850 was the camera I was kind of anxiously waiting for to be able to cover various photography genres from landscape to portraits and reportage, but with significantly better resolution than Nikon D4 16,6 Mpx. And as for the resolution hitting almost 46 Mpx, you’ll find it amazing for large prints. Without the built-in battery pack it’s also lighter and thus more convenient when you hike to get the best landscape shots.

This is an awesome wide-angle lens and I use it regularly for interior photography. With landscape photography, however, there is a slight disadvantage in the price of the filters. I am used to using at least the polarising filter for most landscape shooting sessions when using another lens - the polarising filter comes to the third of the price of the lens itself. The maximum lens width allows you to capture a significant foreground, but if there’s nothing interesting you are better off avoiding it. I don’t generally use f2.8 much in landscape photography, but find a lot of use for it for reportage, instead.

My good friend and Bohemian Journeys colleague Martin Rak always says when we travel somewhere: "I wish there were some fog..." But sometimes just "fog" is simply not enough. For instance, if there was too much of it in this alley, the photo would come across as flat. And on the contrary - if there wasn’t any, the picture would be boring. But on that particular morning everything went as planned - just a bit of fog and a warm morning light. Neat, huh?

This particular lens I use the most and for many different purposes as it’s very universal. I go for it especially when doing landscape and reportage shots. And since most of my filters are this diameter ready (⌀77mm), I use it for long exposure shooting.

The Lower Manhattan captured from New Jersey looks awesome in the early morning, everybody knows that. And with the time gap of some 5 minutes, we got quite lucky as the clouds didn’t block the sunrise!

My choice is f4 (at 850g) because it’s considerably lighter than the f2.8 (1540g). This lens proved perfect for landscape details (for cropped landscapes) and nature details (branch in the forest, for instance), delivering perfectly sharp pictures on f4.

The fields were full of blooming oilseed rape, which I am not a big fan of. But this time it worked well for me. The tree stand looked suddenly like a lighthouse fighting its way against the sea of yellow waves.

Nikon was the first one to come out with f1.4 at this focal distance. I bought this lens on my way to the location so I was really excited to give it a try and see what’s what. I use it when I feel like playing with an extreme depth of field, mostly for landscape details or portraits. One thing is for sure - it sports an extremely soft and pleasant bokeh. It’s a relatively big and heavy lens (almost 1kg), but compared to the new Sigma 105/1.4 Art series lens it’s still very reasonable.

F1.4 is wonderful, but you have think twice whether the background is not blurred too much. Sometimes, it’s wiser not to use it at all costs. With f1.4 the vineyard rows wouldn’t create such a nice structure in the background.

Planning photoshoots can be difficult, because you’re looking really far and there can be plenty of objects in between you and the subject. And great weather is a must because haze affects the contrast of the whole scene. This particular piece comes in real handy if you’re after extreme landscape details and is a great value for money - giving you tremendous sharpness at around €1,300. All in all, when I put this beast into my bag I have to sacrifice something else, usually the Nikkor 105.

Lighting up the waves and the sunrise in South Moravia was slowly descending on the only blooming bush in the row. What a lucky coincidence?

Landscape photographers are typically not used to putting flash on the line. But the thing is that you can get very creative with it. Obviously, a flash of this size can’t be used to light up valleys and such, so you are mostly left with details in the landscape… but still.

Common European forests are a bit hard to photograph, because usually there is a lot of mess in the scene: old branches, fallen tree trunks and vegetation undergrowth as well - all of which makes it almost impossible to create a clean photograph.

However, a decent amount of fog can hide a lot of theses disturbing objects. I decided to use the off-camera flash to create mystic fairy-tale-ish atmosphere. This, together with the almost monochrome feeling of the winter forest, makes it a very strong and memorable photograph.

(upper photo taken with the Nikkor 24-70/2.8 and lower taken with Nikkor 14-24/2.8, both pictures with Phottix Odin flash trigger)