Which gear you use for Wedding Photography?

[Dexter Morgan]

I am planning to cover wedding events and I was wondering if those who have already traveled this path could guide me with Camera and Lenses. From the point of view of a semi professional person just looking to cover small events. Which lens and camera do you suggest? Should be Canon.

[Black Pearl]

Which camera do you use now?
What is your experience with it?
Do you have a website with examples of your work?

[dennybeall]

The answer is really you want to get the best equipment you can afford but the important part is learning to use whatever equipment you have. If you can afford a full frame camera and fast glass you'll have the best tools but if you can get a used Nikon D5300 and an 18-140 lens you can do the job, it'll just take a bit more effort. I've done it, and collected the checks, so know it can be done.

[rpcrowe]

I agree with using the best equipment you can afford but, also DO NOT SHOOT A WEDDING WITHOUT ADEQUATE BACKUP EQUIPMENT! That means at least two of everything, camera, flash and lenses.

MURPHY'S LAW STATES: "The chances of a piece of photo equipment failing is in a direct relationship to the importance of a shoot and in a reverse relationship to the availability of backup equipment"

When I say the "best equipment you can afford" That doesn't mean that you have to be using the newest gear available. I would have absolutely no qualms about shooting a wedding with my older but still excellent Canon 5D2. I can constantly get excellent 8x10 inch and 11x14 inch prints from my 7D or 7D2 cameras, so I'd have no qualms about using one of these crop format DSLRs as my second camera. In a pinch, I might shoot with a pair of 7D cameras as long as they are equipped with top line lenses.

Dexter: Your question gives me a bit of worry! I would not ever want to shoot a wedding without being intimately familiar with the camera/lens/flash I am using. Shooting a wedding is stressful enough without shooting with a camera that is not totally familiar.

[Dave Humphries]

I've done it, and collected the checks, so know it can be done.

Had any disasters along the way?

I know the pros here set great importance in having a back up for everything, given that "failure is not an option", at least not one without potentially shattering a couple's dreams.

Did you always have "contingencies" in place?
Did you ever use them?

If you ever seriously let someone down through a lack of preparedness or equipment failure, Dexter needs to know before history repeats itself. I appreciate that's a big ask, but every wedding is (usually) the most important day in their lives (up to that point in time) - a big responsibility when selling your services.

Not something to be undertaken based on over confidence alone, I'd suggest.


Dexter,

We need to know what kit you already have and how much you already know - and on that front, the question alone worries me.

I don't know whether this is a tentative question so you buy relevant kit over the next 2 years while gaining knowledge at a formal college course
Or if you intend to advertise next week and shoot the week after

If the time scale is short, we need to know budget and business plan.

I'm just concerned you may "bite off more than you can chew" (I don't know if that phrase means anything in Pakistan).

Sorry to appear so negative after Denny's post, but there's a balance to be made.

Regardless, welcome to CiC Dexter ... and do stick around, if your knowledge is lacking, you can learn so much here from some great members.

UPDATE - oh look, one just beat me to it.

[Dexter Morgan]

I agree with using the best equipment you can afford but, also DO NOT SHOOT A WEDDING WITHOUT ADEQUATE BACKUP EQUIPMENT! That means at least two of everything, camera, flash and lenses.

MURPHY'S LAW STATES: "The chances of a piece of photo equipment failing is in a direct relationship to the importance of a shoot and in a reverse relationship to the availability of backup equipment"

When I say the "best equipment you can afford" That doesn't mean that you have to be using the newest gear available. I would have absolutely no qualms about shooting a wedding with my older but still excellent Canon 5D2. I can constantly get excellent 8x10 inch and 11x14 inch prints from my 7D or 7D2 cameras, so I'd have no qualms about using one of these crop format DSLRs as my second camera. In a pinch, I might shoot with a pair of 7D cameras as long as they are equipped with top line lenses.

Dexter: Your question gives me a bit of worry! I would not ever want to shoot a wedding without being intimately familiar with the camera/lens/flash I am using. Shooting a wedding is stressful enough without shooting with a camera that is not totally familiar.

Thanks for brief advice.
At the moment I have:

Canon 700D
lens 50mm 1.8
And 18-135
Nikon D7100
Lens 18-140mm
External Flash
Tripod

I am just starting to travel this path of being a photographer. I am studying photography as course as well. I was wondering which equipment I SHOULD have in my bag before I post an ADD to hire me as photographer. I have in mind three or four months of learning before I go out and start covering weddings.

[Dexter Morgan]

Had any disasters along the way?

I know the pros here set great importance in having a back up for everything, given that "failure is not an option", at least not one without potentially shattering a couple's dreams.

Did you always have "contingencies" in place?
Did you ever use them?

If you ever seriously let someone down through a lack of preparedness or equipment failure, Dexter needs to know before history repeats itself. I appreciate that's a big ask, but every wedding is (usually) the most important day in their lives (up to that point in time) - a big responsibility when selling your services.

Not something to be undertaken based on over confidence alone, I'd suggest.


Dexter,

We need to know what kit you already have and how much you already know - and on that front, the question alone worries me.

I don't know whether this is a tentative question so you buy relevant kit over the next 2 years while gaining knowledge at a formal college course
Or if you intend to advertise next week and shoot the week after

If the time scale is short, we need to know budget and business plan.

I'm just concerned you may "bite off more than you can chew" (I don't know if that phrase means anything in Pakistan).

Sorry to appear so negative after Denny's post, but there's a balance to be made.

Regardless, welcome to CiC Dexter ... and do stick around, if your knowledge is lacking, you can learn so much here from some great members.

UPDATE - oh look, one just beat me to it.

Thanks for brief advice. First of all I didn't mind what you said and its not negative. One should always be open to learning even if it comes the hard way. So, we can divide weddings into different categories, First of all I want to cover small scale weddings who obviously don't demand much. And with the time I want to learn and earn and get myself equipped with latest gear available in market.

At the moment I have:

Canon 700D
lens 50mm 1.8
And 18-135
Nikon D7100
Lens 18-140mm
External Flash
Tripod

I am just starting to travel this path of being a photographer. I am studying photography as course as well. I was wondering which equipment I SHOULD have in my bag before I post an ADD to hire me as photographer. I have in mind three or four months of learning before I go out and start covering weddings.

[William W]

I am planning to cover wedding events and I was wondering if those who have already [travelled] this path could guide me with Camera and Lenses. From the point of view of a semi professional person just looking to cover small events. Which lens and camera do you suggest? Should be Canon.
At the moment I have:
Canon 700D
lens 50mm 1.8
And 18-135
Nikon D7100
Lens 18-140mm
External Flash
Tripod

Addressing only your question concerning Canon Equipment:

The 700D is an adequate camera, but the 700D, combined with those two Canon lenses has limitations: firstly if you are required to shoot without Flash in Low-level Available Light, the only fast lens that you have is a short telephoto and that dramatically restricts your flexibility; secondly if either lens fails you have limited SYSTEM REDUNDANCY.

It is not the best idea for any novice to have two different camera systems – I like the implication that you want to move to only one manufacturer. Be careful though, there are significant differences within one manufacturer: specifically with Canon, the layout and the functionality is considerably different between the xxxD Series and the xxD Series of Canon Cameras.

135 Format Cameras (aka “Full Frame”) are not necessarily ‘better than’ APS-C Format Cameras – don’t be lured by internet hype to “upgrade the full frame”. 135 Format Cameras have some advantages over APS-C Format Cameras but the advantages are nuances and not necessarily applicable specifically to general Wedding Photography.

At the minimum, my recommendations are:

> Two camera bodies

> Standard, non-varying maximum aperture F/2.8 Zoom Lens (e.g. for APS-C a 17 to 55; for 135 Format a 24 to 70)

> Fast, short-telephoto lens (e.g. for APS-C an 85/1.8; for 135 Format a 135/2)

> Fast Standard or (better) slightly Wide Lens (e.g. for APS-C a 28/1.8; for 135 Format a 35/2 or 50/1.8)

> Two “speedlite” Flash Units

> One (flash) Off Camera Cord

> Four Camera batteries

> Bounce Flash Modifier

> Diffusion Flash Modifier

> Large capacity cards (e.g. 16Gb)

That list provides ONE LEVEL of System Redundancy – i.e any ONE item can fail and you should be able to continue without any interruption to business.

However, I have had three (digital) camera bodies fail within 15 frames of each other whilst shooting an awards presentation – so that meant I moved to my fourth camera: that was unusually though and it was the worst gear failure I have experienced . . . but if you are mathematically inclined the fact that three camera failures is an unlikely event to happen does not discount the fact that it could happen on your first job. That stated, it is more likely that a Flash will fail than a camera will fail and the least likely to fail is a lens – unless of course an item of gear is dropped (or stolen).

There are nuanced variations to that basic list above. For one example only, if you have cameras that perform very well at high ISO (let’s say an EOS 5DMkIII or MkII, then your Standard Zoom Lens could be the EF 24 to 105 F/4 IS USM – what you get there is trading off one stop of Maximum Lens Speed (Maximum Aperture) for the value of IS and the extended telephoto range in the one lens.

There are advantages using a Dual Format Kit. As only one example, if you had one APS-C and one 135 Format Camera, then you could manipulate two zoom lenses for a most effective Field of View coverage – e.g. using the EF 16 to 35/2.8MkII and the 70 to 200F/2.8 IS Mk II you get an effective FoV of 16 to 56 and 70 to 320 at a lens speed of F/2.8 and with IS from 70 to 320. Again if the cameras were very efficient a the High ISO’s then the lens cache could be nuanced to be the EF 17 to 40 F/4 instead of the more expensive 16 to 35 and the lighter weight F/4 IS tele zoom.

There is, at least where I work and also (especially) in the USA a trend to have dual card cameras: the idea of this being for better redundancy. I don’t necessarily subscribe to this idea; I’d rather have more camera bodies and my reasoning being that it should be reasonably obvious to a professional if a card is not recording data. However note that perceptions of the Client have influence and many V Clients read the inter-web chatter and can become instant experts, so be armed for those Clients whose first question is, “What gear do you use?”

Whatever kit that you choose, I suggest that you have a plan of what (ultimately) is the gear that you want/need an then prioritize the purchase of it according to buying the most useful items first

***

. . . So, we can divide weddings into different categories, First of all I want to cover small scale weddings who obviously don't demand much. And with the time I want to learn and earn and get myself equipped with latest gear available in market.

I think that is very foolish thinking and the conclusion is non sequitur.

I don’t think we can divide weddings that way. A modest Wedding in the home of a poor household which engages a photographer for one hour to cover the Ceremony and few Bridal Portraits still requires the "must have shots" to be in the can at the end of the shoot – exactly the same as the most lavish wedding requires the same "must have shots" to be made – both under the same pressure of time and possibly difficult lighting and difficult people management conditions.

WW

[rpcrowe]

As an answer to: Did you ever have a camera fail when attempting an important assignment? Yes, I had a 35mm film camera fail (mechanical problem with the rewind knob) when I was out to shoot an awards ceremony at my daughter's company. I did have a second camera with me to save the day.

Additionally, although this has nothing to do with weddings or other events; I once fell climbing a slippery slope in Alaska on the first day of a ten-day trip. I broke my Canon 40D camera but my second camera, a Canon 30D save my photographic efforts for the rest of that trip.

OTOH: Having a pair of cameras is a nice way to shoot. I use a 17-55mm f/2.8 IS on one camera and a 70-200mm f/4L IS on the other. That gives me a focal range from 17mm to 200mm (I don't miss the gap between 55 and 70mm). with excellent auto focus, top line image quality, a constant f/2.8 aperture in my medium focal length zoom and a constant f/4 aperture in my telephoto zoom lens and Image Stabilization throughout the range. That combination is the nicest I have ever used in over 50 years of photography. I have carried the above lenses on 1.6x crop cameras throughout China and in Italy, Greece and Istanbul Turkey along with a lot of locations in America...

Yes, I could have chosen a 70-200mm f/2.8 lens but that lens is to heavy for me to comfortably spend several hours lugging around and shooting.

[William W]

The point Richard raised about shooting with two cameras (as opposed to having a second camera just as a 'back up') is an important consideration when planning your kit.

As Richard descried he photographed his travels using two shooting camera bodies - I always cover events with two cameras slung: that too provides another level of SYSTEM REDUNDANCY - if there is a problem I do not have to travel anywhere to get the 'back up' camera.

The other position of leverage that using two working cameras at an event provides, is exactly as Richard described for his travel Photography - an incredibly large range of FL (or Field of View) available to use, at a non varying maximum aperture, all the time.

Personally at a Social Event, if I am using two Zoom Lenses, I choose to usually use one APS-C Format and one 135 Format Camera: with the 16 to 35 on the APS-C Camera and the 70 to 200 on the 135 Format Camera: obviously if I want a really wide or really long Field of View I need to do a lens swap - (which I have practiced and practiced and practiced to be very quick) but the necessity for a really wide or really long FoV at a Wedding is almost always predictable and purposeful - and I expect that to be the same for Weddings in Pakistan, because all cultural Social Events (like weddings) will follow their own typical pattern and formula, so in the main the Photographer knows what is the next chapter to the event and can prepare the necessary Lenses in advance.

That stated being at the best Camera Position ahead of the shot, is key to any Event work and especially so for the "must have shots" for any Wedding Photographer: and that being the case most of the shots typically will be made with your main working zoom lens - and that is your Standard Zoom Lens as I described previously.

If you like the idea of using two working cameras - then I suggest that you practice with the two you have at the moment - be at every family and friend's celebration or gathering and practice - set one of the zoom lenses so you only use 18mm to 50mm and the other use from 70mm - that way you can get a feel for how that combination might work for you.

There is a school which uses only Prime Lenses. I can do that and sometimes I do. Typically, using two 135 Format Cameras and a fast 35 and a fast 85 is my choice: I mention this NOT as a suggestion for you but as a caution to you - do not be fooled by inter-web chit chat - that is NOT the best way to begin, NOR is it the best way to learn.

In 2016 the Standard Zoom Lenses which are available are highly sophisticated and produce excellent image quality. A good, fast non-varying maximum aperture Standard Zoom Lens is the key to your wedding kit.

Choose your format (if you choose a single format), then build your kit around that one high quality Standard Zoom Lens and provide your kit with redundancy and versatility, to suit the camera format that you choose.

Also be aware that in Canon Lenses: EF-S lenses will only mount to camera bodies that have an EF-S lens mount (in general terms that means only their modern APS-C cameras) and that is the reason why I have no EF-S Mount lenses in my kit - because I use a Dual Format Kit and to buy any EF-S mount lens would mean I compromise my SYSTEM REDUNDANCY. (
(Note I stated above that the lens' mounting and redundancy was 'the reason' that I don't have Canon EF-S lenses in my kit - I did NOT say that EF-S lenses are inferior - and that's another trap - don't get caught up in the inter-web hype that you 'need' to have only "L Series" Lenses.)

WW

[rpcrowe]

A final idea is to organize a working script of "must have" shots.

When I first shot weddings (I have not done so for many years) I had a written script organized in chronological order of the "must have" shots for a wedding. This script included the locations where these shots should be captured from. The script was in a small pocket size notebook in which I could jot additional notes and also carry a few business cards.

When I first started weddings, that script saved me from neglecting any standardized shots. Weddings are ritualized in most societies and it doesn't matter how creative your coverage is, if you have missed the normally accepted shots, your clients will not be happy.

[William W]

. . . I have had three (digital) camera bodies fail within 15 frames of each other whilst shooting an awards presentation – so that meant I moved to my fourth camera: that was unusually though and it was the worst gear failure I have experienced . . . but if you are mathematically inclined the fact that three camera failures is an unlikely event to happen does not discount the fact that it could happen on your first job.

For your further information, Dexter - I just came across a previous and more detailed account of that experience here (Post #15)

That experience underscores the importance that you should place on Dave Humpries' and Richard Crowe's mentions of back up gear.

The point is, whilst in the scheme of things, that Awards Ceremony was for a local school - it was a very easy job. The kids come up to the stage; I photographer them getting their award from a local dignitary. It was a 45 minute job. It netted my business about $100.

Using your terminology and segregation of jobs, it was a "small scale [event] who obviously don't demand much".

But the point is, there was an audience of maybe 600 Adults - they are all POTENTIAL CUSTOMERS.

The local dignitary moved on to be a key figure in a multinational corporation. As it happened, a few "gratis" photos that I made of him and his wife after the event and sent to him, he remembered me. As a result I have done three jobs for his company . . . he remembered that I was (paraphrasing his words) "very cool under pressure when it seemed there was a problem".

The point is you might take a moment to ponder that it could have been an absolutely totally different outcome for my business now, 10 years later to that event, if I had no backup, or only one back-up for this "small scale event" and I had to say: "oh please hang on and hold up the awards for a few minutes because I just have to fix my camera"

Or ponder on the possibility of me having to explain to Mrs Smith later that day why I didn’t get the photo of her kid getting the award for 'First in Mathematics' - when the rest of the class parents all had photos of their kids getting awards.

Further, let's assume for the sake of discussion, that Mrs Smith is a gossip . . . "Oh that Photographer that we had at the school awards he was absolutely hopeless, you know he didn't even . . . I would never have him work for me. . . you know he has a studio in xxx street . . . I don't think he is doing very well after that school incident . . . I know that the school will never employ him again"

There is the 20:1 Rule of Thumb in Business Economics that states that 20 satisfied customers will each tell 1 other person: but 1 dissatisfied customer will tell 20 other people.

On the other side of the coin - it is quite probable that ten years ago, my Company could have survived that type of criticism, even if I were at fault. We were an established business and at that time I had about about 30 years flying hours up making and selling Photos for a living.

However the relevance to this conversation is how difficult would it be for a fledgling business to survive in the same situation?

WW

[rpcrowe]

There is the 20:1 Rule of Thumb in Business Economics that states that 20 satisfied customers will each tell 1 other person: but 1 dissatisfied customer will tell 20 other people.

I like this "rule" and will save it alongside my "Murphy's Law Rule" above...

BTW:

I like using the Joe Demb Flash Diffuser Pro to modify my hotshoe flash but, there are perfectly viable reflector/diffusers available from China on eBay for a pittance... I have tested one of these reflector/diffusers and was satisfied enough to purchase several to give to our dog rescue volunteers for use with their hotshoe flashes. Less than five U.S. Dollars including shipping...

http://www.ebay.com/itm/Universal-Fl.../220980576819?

Note: I am not in favor of this type diffuser

http://www.ebay.com/itm/152246241501