Why do Wedding Photographers ask that the 2nd Shooter use the SAME camera and lenses?

* * * Just to let everyone know, this DOES NOT apply to me, just a question I

always wondered about... being new & studying photography. * * *

 

I noticed PRO wedding photographers always ask that their 2nd shooter shoot

with the SAME camera and lenses as they.

 

Why is is this? What are the Cons if say 2nd shooter shoots with a NON-PROF

camera/lens(es) that are not utilized by Main Photog? ...or if 2nd shooter

insists on using that camera/lens? How would you then explain to them that they

have to use the same?

 

Example: Main Photog shoots with a Canon 5D (12.8 MP) and Canon pro lenses

(Canon EF 24-70, 70-200,...)

 

What if 2nd shooter shoots with a lower end camera, like a Canon 30D (8.2 MP)

using a 17-35 lens that came with the camera kit? or shoot with a Nikon?

 

IF some PROFESSIONAL PHOTOGRAPHERS out there would be kind enough to enlighten

me, I'd appreciate it. Thanks.

Usually so they don't have to bring backup gear. It's sometimes cheaper to hire a 2nd shooter then to rent backup gear. IMHO...

For me, the equipment brand compatibility is an issue. I shoot Canon, and I want a 2nd shooter to be familiar with my equipment and accessories. It's also important for backups. I wouldn't know what to do with a Nikon in my hands...

 

I shoot both crop and FF, so I don't care if the 2nd has a 30D, 5D, or 1D... I have all the lenses I need for them to cover what I want (if they don't already have their own).

 

I prefer that they have used the specific lenses or types prior to an even. A shooter with no IS lens experience would be more of a detraction than one with a 28-135IS (which I could supply a better IS lens for).

 

Just my thoughts on the matter.

Scenario: A caterer's cart does one of the following:

<br><br>

1) Brains the main photog

<br>2) Brains the second shooter

<br>3) Smashes one of the main photog's primary bodies/lenses

<br>4) Smashes one of the secondary shooter's same

<br><br>

Without even skipping a beat, any person, camera body, or lens can be swapped in and out of either role. On the fly, with far less chance of hosing up a you-only-get-one-chance shot while you're fussing with a slightly different menu or control config.

There are a couple reasons. The first is consistency. Canon lets out a completely different color temperature than Nikon. So, if two photographers have these two types of cameras on the same event, they will either need a LOT of color correction in post or they will simply look completely different. You really don't want the client to know which of you two took every picture.

 

The other reason is size requirements. Usually in wedding contracts especially, the photographer will state something about the minimum pixel size they will offer their negatives in.

 

There are also some photographers that only shoot with 5Ds rather than a 20D and a 5D for Canon. That is probably just preference, IMO, but maybe someone else can enlighten both of us on that one.

 

Lenses are really important as well concerning quality. The 17-55mm, 4.5 or highers that come with the camera will be much lower quality than what a wedding photographer should be getting (say 2.8 or better). This can create problems with low lighting in reception halls, image stabilization in the sanctuary, and overall "dead" looking images because of depth of field inadequacy that the 4.5 or highers get.

When I have a second shooter with me I could care less what camera and lens they use as long as it's competent equipment. I understand the above reasons, and they seem reasonable on the surface, but in the end I don't think they matter enough to be concerned with.

The camera is simple: different sensors have different color sensitivity curves. If the colors don't match then the wedding album will look odd.

Emulsion :)

Wind resistance. ;^<)>

 

I rotate between two second shooters. I shoot Canon, Vitaliy shoots Canon, Mike shoots Nikon. We all shoot RAW.

 

After post-processing (white balance adjustment, tone curve adjustment, etc. ad nauseum), there's not really that much difference in color between the Canon captures and the Nikon captures.

 

IMHO, As long as you have a cross platform tool such as Adobe Camera Raw, the difference in data capture tools (i.e.; cameras) is negligible.

 

Later,

 

Paulsky

I know exactly what you're saying. Hiring decisions should be based more on technical and artistic competency than on equipment. I recently had a would-be second shooter submit a portfolio to me. He has better equipment than I do but he does not have a great eye. I had to politely turn him down. In his email to me he proudly proclaimed his ownership of the 5D and EOS-1Ds Mark II with L lenses. But his pictures were not that great so none of the equipment mattered.

 

I'm not sure where this attitude comes from. After all, second shooters are often paid about 1/4 to 1/8 of what the main photographer is making per gig. I wouldn't expect someone who is making say $300 that night to own the same equipment that I am making, say $1,400.00 after expenses. And on top of that I can write my equipment off on taxes and they can't.

 

I understand brand differences (Nikon vs. Canon) for compatibility issues (hardware and software). I guess it's because the employee market allows for it. Personally I wouldn't use my most expensive body/lenses on a gig that paid me way less than I am usually making. F that! And by F, I mean forget!

'always ask' - not true. I photograph for other people with different cameras, and other people photograph for me with different cameras. no problems.

 

photographers might prefer one brand or another if they know how best to handle certain files - ie. some programs work with the nikon or canon files...but for most people, it's not a big deal.

 

I should say, however, that some cameras are just horrible at high ISOs, so if someone wants to 2nd shoot with me with a crappy camera, I'll loan them one of mine before I'll let them shoot it with a noisy camera...

My second shooter uses Canon, I use Fuji with Nikon Accessories. It isn't to much of an issue, but I do have to compensate in the RAW adjustments because of the different tones of the cameras. I have ample backup geer, so I don't worry of My camera gets smashed and his lens gets smashed.

~Using the same camera bodies allows interchange of lenses.

 

~I ask my second photographer to be watching me: when I am photographing with a Wide angle lens I ask them to consider putting on a Long lens. When they see me with a Long lens I ask them to consider photographing with a wide lens.

 

The reason for the above is rather obvious: you want to create different looks and intermingle different styles of photography with different lenses: this gives the wedding a varied "look".

 

It's a good thing!

I really appreciate all of your responses, some were very insightful.

 

But what about the MEGAPIXEL difference?

 

A 12.8 MP vs. 8.2 MP is a big difference? How does that affect photographers during their post-processing? What if clients wanted a certain size image?

 

I heard or read somewhere the the larger MegaPixels it is easier to make prints larger than 8 x 10 and they come out nicely, whereas if someone shot with a 8.2 MP that the image quality goes down if print is larger than 8 x 10.

 

Is that why PRO photographers want 2nd shooters to shoot with the same camera (say the Canon 5D) because it will be easier to print a large image and maintain the quality?

If you are shooting one face that fills the frame, you can blow the image up nicely past 8x10 without special tools.

 

On the other paw, if you are shooting seven bridesmaids, seven groomsmen, B&G, two flower girls, and two ring bearers, and are not doubling anybody up, and everybody is full length, the more pixels, the better, because you will start to run out of pixels for the faces very quickly.

 

That said, there's not much difference between 8 and 10 megapixels. But there is a significant difference between 8 and 12.

 

This question perplexes me:

 

"Is that why PRO photographers want 2nd shooters to shoot with the same camera (say the Canon 5D) because it will be easier to print a large image and maintain the quality?"

 

Are you referring to one individual who turned you down for a second shooter opportunity, or everybody you have spoken with? I don't necessarily think that this is the prevailing opinion among professionals, unless as William says, they are hiring you instead of purchasing backup equipment.

 

Tuppence,

 

Paulsky

"Is that why PRO photographers want 2nd shooters to shoot with the same camera (say the

Canon 5D) because it will be easier to print a large image and maintain the quality?"

 

That COULD be one reason. You're looking for a specific answer to a broad question.

 

It is way easier to print a double page spread with 5D files over 30D files. But I feel I can

still do it with 30D files. I shoot with both cameras, so I still don't get what you are really

asking.

 

Is it like Paul suggests and you got turned down because you shoot a 30D or Nikon?

Perhaps it was just your portfolio?

TO ANSWER GRANT GABORNO's and PAUL THOMAS' QUESTION:

 

NO. I WAS NOT turned down because I shoot with a 30D or Nikon. Sorry, NEVER used/nor have owned a Nikon and I DO NOT own a Canon 30D.

No I was not turned down due to any portfolio not being right (being that I NEVER asked anyone)... My question was in regards to the original question posted and below...

 

My question is in reqards to seeing/reading TOP PROFESSIONAL Photographers occasional "Help Wanted" posts like Jessica Claire who ask for 2nd shooters to have the SAME CAMERA AND LENSES as hers...and other TOP PRO photographers who ask the same requirement...Just wondering what the reason is behind it. That's all.

Okey Day.

 

Most times, people post here because of problems they are actually experiencing personally, not just out of curiosity. But that does not make your question any less valid or important.

 

And please pardon our questions. We just wanted to know more about your experience so we could better assist you.

 

I ask potential second shooters what kind of camera and lenses they have, in order to make sure that they meet my minimum expectations for quality. I would never tell them that they have to have the exact same equipment as me.

 

As a matter of fact, I would hope they would have better. It would be just peachy if my next second shooter next summer used a 1DS-Mk III. ;^<)>

 

It's possible that these "pros" you are referring to consider themselves to have the best combination of equipment available, and anybody who shoots with anything else isn't "one of the in-crowd". Or perhaps they think they have their workflow optimized for a given set of equipment.

 

Or maybe they're just anal retentive.

 

Later,

 

Paulsky

"...and other TOP PRO photographers who ask the same requirement..."

 

Well now you're changing the question. And not being a "top pro", I'm not qualified to

answer. And...I regret answering the question in the first place.

Well, Grant, I feel sheepish. I misread the post. I thought this guy wanted to ask a TOPLESS PROFESSIONAL a question.<div></div>

Consistency in look, same file ISO quality, easy to swap gear if something misbehaves, etc.

Just want to tell all who have responded to my question/curiosity I had a big thank you. I REALLY appreciated everyone's insights as someone who is learning/studying photography I thought this forum? post would be a good place to start.

 

I did not mean to offend anyone if I have, I apologize. I was just curious as to why CERTAIN (I can't bold the word so I have to capitalize it) photographers ask their 2nd shooters to have the same camera / lenses...

 

Anyways, thank you to all for your insight.

This should answer my question.

PLEASE USE CAPS SPARINGLY. (If at all).

 

Your wording (and the constant capitalization of the word "TOP PROFESSIONAL") conveyed the impression that you were only interested in input from certain "elite" photographers. Perhaps you didn't mean to convey that impression.

 

I believe that there are such people as top professionals. However, I think that marketing is just as important as skill or technique, if not more so, and an ounce of image is worth a pound of performance.

I like for my second shooters to use Canon so I can help them trouble shoot if they are having problems - and in case of emergency I can use their gear.

A primary photography expects that the second photographer will have less experience and less equipment - i.e. may only have one flash and no fast primes. If the 1st and 2nd are both using Canon then there is a common pool of equipment to draw from during the day.

 

If a primary photographer is using Canon's DPP software to process their RAW files they will naturally want the second shooter to be providing them with RAW Canon files to merge with their own.

 

I shoot with Nikon and Canon cameras and my second photographers also shoot with Nikon and Canon cameras. It is no more difficult for me to adjust the WB for RAW files from the 5D and the Mark II than it is to adjust the WB for the Nikon files, and the Canon files are much more erratic in terms of WB metering so I spend a disproportionate amount of time fixing the Mark II and especially the 5D RAW files. I want to spend as little time doing corrective post processing of the image files.

 

I could care less if a competent second photographer is using a 30D or a 40D or a Mark III, or a D3 or a D200 or a D300 or a Fuji S5 so long as they know how to deal with the shortcomings of their camera and are effective in capturing the shots I need for my clients.

 

The 5D is a favored camera due to its low cost and high IQ. Is there a difference in a 8x10 print from a properly exposed and processed 5D image and a 30D image? Maybe. Can 99 out of 100 people tell which camera was used? No

 

I look for skin tonality and the overall color fidelity of the images produced by a camera. I prefer the 30D to the 5D, the D2x to the 5D or the Mark II (at ISO 400 or less), the D200 to the D2x, and the Mark III to any of these cameras at any ISO. You need to think in terms of prints (whether for a wall or an album) and not pixels.

 

Noise and image sharpness have a far greater impact on how much you can enlarge a given image. Image sharpness with the 5D for example is excellent with the 24-105mm f4 lens from 50mm out. Using the Canon 24mm f1.4 prime wide open you would be a lot happier with the overall image sharpness edge to edge with this lens on a Mark III or a 40D than on a 5D.