Equipment needed for my first wedding?

[ted_springer]

Hi Photo.net

 

I aspire to be a Wedding Photographer full time, and it looks like my first gig may have just fallen in my lap. Guess what? I am freaking out! I

am on a Nikon D300 system and I am not sure if I have the equipment to pull it off. For lenses, I have an 18-200mm but I am pretty sure I need

to rent at least one lens ( 17-55mm f/2.8) to get clearer pics in the normal range. I have an 80-200mm f/2.8 for telephoto. Now what I am

concerned about is lighting. Will my SB 800 with extra batteries be enough? What else would I need in lenses or lighting to pull this off?

 

The location: The event will take place from the late afternoon till about sunset. It will taking place mainly on a boat.

 

What would you all bring?

 

What you all bring on a budget if you didn't get to have any assistants?

 

-----------------------

 

I just joined this community and I would just be so grateful for any answers to my query. Thanks

[ilkka_nissila]

There are many posts on the topic on the wedding and social event photography forum, you should do a search.

 

The 17-55 and 80-200 would do very well in as far as lenses go. You can use the 18-200 as a backup lens though

it's not very fast.

 

A single flash is not adequate lighting for a wedding. I would at the very minimum get a second flash, a stand,

and a silver reflecting umbrella with the appropriate mount. With one on-camera SB-800 as fill and a second

flash on stand with the umbrella as key light (with higher output than the fill), you can do decent portraits and

group shots. With just one flash, the lighting is going to be terrible. You also should get a flash bracket +

SC-something TTL cord for the on camera flash so that you can position the flash above the lens for portrait

orientation shots to avoid side shadows. And some modifiers (e.g. lumiquest, gary fong, demb or something) for

the on-camera flash to soften the light a bit.

 

I assume that the couple is aware of your level of experience and has seen examples of your work. I would

recommend that you ask a second photographer whom you know to help you with the job, so that you have some

redundancy built in. You're likely to miss shots on your first wedding so having two photographers helps with the

odds.

 

Practice like crazy. Get to the locations before the event and make test portraits there to see how the lighting

and your gear work. Especially important is that you get the lighting on the formals just right. For candids

available light can often work well though maybe not with f/2.8 lenses. Pay attention to how the eyes look in

your photos.

[photos of hans koot]

I am not experienced, just recently shot a wedding. your equipment and plan of a rental looks ok to me, should do the whole trick. Enough batteries and memory... Training with fill flash will help to make balanced shots, but thats not what you aksed :-) good luck!

[lex_jenkins]

You need backups for everything: body, lens, flash, batteries, media, etc. Even if you rent it, even if the backups are "lesser" pieces, you need backups. I only do weddings as gifts for family and friends and I take three of everything.

[elliot1]

I recently shot a recreation of a wedding ceremony for a couple whose original photographer ruined the majority of their wedding pictures. I cannot tell you how devastated they are over this.

 

If you truly want to have a successful career as a wedding photographer, you may want to revisit how you want to become one.

[michael_hahn]

Take your 70-200 ... but I doubt you will use that lens. Take a second body and lens, even if it is film just for

backup. Ahead of time, take some fill flash shots and be sure you are comfortable with the settings (put your

camera in manual and the flash in ttl mode, underexpose by at least 1 stop). Good luck, check once in a while your

lcd to be sure that your settings are close enough, but don't get caught up in checking each shot.

 

And remember, sometimes it is better to shoot at a little higher ISO and have your shutter speed set higher, so you

don't get any "blurred" shots, because until you are use to the setting, weddings can be tough on the nerves.

Personally, I wuld not go much above 640 ISO on the D300.

 

Good luck and try to enjoy the eperience.

[squiggs77]

What size is this Boat? Will there be room for a lighting setup? If not what you have + a flash bracket & backups maybe all that is required. If there is room for a lighting setup then I would get at least another SB-800 + light stand + sliver umbrella and trigger it with the on-camera SB-800. The SB-800 on the stand would be the main light and your on camera would be fill light at an -1EV lower. This will produce much more flattering lighting that straight on flash.

 

With the D300 and an SB-800 you could even consider remotely triggering the SB-800 with the D300's built in flash, but then you won't get fill from the camera. If space is really tight you can hold the SB-800 in your left hand... but I must warn you that this technique requires stamina and lots of practice to get a high amount of keepers.

[bill_keane2]

"A single flash is not adequate lighting for a wedding. I would at the very minimum get a second flash, a stand, and a silver reflecting umbrella with the appropriate mount... With just one flash, the lighting is going to be terrible."

 

I have presided at hundreds of weddings, including two on national TV, and, apart from the rare sitting room family portraits, have never seen an umbrella used (not that it's bad). I also know personally a phenomenal wedding photographer, who does location weddings, and local ones at $8K a pop, who often does not use flash, and when he does, it is a single SB-800. The lighting in his work is anything but terrible.

 

With respect, it depends on talent and expertise, more than the amount of flashes one has at hand.

[Peter_in_PA]

Have you ever been an assist on a wedding? If not, decline politely until you have done so a few times.

 

Are they a friend? If so, urge them to hire a non-friend pro.

 

You will likely get this same advice in the wedding forum.

 

If you decide to do it anyway...Your 18-200 is not adequate for the job. A 17-55 might be all you need in the tight space

you're going to be in. Bring the 80-200, but don't be surprised if you don't use it at all.

[dwight200]

I was at a wedding in July. The photographer had a fixed umbrella with slave strobe in the corner at the reception (in a very large room [maybe 50 x 150 x 30 ft]). The wedding was done without flash. The photographer was running back and forth in the church, up on the balcony, down on the main floor, left side, right side, everywhere. He used a tripod in the church. I didn't see what he was using during the ceremony, but he had at least three cameras at the reception. One of them was a Hassleblad. Looked like a film back. The others looked digital.

 

If you're going to do it, get an assistant. Make a list of what pictures you HAVE to take (family groups, individuals, etc.). Get the assistant to check them off as you take them. The assistant can also round up the people for the group shots and keep track of things you do (hand you new memory cards as you use them, or just change them to keep the sequence straight). Trying to handle a camera and a notepad and pen all at the same time is really tough.

 

Bring a sandwich. You won't have time to get a meal at the reception. You'll be too busy setting up shots and taking shots that come along. If you're the photographer, you're not there to enjoy the party (one more reason to hire a pro).

 

I was there to enjoy the party and take a few pix. I got 450. The pro probably took 1500-2500. He was everywhere, all the time.

 

Good luck.

[squiggs77]

I second the 'Bring a sandwich' comment. I would suggest something a little more 'snacky' such as trail mix or granola bars. Even if there is a reception, and you can eat at it, most likely if you try to grab a bite you'll miss some of the best shots of the night.

[simon_hickie1]

My setup is: D300 + D50 backup; Tamron 17-50mm + Nikon 18-70mm backup; 50mm f1.8; Nikon 28-105mm as backup of the backup + close-ups + use as moderate telezoom; Nikon 18-200mm VR as backup of the backup of the backup; SB-800 + SB-600 as backup; flash bracket; Lightsphere 2 + better bounce card; Manfrotto monopod (mainly to help with weight & handling - the camera + bracket + flash + lightsphere is pretty tall); three camera batteries; 36 alkaline AA batteries + 20 AA NiMH rechargeables; 7 x 4gb CF cards (may add some more). My main weakness is coverage at the longer end. I should have access to a 70-200mm VR f2.8 at the next wedding & I'm considering a Nikon 80-200mm f2.8 (two touch).

 

I'll feel happier when I have either a D200 or another D300 as backup. Better still a D700 as main + D300 as backup. However, I'd need to do more weddings to justify this.

 

I think you might find a monopod pretty useful on a boat - stability will be pretty important! Also, on a boat, I'm not convinced a second flash on a stand is viable unless you have an assistant.

[bill_keane2]

In addition to all the other fine insights, MAKE SURE you have a deliberate systematic approach to handling memory cards. Don't completely fill them, trade off at 2/3 full, AND KEEP ALL FILLED CARDS ON YOUR PERSON AT ALL TIMES. Perhaps mark the case on each with a red dot when they are used.

 

Also, it's a bit of a risk, not to have a backup body and flash (a second SB-800/600 could also be used wirelessly for fuller lighting).

 

If these clients are laid-back friends who just want a casual record, you may be OK as you are, but what if the D300 fails? What would the reaction be? THAT should help decide what gear to bring. BTW, the Tamron 17-50/2.8 is an excellent alternative to the Nikon.

[simon_hickie1]

As an addition to Bill's comment about CF cards, I number mine and use them in sequence. Each pair is in a separate case. Each case is numbered with the cards that go in them. Each card also has my name and phone number on the back. It's wise to put a new card in at the start of each main segment if the card is over half full. You don't want to be changing cards at a key point.

[michael_s6]

I'll add the obligatory comment about backup equipment so that a single hardware failure won't put you out of commission. That means at minimum a

second body. Your 18-200 could probably do duty as a backup lens, but I'd feel better with a fast normal prime (50 mm is cheap) in reserve too. A

second flash for backup purposes is also a very good idea, even if you don't use one for lighting the wedding.

[wedding-photography-denver]

Use a 16gb card and forget switching. Test it thoroughly before though. I would reco. the Sandisk Ex3's or Transcend 266x or 300x as they are all SLC architecture.

 

Lenses look ok. I would rent the 17-55 if that is the one you like. I have that and the Tamron 17-50 and the Tokina 16-50 which are also 2.8 and I use the Tokina with the D300's at the moment. I add to that either the 85 on a D700 or the 70-200/Vr at times.

 

Sb800 is great but you might want a backup of it and your camera in case of ... well, anything. I used about two sets of batteries with the 5th battery on there.

 

Beyond that, don't be afraid of using iso up to 3200, but make sure you expose well, or slightly over.

 

Best, D.

[picturesque]

First, there is shooting a wedding when you are a newbie. Then there is shooting a wedding ON A BOAT when you are a newbie. The boat means there are special considerations having to do with very tight spaces (normally) and low ceilings (normally). There is balancing really bright glare outside the windows to interior light and dealing with all those wrap around windows common on a boat. Extra lighting is probably not practical on a boat. A wide angle zoom is a must on a boat.

 

You could make do with the lenses you have, but of course, the 17-55mm would be nice. I doubt you'd have much use for the 80-200mm. And luckily, most off camera flashes on a boat are just impractical.

 

I would do searches on boat weddings, since there have been a few in the past. Also, be sure to bring enough back-up gear, extra camera and flash batteries, and realize that once you get on a boat, you are trapped there for the duration.

[jo_dinning]

In addition to Nadine's comments - I'm also curious to the size of boat and whether it will be moving. The movement

of the boat hasn't really been mentioned, but I think you have to be prepared for the movement issue and seriously

consider how you will deal with shutter speed. Of course, for all I know you could be on a cruise liner that is

anchored; but if the boat is smaller and moving, or there's a chance it could be choppy, you will need to deal with the

extra movement issues that under normal circumstances wouldn't be an issue when using slower shutter speeds. I

think you are looking at a fast wide zoom or prime, with a reasonably high ISO and decide how you will use flash to

your best advantage depending on the height of the ceilings as Nadine mentioned.

[picturesque]

Jo--you are right re movement. I have shot on boats with choppy water. It isn't a picnic.

[ilkka_nissila]

<i>it is a single SB-800. The lighting in his work is anything but terrible.<p>

With respect, it depends on talent and expertise, more than the amount of flashes one has at hand.</i>

<p>

Scenario: you're shooting an indoor group portrait in a space with colored walls and ceiling, and the available light

consists of mixed fluorescent, tungsten and natural window light (and you cannot turn any of them off), how do you get

true colors and avoid glare in the skin? I don't think it can be done without overpowering the ambient light with flash, and

if you use a single unit for that (remember, no bounce to soften the light since the walls and roof are colored), you will

get glare. This has nothing to do with talent, and everything to do with physics. Of course you can choose to not

photograph groups in such conditions but I've run into them more than once.

 

From what I remember from school photography, they used large soft boxes / umbrellas for the group shots (of roughly 30 people). The

results were excellent with no glare. I wonder why wedding photography group shots should be held to a lower standard?

[stephen_delear]

You know I think some folks over-complicate things. Makes me wish for the days where half or more shooters had done at least some Photojournalism at some point. Let see equipment:

 

f/2.8 through your zoom range and a 50 or 85 at f/1.something. Zooms are generally more useful but dark happens.

 

Film backup body with 5-6 rolls of Fuji Press 800. Film camera's can be purchased cheaply online and can be used with existing lens stock. If the lighting is just impossible, Fuji Press 800 has the best dynamic range you'll likely to see.

 

Gray Card. There's always some danger in exposing off a gray card if conditions change. Take readings where you'll need them. Remember to keep your eye on the camera's meter, the lighting conditions will change through the day.

 

Plastic Bags. you're going to be on a boat. This mean gear around water (possibly SALT water). You're going to want to be able to wrap your camera if needed.

 

I'm not sure a secondary flash is a good idea the first time out. Flash intensity will very with the distance to the subject, that can get quite complicated on a moving target.

 

Oh and remember all cameras have less dynamic range then your eye (today). The transition between a shadowed subject and bright sunlight is one of the classic situations where you have to choose between loosing the highlight and loosing the dark tones. Try to shoot to avoid this. A lot can be done with natural light, though at the wrong angles it can bring out wrinkles in the face.

[picturesque]

I agree, let's not complicate matters. I would repeat, the boat changes matters a great deal unless it is a cruise ship. And the main reason not to complicate is that this is Ted's first wedding gig.

 

I would not recommend any off camera gear, and anyway, it is not practical on a boat.

 

I would say that renting the 17-55mm is fine and good if Ted wishes. Otherwise, the 18-200mm would be OK. The 80-200mm would be OK but not so useful on a boat.

 

The SB800 is fine.

 

The other gear needed is a back up camera body, back up lens of some kind, back up flash and tons of AAs for the flash, lots of camera body batteries, and lots of memory cards. A tripod is not needed on a boat. You have to use fast shutter speeds anyway. Even a flash bracket may be impossible to use on a boat with low ceilings.

 

As for 'mainly' on a boat, implying other locations--that may be a different story.

[neilambrose]

<p>If you're on a boat the rules change a little.</p>

<p>You're using a D300, which is an excellent camera, but DX

format. So in real terms you'll get most use from focal lengths between 15mm and 50mm. Anything much longer is unlikely

to be useful. A speedlight with spare batteries is fine for flash - in fact probably ideal. Unless you're on an ocean liner, you

certainly do not want light stands and a host of off-camera strobes. You'll have nowhere to put them, insufficient space to

use them, and on a practical level, will probably have to get separate public liability insurance.</p>

 

<p>But you do need a plan for equipment failure, card failure and power failure. One camera would be very risky.</p>

[david_garcia10]

if you don't have a second body rent one then rent the 17-55 for your d300 and put your 80-200 on your second body d200?... I would also suggest renting another flash perhaps sb600? for backup. believe you me my sb800 have failed more than once but it is due to the batteries so make sure you bring plenty. bring lots of memory card, lots of batteries for your camera and the flash. goodluck!

[kevin_swan1]

Get the 50 f/1.8! It's super-cheap, and will really come in handy once the sun goes down. Other than that, it sounds like you're off to a great start. Your next priority should be a backup-body in case the D300 crashes and burns on you for any reason.

 

Good luck, post some pictures after it's done!