Lens for a Pre-Wedding Outdoor shoot

[FlashGordonPhotography]

Advertisement (gone after registration)

Hi Gordon, I understand what you are saying and yes you are correct lenses are important. However I do believe that we as photographers put to much emphases on gear and not enough on good light. I'm just as guilty. So much so that my Visa card will be running for cover when the new M is announces...

True. But I have two points. Firstly, what is good light? It's a questions with too many answers, I know. Secondly, this topic is about a working situation. As a working photographer I often don't get to control the time, location or light. If a wedding ceremony is at noon, on a beach on a hot summers day, I have to work with that. Gear is vital to making a situation like this work. I can't have someone hold a reflector next to the couple while they say their vows and I can't shoot portraits with a 15mm lens.

 

When I have my enthusiast cap on, I can go out with a single lens and hunt down great light, location and subject. I can come back without a single shot. In a working environment (like this thread is) I have to come back with something. Gear is more important because I have to be able to have what i need to solve problems and still get something acceptable to the client.

 

I agree that the balance between the craft and the equipment is often out of balance, especially for the enthusiast photographer. But that's because we are a lazy species. We've spent thousands of years looking to go faster and make things easier. It's a natural instinct to want a quick fix to be better photographers. Hence the constant GAS many of us suffer from.

 

However, in a working environment there's pressure from clients, location and time restrictions to deal with. I have several lenses that I only ever use for working situations. But I NEED them to get the job done.

 

Gordon

[jto555]

Hi Gordon, I am a working photographer too, and I am sure that you as a working photographer understand good light as well.

 

As for the bride and groom on the alter, well you have very little control over that situation. However when you can control the situation, such as when the OP is photographing the Pre-Wedding shoot, then you can have the assistant with the reflector. Already the OP is planning the shoot for early morning or late evening light. Just add a reflector and they are ‘golden’. Pun intended.

 

I am sure that when you are bride and groom on the beach (lucky you) then you can get some control over the light with a VCR (voice controlled reflector been held by a guest) or a flash with modifier on a stand/monopod. I do know the answer is ‘not always’.

 

Have a look at wedding photographer Cliff Mautner:

https://www.youtube.com/watch?v=DD09kkSuy-c

 

Or:

https://www.youtube.com/watch?v=pjEjCC-6aTQ

 

 

My end of photography is PR/Press and I have had my share of beautiful backgrounds with great light and the client wants the shot taken against the popup stand in blinding sunlight or indoors in a dark hole with nowhere to bounce a flash. Ah, the joy of it all…

 

When you get a shoot like the OP has, where you can pick the time, the location, and have some control then you can try and get good light.

 

 

The great thing about photography is that we can both be right. If your system works for you, and my system works for me, then happy days.

 

 

John

[tobey bilek]

The most pleasing pictures are done with a 50 mm.  After many years I have come back to this.  Portraits are done from 5 or 6 feet,  75 to 135 depending on subject size,  couples around 75.

 

The only way wides work will be if you wish to make them small in the frame and emphasis the vista behind them or MAYBE one one or two where you more in close and make them large compared to background.

 

It is a common misconception group shots are done with wide lenses.    Only do it if you can not back up more, make more layers of people instead.  Wides make near objects large compared to far IF YOU MOVE IN CLOSE.  This is not attractive.

 

I know wedding photogs who worked with 35/50/90 screw mounts, m2 and M3.   90% of the photos were 50 mm.   All the photogs who worked for him were furnished the very same equipment.

 

Do not get too artsy.  Photography is about light, timing, subject posing,  and composition, not lenses.