pack list for a sunrise landscape shoot: camera gear, filters and snacks that fit a 20l rucksack

Sunrise landscape shoots are a ritual for me: the quiet hours before dawn, the changing light, and that brief window when colour and mood line up. Packing for those early mornings is always about balance — getting everything I need for a great image while keeping weight and bulk down so a 20-litre rucksack doesn’t feel like a boulder on my back. Below is the kit and mindset I rely on for a dawn session, plus small practical touches that make the difference on cold, damp mornings.

What I aim to carry

With a 20L rucksack I prioritise versatility and reliability. My goal is to have a full camera system capable of landscape and close-focus work, basic filtration for changing light, dependable support (tripod), essential comfort items (warm layers and snacks), and safety extras (headtorch, map). I usually use a lightweight 20L pack such as the Osprey Tempest 20 or the Lowepro Photo Sport 20L — they hold everything snugly and keep camera gear accessible.

Camera body and lenses

• Camera body: A mirrorless body is my go-to due to weight and autofocus speed. I often use a Sony A7-series or Fujifilm X-series, but a compact full-frame or APS-C will do. If you have two bodies, bring the one you rely on most for low-light IQ.
• Main lens: A wide-angle zoom like a 16–35mm (or 10–24mm on APS-C) covers landscape compositions and tight foregrounds. It’s the lens I keep mounted.
• Secondary lens: A 24–70mm or a 35/50mm prime gives flexibility for compressed landscapes, sunstars and details. If I’m carrying weight, I swap 24–70 for a lightweight 35mm prime.
• Optional tele or macro: If I expect wildlife or close-up flora, a compact 70–200 or a 100mm macro can come, but only if I’m not walking too far.

Tripod and support

A solid, lightweight tripod is non-negotiable for sunrise work. I use a carbon-fibre travel tripod (e.g., Peak Design Travel or Gitzo Traveller). It’s compact, packs easily into a 20L, and gives me the stability for long exposures. I also carry a small ball head or low-profile 3-way head depending on my composition style — a ball head is faster on the move, while a 3-way helps with precise horizon lines.

Filters I take and why

Filters are often the deciding factor between an okay shot and a keeper at sunrise.

• Polariser: Great for cutting glare on wet rocks, deepening skies and making colours pop. It loses a stop or so of light, so keep that in mind for long exposures.
• Graduated ND filter (soft or hard): Useful when the sky is much brighter than the foreground. I bring a 3-stop and a 1.5-stop grad in a slim holder system so I can balance exposures without heavy post-processing.
• Neutral Density (ND) filter: A 6-stop or 10-stop ND is brilliant for smoothing sea motion or clouds during the pastel moments after sunrise.
• Filter holder or circulars: I prefer a small square filter system for grads and a circular screw polariser. It’s slightly more to carry but gives flexibility on dynamic scenes.

Accessories and small items

• Extra batteries: Cold mornings kill battery life — I bring at least two spare batteries stored in an inner pocket to keep them warm.
• Memory cards: Two fast cards (one for backup). I swap out if needed but never leave without redundancy.
• Lens cloth and blower: Dew and sea spray are common — a microfiber cloth and rubber blower keep lenses usable.
• Remote release or intervalometer: For long exposures and star/sunrise sequences.
• Headtorch: A reliable headtorch with red mode, like a Petzl Actik Core, keeps hands free when setting up before dawn.
• Light rain cover or shower jacket: Weather on UK coasts can change quickly — a lightweight pack cover or camera raincoat helps.

Clothing and comfort items

I layer. A merino base, a fleece mid-layer, and a lightweight waterproof shell are my staples. I wear a warm hat and thin gloves for handling controls; I keep thicker gloves in the pack for longer waits. If the ground’s wet, waterproof trousers are worth the space they take. Footwear: sturdy, grippy boots — you’ll often be on mud, peat or slippery rocks.

Food and hydration for early starts

Snacks are vital not just for energy but for morale on cold, early shoots. I plan for 1–2 hours before sunrise on location, sometimes longer for scouting.

• Quick calories: A banana and a small peanut butter sandwich are my staples — easy to eat in the dark.
• High-energy snacks: Nuts, dried fruit and a flapjack or cereal bar. They’re compact, calorie-dense and keep you warm.
• Hot drink: If I expect to sit for a while, I’ll bring a small insulated flask of tea or coffee. It’s a morale booster and helps fingers recover from the cold.
• Hydration: A 0.75–1L bottle fits my 20L pack and is usually enough for short shoots.

Packing checklist (fits a 20L rucksack)

Tactics for saving space and weight

To make everything fit, I stack items carefully: tripod on the side or strapped to the front, lenses nested with caps on, filters in a slim pouch, and clothing rolled to fill gaps. I also think in modular choices — pick either a longer zoom or an extra prime, not both; choose a compact filter system you’re practiced with; and limit food to what will be consumed in the session.

On-site workflow

Arrive early enough for composition in the blue hour. Set up the tripod and level the horizon before the critical light hits. Run through focus stacking options for foreground detail, and bracket exposures where the dynamic range is high. Use grads and polarisers selectively — they change the scene materially, and it’s easy to overuse them.

Finally, treat the morning as part of the experience. The kit matters, but patience, a bit of scouting and knowing how to use what’s in your bag will deliver the images you remember.