New photographers breaking into the business should have a solid understanding of what makes an image great: not just composition, but all the components that contribute to the art of making a great image. It starts with the right hardware, so if you are going to invest in photography equipment do your research. Understand what pixel pitch and pixel density are, what a processing engine is, the importance of megapixels, and how all pieces of a camera play a vital role in image quality.
There are a wide array of opinions on the best lenses, cameras and accessories you can purchase. To get great results you need great equipment, but great equipment is not a one-size-fits-all proposition. Teaching yourself about the different types of lenses, bodies, and accessories will help you refine and improve your hobby or profession.
I currently have two professional camera bodies, with multiple lenses, flashes, and other pieces of equipment that enable me to take amazing photos. But coming from point-and-shoot cameras, initially I didn't have much knowledge about high-end equipment. I saw my friends investing in new digital-based cameras with interchangeable lenses, and the photos they produced were amazing. My assumption was, if I got a camera like that I would be taking amazing photos, too. I soon realized there's much more to the art of photography than just getting a better camera.
The first DSLR camera I purchased was an Olympus E-500. It made a good first impression on me. The quality, compared to my point-and-shoot cameras, was like night and day. At the time, four-thirds appealed to me because of its compact, lightweight design. However, after transitioning into a serious photographer I realized this smaller sensor had major drawbacks, which hindered my ability to capture images in a variety of situations. The small sensor size made it difficult for me to increase the ISO and maintain clean, noise-free images.
I did some research and discovered there are many different sized sensors on the market. Understanding the different types of sensors and other elements that go into producing a final image led me to leave Olympus. At that time Olympus had stopped making DSLR cameras, due to heavy competition from Nikon and Canon. Since then Olympus has shifted its resources toward the mirrorless market. They continue to use the four-thirds system, but have improved on how the sensor treats noise.
Many companies like Olympus have struggled in the DSLR market. Currently, Nikon and Canon are market leaders, but many other companies are stepping up their game. Sony is a wonderful contender in the DSLR/mirrorless market, having produced some amazing quality cameras. One of the most notable of these is the Sony A7s. Inside this mirrorless camera you'll find a 12.2mp full-frame sensor. It's not the highest resolution on the market, but that's not why you'd purchase this particular camera. It's what I like to call a low light king (this is when being a little geeky pays off). Sony develops most of the sensors used in Nikon's cameras. Their quality sensors are why Sony outperforms some of the equivalent Canon bodies. Little details like this can save you money, and also give you an edge over other professionals who base everything on run-of-the-mill spec sheets. Spec sheets don't always tell you the entire story, nor do DxOMark Lab tests. Real-world tests and opinions from other professionals are key to finding out which camera is best for you.
That being said, I do have a reason why I wouldn't choose Sony over Nikon and Canon. Nikon and Canon have built an arsenal of amazing lenses, and have had time to perfect them over the course of decades. Sony, being relatively new to the market, hasn't had enough time to produce and promote their line of bodies and lenses. Glass (lenses) are everything. In my experience, Canon produces some of the best glass out there. Nikon is the top contender with their better bodies. I would seriously encourage you to choose your preferred manufacturer based on the glass you have or want to purchase. Canon and Nikon offer many similar lenses, but each produces some unique ones specific to their brand. Understand what you are going to be shooting—whether it will be sports, weddings, landscapes, automobiles, real estate, portraits, etc.—and select a manufacturer accordingly.
I chose Nikon over Canon for many reasons. Nikon has a better
dynamic range than Canon. This dynamic range helps bring back details in shadows and darker parts of the image, or an underexposed image. Most of the mid-range bodies Canon offers have trouble resolving detail at higher ISOs compared to Nikon's system. This leads to softer, noisier images when shooting at higher ISOs. Even though glass is everything, I can't afford to have soft images. While Nikon's lower-end glass, like Canon's, has some issues with color aberration, fringing, and vignetting, the professional-end glass is simply amazing to use. Canon has amazing glass as well, but their build quality on their lower-end lenses, like the 50mm f/1.8 II, is awful. This doesn't mean the image quality from the lens is awful, just the build quality. It's all plastic, with a plastic mount, while Nikon's feels better in the hand with the inclusion of a metal mount. Canon does cost half of what Nikon does, but I would pay extra to get a better mount and build quality, and the bag and lens hood are a welcome addition. If you are a Canon shooter, there is no reason why you shouldn't purchase the 50mm f/1.8 II lens. It's a sharp lens for photography. Just be aware of its unruly characteristics. Be proactive, do the necessary research and make a wise choice before investing your money. Professional-grade lenses will typically retain or even increase their value over time.
So where does that leave the others? Sony acquired Konica Minolta back in July 2005. Since then, they have been developed some desirable DSLR/mirrorless cameras and camcorders. Fuji, Panasonic and Pentax are also producing desirable cameras. And Olympus and Samsung are pushing the envelope with new technologies: Olympus recently announced a feature called “pixel shift." Olympus added this feature to the Olympus OM-D E-M5 II, and it's able to capture a massive 40mp photo with a 16mp sensor. By shifting the sensor while capturing your photo, it can actually combine multiple shots into one massive image file. The main downside with this setup is that you need to use it on a tripod to capture the sharpest image. In the future, Olympus believes it will work shooting handheld, without stabilization. Keeping up with the current trends and understanding where the market is going is vital to keeping your business fresh and current.
After my divorce from Olympus, I married into the Nikon family. Most references in this book will be about Nikon equipment, but I will touch on some Canon equipment as well.
I purchased a Nikon D5200 kit and a 70-300 f/3.5-5.6 VR II lens, excited to take more professional-looking shots. In hindsight, I wish I hadn't purchased the D5200 with an entry-level kit lens. It's a cheap, slow lens that incorporated Nikon's
vibration reduction (VR)technology. The VR helps capture still objects in focus at lower shutter speeds, but this only applies to still objects. VR is also great for recording movies on the camera.
The D5200 had an articulating screen, which was prized by videographers. On the stock lens, the focus ring was right on the front optical element, which rotated. The problem with this design was that if you were to put a polarizing filter on the front it would cancel the filter once you started focusing. The second problem was poor-quality glass, cheap build quality, and loss of stops of light. I decided to sell this less-desirable lens and move to a higher-quality one.
My first lens purchase at this point is one I would still highly recommend to both Canon and Nikon users. Regardless of which company you buy from, most have this particular lens. I purchased a Nikon 50mm f/1.8 FX prime lens for $220. This lens had a very good build quality, great optics compared to conventional lenses and it provided professional results. The return on investment (ROI) is why I recommend this product to anyone on a startup budget who would like to earn extra income through photography. I later sold the lens and replaced it with the 50mm f/1.4 FX lens. It was double the price, but I can get sharper images at f/1.8. Usually, wide-open lenses will produce softer images. This is why people spend so much for larger apertures, so they can "stop it down" and achieve a sharper image.
The D5200 was a great starter camera, but there were too many drawbacks to using entry-level equipment in a professional setting. I decided I had to take a risk and invest a lot of money into the right equipment. Without the correct tools, I wouldn't be able to compete with many local photographers.
It was then that I began taking my professional career as a commercial wedding photographer seriously. I began investing in professional equipment and downsizing my inventory of consumer-grade products. I sold my D5200 kit, which I took a hit on. It did not add any production value and took up unnecessary space. I did shoot my first wedding with the D5200 as a secondary camera, but it was no match for the primary D600 body I had purchased a month earlier. If I had to do it again, I would purchase a more professional full-frame body from the start.
In 2013, the Nikon D600 was the industry's most affordable full-frame camera to hit the market. I was thrilled to own it. It priced at $2,000 just for the body, but paired with the 50mm f/1.8 lens I owned, it was a match made in heaven. But shortly after purchasing it, I learned Nikon had an issue with a small number of D600s.
Oil and dust were the enemies of the D600s. Fortunately, I never experienced any issues similar those posted online. In fact, many reported examples I found to be unrealistic. To achieve those results, you would have to set your camera to the smallest aperture (f/16 or higher) and shoot at a bright, white wall or white, cloudy sky. From my experience, in those conditions all cameras will see some residual dust and/or oil. This is why you should have a professional clean your sensor and camera lenses occasionally. If you are comfortable enough to clean them yourself, there are several DIY products on the market.
Shortly after the release of the D600, Nikon released an improved version called the D610. Minor upgrades were included on this body, but the overall style remained the same.
Before I sold my D5200, I purchased the D800 FX body, along with the 24-70mm and 70-200mm f/2.8 FX lenses. I then completed my prime collection with the 28mm f/1.8 and 50mm f/1.4. However, just because I had the equipment didn't mean I had everything necessary to be a good professional photographer. There were plenty of other pieces I needed to purchase in order to streamline shooting. After getting the necessary camera and lenses, I ventured out to obtain additional accessories that would make my photos better.
If I wanted to compete with other professionals, I had to understand how they were shooting and what equipment they used, including strobes and flashes. I started studying professional techniques and post-editing tricks to beef up my capabilities.
Much to my surprise, the type of camera strap became an important decision for me. Camera straps may seem fairly trivial, but after shooting a wedding with two cameras on standard straps, I knew there had to be a better way. I found a company that makes a strap system you wear as a shoulder harness. It is very comfortable and gives me the freedom to move around and capture images with ease. It's the small things that will make a difference in your workflow throughout a job.
Off-camera flash (OCF) became another necessity. Using off-camera flash is a technique that took a while to master. I tried using the Nikon creative lighting system, but it fell short of my expectations. Nikon uses infrared technology that limits the distance, flexibility, and communication between the camera and flash in bright daylight and other environments. I eventually purchased a radio transmitting system called PocketWizards. This system was able to perform in all conditions, regardless of where I placed my flash. It transformed my ability to shoot in low light.
Cases, batteries, and modifiers for my flashes are just some of the other accessories I purchased as my photography career progressed. You'll soon realize that there is much more to photographic equipment than just a camera body and lens, and that all of this equipment is expensive. It's important to take your art seriously and do it right. I urge you not to compromise when it comes to investing in equipment, especially for business purposes. If you don't have the cash or a business loan to purchase equipment, take your time and save for it. Avoid purchasing low-grade equipment; if you do, you'll pay dearly for it later.
While, the equipment I use in a professional setting captures amazing photos that my clients love, how you prepare and what you bring to a shoot personally is exceedingly valuable. I will always remember what a fellow professional photographer once told me: "The best camera that you own is the one that is with you." Sometimes I think we take this for granted.
For some, starting a business may seem out of reach, but with a little guidance it is possible to build a brand and a business. Of course, you will need to lay some important groundwork prior to going into the wedding photography business, including addressing:
Later in this book I will share a larger list of the points you'll need to address, and revisit each one in more depth. But to start, these are the most important points to keep in mind.
Sit back and reflect for a moment on what you hope to gain by turning your passion into a profession. Starting a business may sound like a great idea intellectually, but when it comes time to execute your dream things may not flow quite as fluidly as you imagined. Ideas and passion are the essential qualities that any aspiring entrepreneur should have. Whether your business concept is about photography or something else, it should be inspired by your love of the craft. Starting out is hard; it's your passion and love of what you do that will keep you grounded and help carry you through the tough times. So if you are serious about starting a wedding photography business, make sure you have a fundamental understanding of what is expected from you as a professional.
I am lucky to have a well-balanced combination of marketing, web, graphics and photography experience to bolster a business on my own. However, this isn't the norm, and it doesn't mean you need skills in each of these areas to succeed. Many professionals with whom I have come in contact didn't start with half of what was required to be in business for themselves. The one common denominator was their passion and love for the art of photography. I have helped many people turn their weaknesses into strengths, and also assisted them in building their brand. Of course, I have weaknesses too. My biggest weakness when it comes to business is accounting and finance. Math was never my forté, but it's now an integral part of my life. Instead of letting your perceived weaknesses hold you back, I encourage you to do research and ask for help from those who support you and have a mind for the things you may struggle with. Don't let the apprehension you feel about one skill set cause you to hesitate. You have to find the tools necessary to hone and sharpen your natural abilities, and be willing to put in the time and effort to learn the skills you don't possess.
Before starting a business, you should not only love taking photos, you should enjoy the business end of photography. You need to be able to sell your services, market your brand, maintain flexibility, and improve your organizational skills. Taking pictures as a hobby is completely different than taking photos professionally. Keep in mind that only approximately 10 percent of your time will actually be spent taking photos; the other 90 percent will consist of the business elements.
Now that you have an overview of my first year, I will take you deeper into the reasoning behind many of my choices. Together we will dissect what I did and why I did it. This book is designed help emerging professionals by providing guidance on how they can become successful as commercial wedding photographers. All of the ideas and suggestions contained herein are a framework. It is up to you to come up with your own business model, style, and approach. I aim to share some of the challenges and successes I encountered along the way, so that, hopefully, you'll be able to take bits and pieces of my experience and apply them to your journey.
