Behind the lens: the camera bag I carry for every event

Every assignment begins before the cameras come out. I check the schedule, weather, venue access and expected action, then build a kit around those conditions rather than packing every accessory I own. A football game, a track meet and an outdoor concert create very different demands, yet the same event bag has carried all of them with room to spare.

That bag is the quiet centre of my work for Queen’s Golden Gaels athletics, the marching band and other university events. It holds the tools I need to work quickly without turning me into a walking equipment store. More importantly, it keeps the important things organised and protected when the evening stretches, the weather changes or the action moves faster than expected.

A bag built around the call sheet

My event bag is a padded, weather-resistant backpack with a wide opening and adjustable internal dividers. It is dark, inconspicuous and large enough to accept a spare lens without forcing everything against the body panels. A shoulder bag may be quicker to open, but a backpack distributes the weight evenly when I am walking across a campus, climbing stadium stairs or moving between venues.

The internal layout matters more than the exterior design. The main compartment holds two bodies and the lenses required for that assignment. Pockets at the top provide immediate access to cards, a lens cloth and the small remote I use for self-timer sequences. Lower compartments contain batteries, cables and support items. Nothing important disappears into a deep pocket at the bottom.

I pack from the call sheet outwards. A night game with limited light calls for fast primes and higher ISO settings; a sunny athletics meet benefits from a telephoto zoom and exposure protection; a band performance needs a body that can track rapid lateral movement. Carrying less leaves me more willing to move, which is usually better than carrying an unused accessory that slows me down.

Bodies, glass, and backup plans

Two camera bodies are my usual starting point. One handles the primary action, while the second serves as a backup and can carry a different lens without changing the main body. This matters at university events where a football may disappear into a crowded line-up, a runner may be blocked at the finish, or a conductor may turn in an instant.

The lens selection depends on where I expect to be. A wide or short standard zoom works around the field, in the stands and behind the band. A 70–200mm zoom is useful for portraits, medals and detail across a pitch or track. For the longest reaches, I prefer a lightweight telephoto prime that offers a consistent view without requiring several lens changes.

I also carry a compact, inexpensive backup lens rather than treating the second body as complete insurance by itself. If weather seals a piece of equipment or a mechanism fails, the backup still provides a usable image. Every lens has a protective filter, and every body gets a strap or tether that will not easily snag on railings, flags or cables.

Fast movement deserves particular preparation. For a high-speed band sequence, I rely on continuous autofocus, a suitable shutter speed and careful tracking, as explained in my notes on spinning drum major. The technical settings help, but anticipating the performer’s path remains the part that produces a stronger frame.

Power for long Australian days

Battery management is one of the most underestimated parts of event photography. I carry enough charged batteries for the assignment plus a reserve, even when the venue appears close to a power outlet. A spare battery in a jacket pocket is more valuable than a charger buried at the bottom of the bag, especially during a multi-session university meet.

The climate changes the calculation. Brisbane can remain intensely hot well into the evening, Melbourne often delivers a cool wind before a sudden shower, and Sydney’s coastal humidity can make equipment feel damp before it has visibly rained. I keep batteries away from direct sun and allow devices to return gradually to room temperature before charging them.

Australian outlets use 230-volt power and Type I plugs, so I pack a compact multi-plug adapter rather than assuming overseas equipment will fit directly. USB-C charging cables serve several devices, while a separate cable protects the backup body if its connection differs. Cables are looped with small ties, labelled and placed in a pouch where they cannot twist around the batteries.

Storage, cards, and small essentials

Memory cards are distributed across two containers instead of being kept together in one vulnerable pocket. I format them in advance, confirm that the camera is reading them and keep spare capacity available after every important sequence. A full card should never interrupt a quarter-final, a penalty shootout or the band’s entrance onto the field.

A small pouch contains card readers, a portable drive, spare fuses and the adapters needed for transferring images. At major meets, I can copy files to more than one location before leaving the venue. The process adds a few minutes, but it protects hours of work from a lost card or damaged reader.

The repair kit is deliberately modest: gaffer tape, cable ties, a lens cloth, cotton buds, a bulb blower and a small multitool. I also carry a plastic rain cover, a packable sit mat and an emergency repair item suited to the assignment. These are inexpensive additions that solve the ordinary problems that most often threaten a long day in the field.

Comfort from kerb to grandstand

A camera bag becomes difficult to carry quickly when its contents are poorly distributed. I keep the heaviest items close to my back, place frequently used gear near the top and leave the lower section for less urgent equipment. Wide padded straps make the load manageable when I am travelling on foot through Melbourne, especially when changing trams or walking between campus buildings.

Australian event days also demand attention to heat and hydration. I carry a refillable water bottle, sunscreen and a hat that can remain in the bag until a break in the action. Drinking water at regular intervals is preferable to waiting until thirst becomes distracting. During the warmer months, a cooling towel takes up almost no room and is genuinely useful after a long outdoor stint.

Footwear can be as important as the camera strap. Running shoes suit a day spent walking around an athletics track, while waterproof soles are valuable at a rainy game. I keep a lightweight pair of overshoes in the bag during uncertain forecasts. They also protect clothing when standing on wet grass near the sideline or kneeling behind the end zone.

Permissions and boundaries on assignment

Working at a sporting event does not remove the need to respect privacy, safety rules or copyright. Australia’s Privacy Act 1988 and applicable state or territory privacy laws can affect how personal information is collected, stored and published. University policies may be stricter, particularly when students, children or people in medical situations appear in photographs.

Drone footage introduces another set of restrictions. CASA rules prohibit many operations near people and crowded areas, while commercial operations require appropriate accreditation and approval. At a stadium or school competition, a drone may also be barred by the venue or sporting body. I use a camera from the ground unless a drone operator has been properly authorised and the venue has granted permission.

Images can be protected under the Copyright Act 1968 even when they are commissioned, so I confirm usage terms before publishing. Moral rights and the photographer’s credit must also be considered. On sensitive occasions, I avoid unnecessary images and respect restrictions placed by families or athletes. The aim is to document the event accurately without compromising the people within it.

A repeatable routine from arrival to departure

Arrival gives me time to test both bodies, check the cards and identify the angles that will work in the available light. I establish a clear position for the opening action, then plan where I can move without obstructing officials, spectators or other photographers. A simple sequence keeps the bag orderly: lenses first, bodies second, batteries and cards last.

During the event, I work in short bursts and review images when the light changes rather than constantly looking at the screen. That habit saves battery life and prevents distraction. When the action accelerates, I keep the ready camera nearest the top of the bag and avoid changing equipment unless the scene genuinely requires it.

Back at the venue, I copy images, add basic metadata and make a second backup before removing the cards. Reviewing the sequence later helps identify missed moments and confirms which settings worked best. The same routine applies to Golden Gaels football, university athletics, marching band performances and community events photographed across Canada and Australia.

Explore the Golden Gaels Photos archive to browse and search photographs from Queen’s University athletics, football, bands, U SPORTS and related events. When sharing an image for personal, non-commercial purposes, include the photographer’s credit and respect the copyright attached to the photograph.