Wedding Photography Gear Choices: Cameras, Lenses, Lighting, and Backups

Build a Gear System for Reliability and Speed

Wedding days reward gear that works predictably, changes quickly, and fails gracefully. Think in systems: two camera bodies set up similarly, a small set of lenses with clear “jobs,” lighting that can be deployed in seconds, and a redundancy plan that assumes something will break or get lost.

Camera Body Considerations

Dual Card Slots (and how to use them)

Dual slots are a reliability feature, not a luxury. Configure the camera to write the same file to both cards (often called Backup or Simultaneous).

• Recommended setting: RAW to both cards (mirrored). If you must split, do RAW to Slot 1 and JPEG to Slot 2 only when you have a specific workflow reason.
• Card type strategy: Use the same type and speed class in both slots when possible to avoid bottlenecks.
• Capacity strategy: Prefer multiple medium cards over one huge card (limits loss if a card fails).

Autofocus Behavior (what matters in weddings)

Weddings include backlit ceremonies, fast movement, and low-contrast dance floors. Choose a body with autofocus that stays locked and recovers quickly.

• Face/eye detection: Helpful for portraits and processional; test how it behaves with veils, glasses, and backlight.
• Low-light AF sensitivity: Impacts dance floor and dim churches; look for reliable focus acquisition in very low EV.
• Tracking consistency: The key is not “fast once,” but “correct repeatedly.” Test by photographing someone walking toward you in mixed light.
• AF area modes you can change quickly: Assign AF mode switching to a button so you can jump between wide/zone and single-point without menu diving.

Low-Light Performance (beyond ISO numbers)

Low-light performance is a combination of usable ISO, dynamic range, and how the camera handles color under mixed lighting.

• Usable ISO: Determine the highest ISO you can deliver without distracting noise after your normal editing.
• Dynamic range: Helps preserve highlights in white dresses and recover shadows in dark suits.
• Flicker reduction: Useful in venues with LED lighting; reduces banding and exposure shifts.

Ergonomics and Speed Controls

Speed comes from controls you can operate without looking.

Continue in our app.

• Listen to the audio with the screen off.
• Earn a certificate upon completion.
• Over 5000 courses for you to explore!

Or continue reading below...

Download the app

• Two command dials: For shutter/aperture changes instantly.
• Custom modes: Save “Ceremony Silent,” “Reception Flash,” “Portrait Natural Light” as presets.
• Battery system: Prefer bodies with strong battery life or a grip option if you routinely shoot long receptions.

Lens Selection by Scenario (roles by focal length)

Instead of collecting many lenses, assign roles. Your goal is to cover: wide context, normal storytelling, flattering portraits, and distant moments—without constant swapping.

Prep (small rooms, clutter, fast transitions)

• 24–35mm role (wide storytelling): Room context, dress hanging, makeup/hair, group interactions in tight spaces.
• 50mm role (natural perspective): Candid moments, details with less distortion, quick portraits near a window.
• Macro role (details): Rings, invitations, jewelry, fabric textures. A 90–105mm macro doubles as a portrait lens.

Practical setup: One body with 24–35mm, second body with 50mm (or 85mm if space allows). Macro stays in the bag until detail time.

Ceremony (no interruptions, distance, silence)

• 70–200mm role (reach + compression): Processional, vows, reactions, ring exchange from a respectful distance.
• 24–70mm role (versatility): Wide establishing shots, aisle moments when close, quick reframes without moving.
• Fast prime role (low light): 35mm f/1.4 or 50mm f/1.4 when flash is not allowed and light is dim.

Practical setup: Keep 70–200mm on one body for moments; 24–70mm (or 35mm prime) on the other for context and fast changes. This reduces lens swaps during critical events.

Portraits (flattering perspective, controlled backgrounds)

• 85–135mm role (classic flattering portraits): Couples, bridal party, individual portraits with pleasing compression.
• 35mm role (environmental portraits): Show venue architecture, landscapes, or dramatic interiors while keeping subjects prominent.
• 24–70mm role (efficiency): When time is tight, a standard zoom can cover groups and couples quickly.

Practical setup: Start with 85mm (or 70–200mm around 135mm) for hero portraits, then switch to 35mm for environmental variety.

Reception (low light, movement, mixed color)

• 24–35mm role (dance floor energy): Close, immersive images; works well with on-camera bounce or off-camera light.
• 50mm role (toasts and candids): Natural perspective, good for table reactions and speeches.
• 70–200mm role (toasts from the edge): Tight reactions without blocking guests.

Practical setup: One body with 24–35mm for dance floor; second body with 50mm or 70–200mm for toasts and reactions.

Aperture Choices: Zooms vs Primes

• f/2.8 zooms: Speed and flexibility; consistent exposure; fewer lens changes.
• f/1.2–f/1.8 primes: Low-light advantage and subject separation; require more precise focus and distance control.

Choose based on your shooting style: if you value speed and coverage, prioritize zooms; if you value maximum low-light and a specific look, add one or two primes with clear roles.

Stabilization Options (and when each helps)

In-body and in-lens stabilization

Stabilization helps with camera shake at slower shutter speeds, especially for ambient-light scenes.

• Best for: static moments (venue details, portraits with calm posing, ceremony wide shots).
• Not a substitute for: freezing motion on the dance floor (you still need adequate shutter speed or flash).

Monopod

A monopod can reduce fatigue and stabilize long lenses during ceremonies.

• Best for: long ceremony coverage with 70–200mm, especially if you must stay in one area.
• Watch-outs: takes space; practice quick repositioning and collapsing.

Tripod

Useful when you need locked framing.

• Best for: static venue shots, time-lapses, or a locked wide angle during ceremony if allowed and unobtrusive.

Gimbal (optional)

Only consider if you deliver video or hybrid coverage and have time to operate it.

• Best for: short, intentional motion clips; not ideal when you must react instantly to still-photo moments.

Lighting Essentials: Speedlights, Triggers, Modifiers, Continuous Light

Speedlights (your primary problem-solver)

Speedlights are portable, fast to deploy, and powerful enough for most receptions.

• Key features to prioritize: reliable TTL (if you use it), consistent manual output, fast recycle time, overheat protection, and a head that tilts/swivels for bounce.
• Battery choice: high-quality NiMH AAs or a dedicated lithium pack system; standardize across flashes to simplify spares.

Radio triggers (reliability and control)

Radio triggers let you place lights off-camera and adjust power quickly.

• Look for: stable connection in crowded RF environments, group control, and compatibility across your flash ecosystem.
• Speed tip: Set groups by function (e.g., Group A = key light, Group B = rim light, Group C = background) so adjustments are intuitive.

Modifiers (choose a small set that sets up fast)

• Bounce card / small flag: For quick on-camera bounce when ceilings/walls are usable.
• Small softbox or umbrella: For portraits or controlled reception light; choose one that opens quickly and fits your stand bag.
• Grid: Controls spill for dramatic looks and prevents lighting the entire room.
• Gel kit (CTO/CTB/plusgreen): Matches flash to ambient light to reduce mixed-color problems.

When to use continuous light

Continuous light can be helpful, but it’s not a universal replacement for flash.

• Use continuous light when: you need predictable shadows for quick portraits in a dark corner; you’re capturing video/hybrid; flash is restricted but additional light is allowed.
• Avoid relying on continuous light when: you need to freeze fast motion (dancing); you must light a large room (continuous often lacks power); you want minimal distraction (bright LEDs can draw attention).

Step-by-step: A fast reception lighting setup (2 lights)

1. Place Light 1 (key): on a stand near the dance floor edge, about 7–9 ft high, angled down slightly, with a small modifier or bare with a grid.
2. Place Light 2 (rim/background): opposite side of the floor, similar height, aimed to create separation and depth.
3. Set both to manual power: start around 1/16–1/32 in a typical dim reception; adjust after a test frame.
4. Gel if needed: if the room is tungsten-warm, add CTO gels and set white balance accordingly.
5. On-camera flash optional: keep it off or very low as fill to avoid flattening; prioritize the off-camera look.

Redundancy Planning (assume failures)

Minimum redundancy checklist

• Two camera bodies: both capable of covering the entire day if one fails.
• Lens overlap: at least two lenses that can cover “normal” focal lengths (e.g., 24–70 and a 35/50 prime).
• Spare flash: one extra speedlight beyond what you plan to use.
• Extra triggers/receivers: at least one spare transmitter or a backup triggering method (optical/secondary system) if your workflow depends on off-camera flash.
• Batteries: enough to run each body and flash system through the longest portion of the day plus a buffer.
• Cards: more than you think you need; never “stretch” by deleting in-camera.
• Chargers: at least one for camera batteries and one for flash batteries; consider a car charger if travel is involved.

Reliability rule: standardize

Standardize batteries, triggers, and light stands where possible. Fewer unique parts means fewer failure points and faster troubleshooting.

File Management Basics (card labeling and safe swaps)

Card labeling system

Label cards physically and logically so you can’t confuse “fresh” with “shot.”

• Physical labels: numbered stickers (01, 02, 03…).
• Wallet orientation method: cards face up = empty; cards face down = shot (or vice versa). Be consistent.
• Slot discipline: if you use dual slots mirrored, treat the pair as one unit—don’t separate them during the event.

Safe swap procedure (step-by-step)

1. Choose a calm moment: never swap during processional, vows, first kiss, entrances, or first dance.
2. Confirm write complete: wait for the card/write light to stop.
3. Swap one camera at a time: keep the other body ready to shoot.
4. Immediately store the used card: into the “shot” side of the wallet; do not put it in a pocket.
5. Do not format on-site: format only after files are ingested and verified later.

Capacity planning (avoid mid-moment swaps)

Estimate your worst-case shooting rate and plan card sizes to reduce swaps during key blocks (ceremony + portraits, or reception highlights). If you tend to shoot heavily during reception, start that segment with fresh cards.

Packing Routine (a repeatable pre-wedding checklist)

A packing routine prevents “small” missing items that can derail speed (like a trigger cable or a flash foot).

Step-by-step packing workflow

1. Lay out by system: Cameras, Lenses, Lighting, Power, Media, Support, Tools.
2. Check function: mount each lens briefly, fire a test frame, confirm AF and aperture control.
3. Charge and stage batteries: place charged batteries in a dedicated pouch; empty batteries go into a separate pouch.
4. Prep cards: confirm all are empty and labeled; insert a matched pair into each body if using mirrored slots.
5. Pre-build lighting: attach triggers to flashes; pack modifiers with the correct speedring/adapter.
6. Pack in order of use: top of bag = prep essentials; side pocket = ceremony silent setup; separate pouch = reception lighting.
7. Final “touch list” at the door: bodies, primary lenses, flashes, triggers, cards, batteries, chargers.

Tools and small saves

• Multi-tool or small screwdriver: for plates and stands.
• Gaffer tape + zip ties: quick cable management and emergency fixes.
• Microfiber cloth + blower: quick lens cleanup.
• Rain covers: compact protection for bodies and lenses.

Sample Gear Kits (by budget level)

Budget-conscious (reliable essentials)

• 2 bodies: both with dual card slots if possible (or one dual-slot + one backup body with strong reliability).
• Lenses: 24–70mm f/2.8 (or 24–105mm f/4), 50mm f/1.8, 85mm f/1.8 (or 70–200mm f/4 if budget allows), macro optional.
• Lighting: 2 speedlights, 1 trigger system, 2 light stands, 1 umbrella or small softbox, basic gel kit.
• Stabilization: rely on in-body/in-lens stabilization; add a monopod if using a longer lens often.

Mid-range (speed + redundancy)

• 2 bodies: dual card slots on both, strong AF and low-light.
• Lenses: 24–70mm f/2.8, 70–200mm f/2.8, 35mm f/1.4 (or f/1.8), 85mm f/1.8, 100mm macro.
• Lighting: 3 speedlights, radio triggers with group control, 2–3 stands, 1 softbox + grid, gels, on-camera bounce card.
• Support: monopod for ceremony, compact tripod for static venue shots.

High-end (maximum reliability and control)

• 2–3 bodies: two primary dual-slot bodies + a third backup (or a compact backup body).
• Lenses: 24–70mm f/2.8, 70–200mm f/2.8, 35mm f/1.4, 50mm f/1.2 or f/1.4, 85mm f/1.4, macro, optional ultra-wide (14–24mm) for dramatic venues.
• Lighting: 4+ flashes or a mix of speedlights and compact strobes, robust triggers, multiple modifiers (softbox, umbrella, grids), gels, spare transmitter.
• Power: standardized rechargeable system, plenty of spares, fast chargers.

Decision Tree: What to Rent vs. Own

Start: Will you use it on most weddings (or weekly)?  ── Yes ──> Own (reliability + familiarity pay off)  │  No  │  Is it mission-critical for your style/deliverables?  ── Yes ──> Rent first, then buy after 3–5 uses  │  No  │  Is it a high-cost, low-frequency item? (super-tele, specialty wide, extra body)  ── Yes ──> Rent  │  No  │  Does renting add risk (availability, shipping, learning curve)?  ── Yes ──> Own  ── No ──> Rent

Practical guidance for common items

• Own: two dependable bodies, your primary “workhorse” lenses (standard zoom + telephoto or prime equivalents), at least two flashes, triggers you know well, cards/batteries.
• Rent: specialty lenses (ultra-wide, tilt-shift), an extra body for a particularly high-stakes event, additional lights for large receptions, backup duplicates if your own gear is in repair.
• Rent-to-decide: 35mm vs 50mm prime preference, 85mm vs 70–200mm portrait approach, continuous light panels for hybrid work.