A hobbyist photographer after work, Kenneth is the co-founder of POPCulture Online magazine, which has given him many opportunities to grow in his photography journey. Here Kenneth shares with us his top photography gear that he takes along with him to events. 

The ‘Trinity’ Lenses

EF70-200mm f/2.8L IS USM II 

The first L lens that nearly emptied my bank account in my first job was the EF70-200mm f/2.8L IS USM II lens. As someone who started out shooting stage events, this will always be in my bag when I need the range. 

EOS 5D Mark IV | F/5 | ISO 1600 | 1/200s 

Its durable construction proves useful in crowded photo pits while its fast autofocus nails the shot I want. This is my oldest L lens and its performance despite its age is a testimony to its excellent craftsmanship.

EOS 5D Mark IV | F/2.8 | ISO 6400 | 1/160s

EF24-70mm f/2.8L II USM

The EF24-70mm f/2.8L II USM definitely fulfils the workhorse role for me.

Fast Autofocus combining good image quality across the entire range, this lens is my default on my DSLR. I have used it for red carpet moments and for covering the biggest popular culture events in Singapore.

EOS 5D Mark IV | F/2.8 | ISO 12800 | 1/20

EF16-35mm f/2.8 III USM

Completing the Trinity L set in my dry box is the EF16-35mm f/2.8L II USM lens. While I don’t use it as often as the other two L lenses, this ultra wide-angle lens has been my go to lens for the photo pit at concerts and landscape photography.

I’ve just upgraded to its latest version, the new EF16-35mm f/2.8 III USM, and I am waiting to prove right the rave reviews it has already garnered in my next shoot.

Dual Wielding: EOS 5D Mark III and EOS 7D Mark I

EOS 7D Mark II

I started with the Canon EOS 7D. With its fast autofocus and 18-megapixel sensor, the EOS 7D was a joy to shoot with. So it comes as no surprise that I upgraded to the EOS 7D Mark II to help me handle fast action.

EOS 5D Mark IV | F/4 | ISO 6400 | 1/640s

From tracking the fast and unpredictable movements of the ONE FC MMA fighters at cage side, to the pool and court action during the 28th SEA Games, the EOS 7D Mark II was worth every cent.

EOS 5D Mark IV | F/2.8 | ISO 6400 | 1/1000s


The EOS 5D Mark III was my first full frame camera that I’ve captured some of my best shots with. With its improved sensor, better autofocusing and that indispensable thumb joystick, which makes selecting autofocus points a breeze over its predecessor, the EOS 5D Mark III became my main camera for covering big industry names and events.


EOS 5D Mark IV | F/4 | ISO 3200 | 1/200s


EOS 5D Mark IV | F/2.8 | ISO 6400 | 1/200s 

Naturally, I progressed to the EOS 5D Mark IV so that I could cover events that call for fast autofocusing speeds in low light and push the upper limits of the ISO range.


EOS 5D Mark IV | F/2.8 | ISO 12800 | 1/200s

With its new sensor, the EOS 5D Mark IV does just that. It performs very well under low light conditions, producing very usable images.


EOS 5D Mark IV | F/2.8 | ISO 6400 | 1/160s

Better RAW files allow me to recover the highlights and shadows in a dark and unevenly lit stage where I can’t use my Speedlite 600EX-RT flash. Most live performances have a no flash photography rule.

Another upgrade, which I was looking forward to, is the camera’s autofocus system. Not only can it focus in the dark up to -3 EV, autofocus in live view is now a joy to use thanks to the Dual Pixel autofocus system.


EOS 5D Mark IV | F/2.8 | ISO 6400 | 1/200s 

So far, my early experience with the EOS 5D Mark IV is proving itself a worthy successor to the EOS 5D legacy.

2017 looks to be an exciting year ahead for me. And my top gear will definitely help me get there.