Chapter Three: Getting Your Gear On!
chapterthree

Now that you've done your homework and started down the path in your business endeavor, it's time to determine the type of gear you really need.
If you are new to digital single lens reflex (DSLR) bodies, I recommend practicing in all shooting conditions. The most important step is to familiarize yourself with the platform you've chosen. A majority of professionals will be using Canon or Nikon. I, myself, am in the Nikon camp; however, both brands have strengths and weaknesses. Choosing the company you prefer is important, since investment in expensive glass could complicate things later if you decide to switch. This doesn't mean you can't shoot with other brands, such as Olympus, Panasonic, Samsung, Sony, or even Pentax. It just boils down to the selection of glass each company offers. There's a reason Canon and Nikon are currently the frontrunners in the camera industry. Diversity, quality, and selection are key.

DSLR Bodies:

Panasonic and Olympus are pushing four-thirds and micro four-thirds. Many professionals are using these cameras to shoot video and movies. Panasonic is a leader in compact, high-quality 1080P and 4K DSLR cameras; however, for photography, these smaller sensors have trouble gathering the same amount of light as their full-frame counterparts.
Sensor size, pixel density, pixel pitch, maximum shutter speed, and ISO sensitivity are specifications you'll need to understand. In theory, larger sensors perform better in low light due to the surface area. Small sensors can't gather as much light, and this is why it's perceived that smaller sensors are nosier than full frame. While larger full-frame sensors naturally will collect more light, there's more than just a large sensor that will determine how your camera will shoot in dim light. Pixels are measured in microns, and full-frame sensors can allow larger-sized pixels on the sensor to gather more light. Pixel pitch is the distance from the center of a pixel to the center of the pixel measured in millimeters. For instance, a full-frame sensor with 16mp versus a full-frame sensor with 36mp will have larger individual pixels compared to the higher megapixel sensor. Larger pixels will give each pixel more light sensitivity. This, in turn, makes the camera able to shoot at higher ISOs with less noise. New micro four-thirds camera systems can handle shooting at higher ISOs with less noise, but still cannot compete with full-frame sensors and their ability to capture more light.
To understand how this all works, let's dive into the sensor, shall we? A sensor is made up of many tiny receptors, called pixels, which receive the light. The larger these sensors are, the more sensitive to light they are, which in turn produces a better-quality image in various lighting conditions. Pixel pitch is a technical term for the size measurement of individual pixels on a sensor. The larger the individual pixels, the better it is at capturing light in dim settings. Typically, six to eight microns is very good in terms of pixel pitch. The pixel pitch of most compact cameras will be less than two microns. Many high-resolution DSLRs have smaller pixel pitch due to the increased megapixel count. That is why many photographers prefer full-frame cameras with fewer megapixels and larger individual pixels.
There are many sensor sizes on the market, from the APS-C (crop sensor) to the medium-format sensor. Most commercial photographers will use one or a few of these different formats when shooting commercially. Personally, I prefer full frame, but each sensor has many strengths and weaknesses. As a wedding photographer, my main concern is obtaining quality dynamic images with low noise. This noise should not be confused with the grainy texture from the days of 35mm images. Digital noise is typically less attractive than grain. To minimize this type of noise in your photography, set the ISO between 100 and 800. Pushing the ISO above 1600 on some cameras introduces unattractive noise. Many cameras are capable of shooting at 3200 ISO with respectable, usable results. Many professionals claim to only shoot up to 800 ISO, but with newer equipment I am able to capture images close to 10,000 ISO. Keep in mind that this is not recommended, and you should always shoot at the lowest possible ISO setting. To me, getting the shot is more important. There are many techniques you can use to keep your ISO low while still yielding beautiful, powerful photos.
Many professionals will choose a certain body or sensor based on the type of photography they are shooting. Landscape photographers will typically use a high-end crop sensor for the extra reach in focal length. Crop sensor bodies are wonderful to use. While many will want to own a full-frame camera, crop sensor bodies have an advantage for landscape or wildlife photography.
Crop sensors from each manufacturer have a multiplier based on the crop factor. All measurements for lenses are based on full-frame specifications. This is important to understand, since it will provide the ability to purchase lighter and more affordable lenses. Full-frame systems will allow you to shoot in crop mode to take advantage of the crop factor, but your resolution will diminish since you are only using a portion of the full-frame sensor. This is why most professionals who shoot wildlife will select a crop sensor camera over full frame. They are able to retain the high resolution while shooting with a multiplied focal length. Nikon APS-C system uses a crop factor of 1.5x, and Canon EF-S uses a crop factor of 1.6x. To figure out the actual focal length, you must multiply the focal length by the sensor's crop factor. If a wildlife photographer were shooting birds, he would need a long telephoto lens. For example, Sigma makes a 150-600mm f/5-6.3 lens for full frame cameras. This isn't a fast lens, but it's much lighter compared to faster lenses. If you were using this on a Canon APS-C system, the focal length would end up being 240-960mm.
Crop factor should be applied to your aperture as well. Please keep in mind, the aperture affects depth of field, and this correlates directly with the size of your sensor. Regardless of what lens you place on your body, the aperture of that lens does not physically change because it's on a crop sensor body. If it says it's an f/2.8, it will remain an f/2.8. The crop factor doesn't make it any slower because it's on a crop sensor body. While this won't change the physical properties of the lens, the crop factor does impact how the camera treats the depth of field. For example, if you used an f/2.8 lens on a crop sensor body, the depth of field would mimic an f/4.5 aperture. The crop factor is only factored when you need to achieve the same results as a full-frame sensor. The lens is still an f/2.8, and will provide plenty of light to the sensor, but the depth of field will not be the same as an f/2.8 on a full-frame camera. This is why point-and-shoot cameras and mobile phones can't duplicate the results of larger sensor cameras.
What you need to remember is, sensor size will determine how your aperture will reflect your depth of field. A larger sensor will provide a thinner depth of field.
Most amateur photographers start off with crop sensor bodies because they aren't expensive and are full featured. Also, the most expensive system is not necessarily practical or useful. Many companies will want you to drop thousands of dollars on their most drool-worthy, top of the line cameras. I'm not saying that you should buy the base model and call yourself a professional – photography is not a field where you should “fake it ‘til you make it.” Many cannot justify $2,000 for a piece of glass or a body. You should get the best quality glass you can afford, and purchase a body that will be appropriate for your budget. In a later chapter, we will thoroughly discuss the type of glass you should consider.
Flagship camera bodies are workhorses, and a dream to use. They are designed and built for the most demanding jobs. These cameras are priced high because of their amazing sensor quality, speed, shutter life expectancy, and superior build. The type of photography you'll be doing should dictate your equipment purchases. You need to buy what will get the job done optimally, efficiently, and effectively. I wouldn't advise you to buy equipment you covet simply to have it. Make sure it's going to complement your work.
My commercial wedding photography business consistently demands clean, noise-free images. The Nikon D4s (2014 model) is a monster in low light and speed. Its primary purpose is to shoot in all conditions and capture the moment flawlessly. Every year companies will improve upon their technology. The Nikon D5, a 20.8mp, full frame camera is a testament to that. Shooting at 14 frames per second (fps), with mirror locked, it is one of the fastest cameras on the market to stop the action. The D5 (2016 model) will also have a choice of dual CF card slots, or dual XQD card slots, depending on what you prefer. But excellent quality comes at a cost: $6,500 for just the body (sans the lens). There are some caveats as well. The resolution is limited to 20.8mp. While that’s great for most applications, some photographers need billboard-sized prints or the ability to crop the image in post-production. The Nikon D5 also boasts 153 autofocus points, 99 of which are cross-type, and a native high ISO of 102,400 extended to a whopping 3,280,000 (3.2 million ISO). To compare, that’s where the Nikon D800 would come into play, at 36.3mp. However, with that resolution comes additional noise, since the pixel density is higher. The newer D810 handles the noise much better than its predecessor, and the even newer D750 found a balance with high ISO performance and an ample amount of resolution. Choosing your equipment will always be a toss-up between the features that matter most to you, cost, and functionality. Sometimes a little compromise is necessary to get the best overall impact.
As you can see, there are many different bodies, lenses, accessories, and companies to choose from, and making the right choice is key. If you are serious about your business, I would strongly advise you to purchase a professional-grade body versus a consumer-grade body. Try not to get hung up on all of the newest and latest gear. Camera bodies can last a while, but not as long as great glass. Glass, taken care of, can outlast many digital camera bodies.
Even some of the older professional bodies have life in them and can provide decent results. Prior to the release of the Nikon D750, the Nikon D700, at 12.1mp, was a full-frame camera praised by many professionals as one of the best low-light cameras available. Nikon discontinued it though, and delivered the D750 in its place.
Your talent and skill is the most important aspect to add to all of this. Keep that in mind when choosing your equipment, because your equipment isn't going to make you any more talented than you already are – it's meant to showcase your talents in a way that differentiates you from other photographers. This is why many amateurs cannot replicate what professionals achieve. Yes, the right equipment helps make great photos even easier to capture, but it s your eye as a professional, and fundamental understanding of your equipment, that will set you apart from others. Keep studying how your equipment works, and soon you'll know how to achieve optimal results with minimal gear.

Strobes/Flashes and Triggers:

Some of the best photographers are purists in terms of their approach to photography. The use of external light sources isn't part of their workflow. Natural light photography lends itself to a more flattering look for your photography. While I love using natural light, I like the creative freedom strobes and flashes provide. If your camera includes a built-in flash, refrain from using it unless you are trying to trigger another flash, or using it as a fill flash. Direct flash will flatten your subject and produce less than desirable results. Throughout your journey, you'll hear many people talking about direct flash versus off-camera flash (OFC). Learning how to manipulate light will help make your photos more impactful. Using a speedlight will help you improve the quality of your photos in poorly lit rooms. Speedlights are portable, small, and lightweight. In practice, the larger the light source, the softer the light will be. Remembering this will be crucial to capturing photos with beautiful quality light.
High-power strobes are another option. These types of strobes typically require a power outlet and have the ability to deliver a high-wattage output of light. There are many manufacturers that make these strobes, from the affordable 400-watt series to the very powerful and expensive 1,000-watt versions. Strobes have many practical applications for event work, and can change the way you capture images in difficult lighting scenarios. Selecting strobes or speedlights will depend on the work you do and the quality of light you need. Later, we'll talk about modifiers and which ones can transform a speedlight or strobe into an amazing light source.
During the startup phase of my career, I was very aware of the amount of cash required to purchase quality equipment. I balked at the idea of spending $500 on one flash, so I decided to purchase a Nikon SB-R200 flash and trigger it with my on-camera flash. This flash is meant to be used for a totally different purpose than I would use it for. The SB-R200 flash was designed for macro photography. It supports Nikon's CLS system, but at that time I didn't understand how Nikon's CLS worked, and it negatively impacted the results of my photos.
I graduated to the Nikon SB-700. It was a more affordable unit, at around $340. I placed one on top of my main camera and another on a light stand. My second wedding had more creative lighting but it still fell short of my expectations. I was really disappointed with the lack of reliability of Nikon's CLS because it uses infrared (IR) technology instead of radio signals. In a perfect situation this is fine, but I was shooting indoors, outdoors and everything in between. Nikon's CLS system shines in studio work, where you can control the conditions.
After that wedding I realized using Nikon's CLS wasn't for me. I needed to change my thoughts on cheaper equipment, so I turned my focus to what the “professionals” were using. After doing hours of additional research and observing other professionals with triggering systems, I found PocketWizard. This wireless triggering system has no limitations with direct sunlight, interference with objects, or distance. The system uses radio signals instead of IR signals, which means I can shoot on the sunniest day or 1,000 feet away from my subject and still capture excellent images. Not all wireless systems are equal. Unlike Nikon, Canon uses a radio frequency like PocketWizard, but their operating distance is much shorter. Their radios are built into the flash units themselves. In most cases, Canon's RF system is adequate for events, but to get really creative with light I would recommend using PocketWizards or another triggering system with a longer range.
PocketWizards are not the cheapest systems to purchase, but I've only heard and experienced great things when using them. On an individual device basis it's not an expensive system, but it can add up quickly. I chose the PocketWizard system that uses (through-the-lens) TTL. I purchased three FlexTT5s, two MiniTT1s, and two AC3 ZoneControllers. The total cost for these six units was about $1,220. I recently acquired two additional FlexTT5s, one MiniTT1, and an AC3 ZoneController for Canon. The return on investment has been so great that I would purchase more in a heartbeat. The expense is justified because these systems transformed the way I approach photography at events.
The beauty of the PocketWizard system is that it can be used in full manual mode or in TTL metering mode. Many professionals agree that getting your flash off the camera should be one of your first goals. I stick with this system because it enables me to focus on capturing the moment, rather than messing with settings. The PocketWizard's versatility lets me decide how I want to shoot and capture the light.
Let me illustrate how the PocketWizard system works. FlexTT5s sit on flash stands with external flashes attached to them, and the FlexTT1s mount to each of my camera bodies. The camera actually thinks the flash is on top of the camera and sends all of the TTL data directly to the flash, wirelessly. On top of each FlexTT1 unit, I place an AC3 ZoneController unit to give me full control of each flash unit. I can take the flash in and out of TTL mode and place it in manual mode. This unit also provides dials to control the stops of light or power the flash. Having this much control at your fingertips is helpful when moving around quickly. I can concentrate on capturing the moment instead of diving into countless menus or running over to the speedlight for adjustments. These are just a few things you have to think about when shooting a fast-paced event. Be prepared for anything.
After shooting several weddings, I realized the SB-700s were a decent choice, but were not without their limits. Because of this, I wish I had purchased the more expensive SB-900 or 910 when starting out. They include features like external battery packs, longer flash range, and more wireless options for a robust setup. Ultimately, I decided to purchase a used SB-900, in mint condition.
While Nikon's speedlights are typically better in build quality and performance, there are many well-qualified third-party vendors that make a comparable flash unit for a fraction of what Nikon charges. Comparing an original equipment manufacturer (OEM) to a third-party flash, the differences may be hard to spot, but they do exist. For example, the SB-900 flash by Nikon uses better-quality plastic, sensors, and dial controls than the other company. The focus assist lamp on the Nikon uses a prism to spread out a light source across the subject, while the cheaper flash only uses small LED diodes. These points may seem trivial, but they will affect the flash unit's performance. Of course, many will agree that you can purchase three flashes for the price of one Nikon. Shooting professionally, I demand quality, since I'm getting paid to do a job. If this isn't a hobby, and you are getting paid for your work, I strongly advise you to invest in name brand, quality products. One thing you don't want to experience is equipment failure when you are on a job because you purchased cheaper, less reliable equipment.

Memory Cards:

I can see why so many people get confused by memory cards. There are many icons, indicators, and specs that you should understand before buying one. Remember, you get what you pay for. I'd advise you to stay away from the cheap cards. If a memory card is only $8, even if it's made by a reputable company, that's still only $8 in reliability. I'm not trying to discount inexpensive cards, but the quality of the flash chip inside and the speed won't be up to the task of commercial use.
Speed is everything with memory cards. At one point, capacity was the reason to upgrade, but now that larger capacity cards are less expensive, you'll be paying more for the faster read/write times of these cards. It is not uncommon to spend hundreds of dollars on cards that write up to 500 MBs per second. Here is a list of some types of memory cards.
Out of the entire list, a few standards are secure digital (SD), Compact Flash (CF), Extreme Digital-Picture Card (xD-Picture Card), Compact Flash Fast (CFast) and XQD cards. SD and CF cards are becoming more of the standard over all of the others.
Olympus and Fujifilm were the creators of the xD card format, which had promise back in the early 2000s. However, as memory card sizes quickly increased it became harder for the xD card to stay competitive. Theoretically, the xD card could only hold up to 8GB of storage, even though this capacity was never brought to market. Consumers used to think they would never use 8GB of storage. The largest available capacity was 2GB before it wasretired. Today, we consider 2GB miniscule. A great example of this is smartphones. One of the biggest features in phone comparison is memory space. The majority of the “Smartphone Generation” scoff at a 16GB phone. Part of the reason is that the pre-installed apps take a considerable amount of space away from what the consumer actually gets to experience. But with all of the pictures, video, streaming, games, and text messages we keep on our phones nowadays, people are opting for phones with larger factory storage capacities of 32 to 128GB, or phones that come with extended storage in the form of micro SD cards. This illustrates why the xD format is now obsolete, and no longer used on modern cameras. You may see these cards in stores, as the Olympus and Fuji cameras are still around, but just be aware that they are antiquated and won't be the tool of choice for most professional photographers.
CF cards used to be among the most prized memory cards for professionals, mainly because of speed. The advantages of CF cards compared to other memory cards were larger size, transfer speed and larger memory chips. This made continuous shooting possible on high-end DSLR cameras. To this day, many professionals will seek out DSLRs that only use CF cards, but that trend is slowly shifting with the emergence of newer formats and technological advancements in memory chips. If you're still in search of quality CF cards, Lexar and SanDisk are some of the leading companies producing this type of reliable flash media.
Secure digital (SD) cards have become a widely used format and a standard for most cameras. The majority of consumer and prosumer cameras use only SD or a mix of CF and SD card formats. They're compact, lightweight, and affordable, coming in many sizes and speeds. This makes SD cards a popular choice for manufacturers to put in their cameras. Some DSLRs have two slots, since the cards have a small profile. SD cards now come in sizes that were once not unimaginable. A 512GB card is amazing to have, and 1TB cards aren't too far off.
CFast and XQD are emerging card formats as I write this. XQD cards are a format Nikon introduced with their flagship D4s and, at the time, they were the only model DSLR to support the XQD format. This format was introduced by Sony in the first quarter of 2012, boasting a read/write speed of 1 Gbit/s. It uses PCI Express bus as a data transfer interface. Peripheral Component Interconnect Express (PCIe) is a high-speed serial expansion bus based on the older standards. PCIe has numerous improvements, which include higher maximum system bus throughput, lower I/O pin count and smaller physical footprint. These two formats are more expensive than their sibling counterparts, but performance is huge.
CFast is a variant on the ever-so-popular CF card. It's based on a serial ATA bus rather than the Parallel Advanced Technology Attachment (PATA) bus (which previous versions of the CF card are based on). The standard is aimed at video professionals who are currently using PCI-based SxS cards and P2 cards. In the fourth quarter of 2012, the CFast 2.0 specification was released. These are ultra-fast cards that allow frame rates as high as 200 fps.
Lately, ultra-fast read/write times for memory cards are what professionals need, and there are many factors that play into achieving the fastest speed. To analyze this, you must understand the code that's written on the cards. SD cards, for example, have so many specs that they can be confusing to some consumers. There's SD, miniSD, microSD, SDHC, miniSDHC, microSDHC, SDXC, microSDXC, SDHC UHS-I and UHS-II, SDXC UHS-I, UHS-II and UHS-3. Then you have to look at the symbols as well, for the speed class. The classes are 2, 4, 6, 10, and also U1 and 3. Each class and type of SD card serves a distinct purpose that photographers should be aware of in order to decide which one will meet their needs. UHS-3, for example, requires support from the camera itself to achieve the specified read/write. SD Association designed these cards with a second row of pins to achieve bus interface speeds up to 300mbs per second for SDXC and SDHC devices and cards. Speed specs also apply to the CF format, they just have different identifiers. These small details may not seem important when you are first starting out, but when it comes time for you to make an impression, you need to have the best quality media in your camera. You do not want to lose or forfeit any of the photos you take because of a cheap memory card.
Typically, brand name cards will be more reliable than generic ones. But there are plenty of other suppliers outside the mainstream. SanDisk, for example, is well known in the consumer market, but isn't necessarily best for professionals. Then there’s Lexar. Lexar is a leader in professional media for DSLR cameras. The quality of the flash chip is usually better in these cards. SanDisk does make some decent cards, but from experience and testimonials by other professionals I've decided to stick to Lexar professional media.

NAS:

Be smart when choosing your camera system, since you have to store your photos somewhere when you take them. It will be hard to manage the data from these cameras when shooting in full resolution RAW if you do not have an adequate storage system to contain the large files. If you want the detail that these high-resolution cameras offer, you should really invest in a network attached storage (NAS) system. These systems can offer multiple terabytes (TB) of storage for your files.

Batteries:


Great batteries are an absolute necessity for your professional needs. Whether you need batteries for your DSLR camera, flashes, or accessories, having the best batteries is of the utmost importance. Failure to take the proper steps to ensure you have the best quality and sufficient quantity of batteries on hand can put you at risk of being unprepared on the job. Make sure you capture all the moments you possibly can without worrying about batteries dying in the middle of an event.

Many professional camera bodies offer additional battery capacity with a battery grip. This serves two main purposes: The battery grip has a vertical holding grip ;for easy handling during portraiture. The grip also provides you with all of the control necessary to use the camera in a vertical position. The second purpose is to provide space for an extra battery. The ratings on camera bodies include the estimated number of shots you'll be able to take given the life of the included battery. Lower-end bodies will typically only allow for 500 shots on one battery, while high-end pro models will support 1,300 or more shots with one battery. Having the ability to change batteries while shooting will keep you in the thick of the action instead of fumbling with your equipment.

There are many knock-off brands purporting the same capabilities for a fraction of the cost. There should be a sign that says “buyer beware,” because these knock-offs are usually made from low-end plastics, and the fit and finish are less than desirable.
The original equipment manufacturer (OEM) products are made of solid, high-quality materials like magnesium alloy and first-rate ABS polycarbonates (plastics). Most third-party grips are also not made out of the same plastics and, therefore, are usually not weather sealed like their OEM counterparts. I would encourage any paid professional to buy the grip from the manufacturer. There's no need to risk not getting a photo because of a poor-quality battery grip. I'm not saying that all third-party grips are mediocre, just put in the due diligence so you can make a smart decision.
For people using AA batteries in their flash units, I would suggest using certain brands and capacities. Panasonic Eneloops, Powerex, and Ansmann are just a few of the companies that make outstanding-performing batteries for professional use. When looking into batteries, take note of the capacity and how many times the battery can be recharged. Capacities around 2000 mAh have a balance between capacity and longevity. This is the type of battery I prefer to use in my speedlights. Many major brands aren't all they're cracked up to be. Some major brands seem to be the primary choice for many, but diving deeper into the specifications of the cells themselves will uncover the true quality of the battery.
From the perspective of a professional, it's important that the batteries you select strike a balance between quality and performance. You're trusting that they'll be ready when you need them and perform exactly the way you want. There are a few things to be aware of before purchasing them.
Shelf life takes on a new meaning in terms of rechargeable batteries. All rechargeable batteries have a discharge rate, meaning once fully charged, they slowly lose their charge over time.
Consider the capacity of the battery. Batteries are labeled by the mille-amperage hours (mAh), which are units of electric charge and capacity. The greater the value of this unit, the longer the battery will work and last in high-powered devices. These types of batteries are typically more costly, but provide additional hours of functionality. Besides the higher cost, there's one other catch: When the mAh capacity is greater, you actually get fewer full recharges. In other words, the life of the battery is shortened and it won't recharge as many times. This means you may have to purchase more of the high-capacity batteries to achieve the desired effect.
Panasonic Eneloop seems to be a leader in the world of batteries for professional photography. This is the preferred brand of many pros, including myself. It was developed by Sanyo and brought to market in November 2005. When Panasonic acquired Sanyo in 2013, they changed the packaging for the batteries. Panasonic continued to improve upon the brand originally introduced by the Sanyo precedent. The main reasons professionals love these batteries are the low discharge rates and consistent power output. Reliability and consistency are very important in the world of photography.
Be cautious of rapid charging units. Some companies produce a 15-minute charger that really does a number on a battery's lifespan. Although it can charge a battery in 15 minutes, it puts wear and tear on the cells themselves, and raises the thermal temperature of the battery. Most rechargeable batteries have a thermal envelope. Recharging batteries in extreme cold or very hot conditions can reduce the charge acceptance. All rechargeable batteries should be brought into moderate temperature conditions before charging.

Modifiers and Stands:

Once you have enough equipment to feel comfortable shooting, you should look into modifiers and/or stands for your strobes and flash units. Modifiers are great tools for expanding a single light source into a larger one. Many photographers use modifiers to produce different quality light from varied sources, like the sun, flashes, or strobes.
If used properly, modifiers such as umbrellas and softboxes are great for studio work, and can help at weddings too. They help enlarge small light sources. Larger light sources soften the light that hits your subject. That's why some prefer to shoot on cloudy days, because the clouds act as a natural softbox. Then you can introduce a softbox with a light stick and modify your white balance settings to reproduce a warm sunny day. Modifiers can add many tricks to your arsenal, with or without the use of natural light.
Creating a light stick is one of the easiest ways to add rim lighting or a kicker light to your portraits. Kicker and rim lighting is a lighting technique that provides a thin line of light to the outer edges of your subject. This creates a glow and separation from the background. To create a light stick you need is a monopod, a PocketWizard (FlexTT5), and a flash unit. PocketWizard has a tripod mount that easily attaches to a monopod. Attach your flash to the PocketWizard. Congratulations, you have just created a flash stick. Now your assistant, if you have one, can hide behind subjects, and you can control the output power of the flash using PocketWizard FlexMini with an AC3Controller.
Incorporating additional light sources into your workflow might seem like a small thing but, if mastered, can dramatically change the way you capture images. It can set you apart from all the other people holding a DSLR at a wedding. Your potential clients will see the difference and business will continue to grow as referrals start coming in.
Understanding natural light and how it can be used in your photos is not as clear-cut as you might think. The best thing you can do to understand natural light better is to practice. Test different settings and see what the results are. Play around with modifiers and see what you like and don't like. Sometimes trial and error is really the only way to fine tune your process and develop results with an element of predictability.
Lighting is everything: If you can understand how light works and train your eye to see like the lens of your camera, you can save valuable time and quickly hone your skills. When I walk into a room, I analyze the entire space. I search for my available ambient light sources, review the kelvin the lights are emitting, and decide where I can add additional lights to help create the kind of shots I'm going to need. Don't forget about your camera's built-in light meter, and reference it when necessary. I test my ability to understand which camera settings I should use before even taking a single photo. By doing this, I am training my eyes and brain to automatically process the environment like the camera does, which makes it easier to manipulate the results. With practice, you can start seeing light like your camera. Your eyes are extremely sensitive to even the smallest amounts of light, and your camera's sensor is far less sensitive. By repeating this test, you'll train your brain to decrease the light sensitivity ratio and increase your chances of getting a better photo in a fast-paced environment.
If you're in the market for light stands, make sure they are made of quality materials. There are plenty of cheap, poorly made light stands that can get the job done – but you don't want to just get the job done. I've purchased a few lower-quality light stands, and one broke during a wedding reception. Trust me, I learned the hard way. It looks very unprofessional to be trying to rig your light stand instead of taking photos. I now purchase more professional-grade, durable stands. While expensive, they offer more reliability and stability for my expensive PocketWizards and flash units. It's a worthwhile investment that helps protect your gear.
There are many types of flashes, strobes, modifiers, and accessories you can purchase for your photography business. It is key to select the right ones that work for your business and your budget. It's not a requirement to purchase high-end equipment, but I encourage you to do some research and see what other professionals are using. Things are often popular for a reason. Researching products and talking with other professionals has made my professional career more successful. Still, no matter the equipment, it is the photographer that gets the shot.

Gray Market/Imported:

Gray market (import/direct import) leaves a bad taste in people's mouths. People may associate imported items as being inferior to the U.S.-warranted products. This just isn't true. They all come from the same factories and use the same components, sub-assemblies, and are produced with the same specs and tolerances. There are white, black, and gray markets. Don't confuse gray market items with black market items. Black market is the sale of illegal and/or stolen goods. White market is the legitimate sale of items, while the gray market falls somewhere in between the two. Gray market goods must be sold with a clear description that they are imported. The retailers must disclose the distinction between their U.S.-warranted products and their importer versions. For photographers, equipment labeled gray market typically means the goods have been imported by someone other than an authorized distributor or agent.
When purchasing equipment at retailers, like Best Buy, all the products in store come with a U.S. manufacturer warranty. Many companies produce multiple versions for different markets. While big box stores will not sell imported products, online retailers can. If a camera body is cheaper, it's typically a gray market/imported piece of equipment. Does this mean it's less of a camera versus the U.S.-marketed version? No. However, there are differences in the background services you receive with that purchase. For example, if you decide to purchase a camera body from an online retailer that has been labeled gray market, some minor differences may be apparent. Model numbers from different regions could change, warranties will not be honored if the product was originally destined for another country, and firmware/software updates are only available directly from the legitimate importer or the original manufacturer.
The United States version, when compared to the imported version, is identical in functionality. Some will purchase an import to save a larger portion of upfront cost, as long as they know the warranties and other specifics no longer apply. When shopping for these types of goods, make sure you shop with a reputable retailer that is authorized to sell these products. Shopping at B&H, Adorama, even Amazon, offer legitimate items for a fraction of the cost. They clearly state that it is an import or gray market product. If you deal with eBay or other retailers with good deals, make sure you do your homework first if it doesn't state whether it is an imported item. Illegitimate dealers will sell gray market items and offer their own in-store warranty. They will label this product as “USA” and deceive the buyer into thinking it's a U.S.-legitimate shipped product. They also fail to inform the consumer that warranties aren't covered by the company, only by the store itself. Often stores will remove the warranty card from the box. This happens online as well. Many retailers will stretch the facts to get you to purchase goods listed for U.S. trade. Many retailers online will state that a U.S. warranty is included, but the catch in small print is that it only applies to the retailer's store warranty. This means if your camera breaks, you have to send it back to the place you bought it from, not the original company. I personally do not purchase gray market items, since I want the support of the original equipment manufacturer on my side. My business is very important, and I require only the best gear and service support to get the job done.

 

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