Wedding photogrpahers. What's in your bag?

[m_black]

Just curious to see what is your gear to shoot wedding. As we tend to have more gears than needed Please write in the order as they are important to you.

--
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It’s interesting to read what people think they should carry who haven’t done weddings. I’m approaching 450 weddings. Mostly photography, and I’ve added video in the last couple of years. It’s so individual according to preferences, style, geography, ethnicity and can change from wedding to wedding. Shooting downtown in a major urban area is different shooting in a forest or golf course or suburban park or rented studio (due to heat or rain or cold). F/4 zooms? Too slow for indoors. Sometimes 2.8 feels too slow. I’ve done weddings outside where base ISO is attainable. I’ve done weddings where the ceremony was lit with candles and Edison bulbs. Flash? Nope. Ruins the mood, is annoying for guests, so all you can do is dial in 2700K and use 1.x prime lenses. 70-200 all day? No way. Bride and groom prep are often in their childhood or parents’ bedroom or hotel room. 70-200 would be dead weight. There isn’t enough room. And the new style is less about portraits per se and more about documenting and fake-real moments. With time permitting, some solo portraits before the ceremony.



Groom and bride prep:

28 1.4 and 50 1.2 OR 14-24 and 50 1.2 depending on the size of the place getting ready.



(Church) ceremony: 28 1.4 & 85 1.8

(Outside non-religious) ceremony [short]): 24-120 f/4

(Inside same) ceremony: 24-70 2.8 and 85 1.8

Portraits: 28, 50 & 85. Sometimes I’ll bring a 24-70 if it’s a new place or we’re moving fast or where it’s more about working with light vs shallow DOF.



Reception: 28, 50, 85. Mostly 28 & 85. Sometimes 24-70 & 85 Depends on the venue, the space, room to move etc.

Reception party: 14-24 it’s good to get in close and give the party a high energy feel even if it’s not.

For me, the 70-200 is the most overrated lens of all time. It has its place, but I’ve owned 3 versions in the last 15 years and they’ve all been sold due to lack of use.

some samples:



























--
IG: mikeblack_pw

 

[Jacques Cornell]

Just curious to see what is your gear to shoot wedding. As we tend to have more gears than needed Please write in the order as they are important to you.

It’s interesting to read what people think they should carry who haven’t done weddings. I’m approaching 450 weddings. Mostly photography, and I’ve added video in the last couple of years. It’s so individual according to preferences, style, geography, ethnicity and can change from wedding to wedding. Shooting downtown in a major urban area is different shooting in a forest or golf course or suburban park or rented studio (due to heat or rain or cold). F/4 zooms? Too slow for indoors. Sometimes 2.8 feels too slow. I’ve done weddings outside where base ISO is attainable. I’ve done weddings where the ceremony was lit with candles and Edison bulbs. Flash? Nope. Ruins the mood, is annoying for guests, so all you can do is dial in 2700K and use 1.x prime lenses. 70-200 all day? No way. Bride and groom prep are often in their childhood or parents’ bedroom or hotel room. 70-200 would be dead weight. There isn’t enough room. And the new style is less about portraits per se and more about documenting and fake-real moments. With time permitting, some solo portraits before the ceremony.

Groom and bride prep:

28 1.4 and 50 1.2 OR 14-24 and 50 1.2 depending on the size of the place getting ready.

(Church) ceremony: 28 1.4 & 85 1.8

(Outside non-religious) ceremony [short]): 24-120 f/4

(Inside same) ceremony: 24-70 2.8 and 85 1.8

Portraits: 28, 50 & 85. Sometimes I’ll bring a 24-70 if it’s a new place or we’re moving fast or where it’s more about working with light vs shallow DOF.

Reception: 28, 50, 85. Mostly 28 & 85. Sometimes 24-70 & 85 Depends on the venue, the space, room to move etc.

Reception party: 14-24 it’s good to get in close and give the party a high energy feel even if it’s not.
For me, the 70-200 is the most overrated lens of all time. It has its place, but I’ve owned 3 versions in the last 15 years and they’ve all been sold due to lack of use.
some samples:

Beautiful work. How did you nail focus on that last shot? Looks like the 28/1.4 wide open. Also looks pitch dark until the flash went off. Real easy to miss that one with all the arms flailing in front of you.

--
"Don't be mean. We don't have to be mean. Because, remember, no matter where you go, there you are." - Buckaroo Banzai

Landscape & Wedding Photographer - Jacques Cornell

Jacques Cornell Photography - landscape, travel, portrait and art reproduction

jacquescornell.photography

Happening Photos - Event Photography in New York City

Event Photography in New York City and Around the World - conferences, sales meetings, fundraisers and more.

happening.photos

 

[m_black]

Just curious to see what is your gear to shoot wedding. As we tend to have more gears than needed Please write in the order as they are important to you.

It’s interesting to read what people think they should carry who haven’t done weddings. I’m approaching 450 weddings. Mostly photography, and I’ve added video in the last couple of years. It’s so individual according to preferences, style, geography, ethnicity and can change from wedding to wedding. Shooting downtown in a major urban area is different shooting in a forest or golf course or suburban park or rented studio (due to heat or rain or cold). F/4 zooms? Too slow for indoors. Sometimes 2.8 feels too slow. I’ve done weddings outside where base ISO is attainable. I’ve done weddings where the ceremony was lit with candles and Edison bulbs. Flash? Nope. Ruins the mood, is annoying for guests, so all you can do is dial in 2700K and use 1.x prime lenses. 70-200 all day? No way. Bride and groom prep are often in their childhood or parents’ bedroom or hotel room. 70-200 would be dead weight. There isn’t enough room. And the new style is less about portraits per se and more about documenting and fake-real moments. With time permitting, some solo portraits before the ceremony.

Groom and bride prep:

28 1.4 and 50 1.2 OR 14-24 and 50 1.2 depending on the size of the place getting ready.

(Church) ceremony: 28 1.4 & 85 1.8

(Outside non-religious) ceremony [short]): 24-120 f/4

(Inside same) ceremony: 24-70 2.8 and 85 1.8

Portraits: 28, 50 & 85. Sometimes I’ll bring a 24-70 if it’s a new place or we’re moving fast or where it’s more about working with light vs shallow DOF.

Reception: 28, 50, 85. Mostly 28 & 85. Sometimes 24-70 & 85 Depends on the venue, the space, room to move etc.

Reception party: 14-24 it’s good to get in close and give the party a high energy feel even if it’s not.
For me, the 70-200 is the most overrated lens of all time. It has its place, but I’ve owned 3 versions in the last 15 years and they’ve all been sold due to lack of use.
some samples:

Beautiful work. How did you nail focus on that last shot? Looks like the 28/1.4 wide open. Also looks pitch dark until the flash went off. Real easy to miss that one with all the arms flailing in front of you.

--
"Don't be mean. We don't have to be mean. Because, remember, no matter where you go, there you are." - Buckaroo Banzai
http://jacquescornell.photography
http://happening.photos

Thanks! That was actually the 14-24 2.8. Probably at 14mm on the Z9. The Z9 is pretty phenomenal in all kinds of poor light.

--
IG: mikeblack_pw

 

[RAZORBACKSRULE 1]

When I shot weddings back in the 70s-80s I used two camera systems . The first was a Bronica S2A with a nikkor 50mm 2.8 and a 75mm 2.8. I also used Olympus 35mm cameras with a 35mm f2 , 50mm 1.4 and a 90mm macro. Used various Flash systems on the Bronica and a T32 on a power grip with the Olympus cameras . Shot weddings for years with this set up .

 

[ROUSSEL_Pierre]

I dont really shoot wedding anymore But did over 100 of them, starting with film until early 2000.

My standard kit was two CANON pro bodies with 16-35mm 2,8 and 70-200mm 2,8, 24mm 1,4, flash, Konica Hexar (replaced by Fuji X-100), often a spare SLR camera and flash

if studio flashes were required ; i would hire an assistant

Ps : i never shot wedding with a Leica and i cover my camera name with black tape, none of my customer care what brand i use, they only look at the port-folio when we meet.

 

[PaulDunlopPhotography]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".



there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

 

[Gato Amarillo]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

Yes. I thought it, if I didn't give it the emphasis it deserves. It's about being able to go immediately from an overall of the dance floor to a tight shot of a couple without having to dig around in a bag. That kind of thing.

And you don't risk dropping a lens or getting something in the camera that might wind up on the sensor.

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

That too!

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

Good plan.

Gato

 

[Ed Shapiro]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

How you prefer to shoot as to switching up bodies is a matter of choice. I prefer to work with 2 bodies so that I don't have to hurriedly change lenses amid shootg fast-breaking action. I don't like fumbling with gear, especially when heavy lenses are in play. I like to keep the body free of dust, dirt, and particles tha can enter the body at certain locations- especially out-of-doors.

The main necessity of a second or third body is BACKUP in the event of equipment failure. The same theory applies to lenses. You can use prime and/or zoom but you must have overlapping foca lengths so that in the event of a lens malfunction you can still complete the assignment. In the olden days, I coveed weddigs with only normal lenses on press cameras. In an emergency, it can still be done with a 50mm prime and a bit of legwork!

As for the financial aspect of the camera purchases my recommendation is to buy the best equipment you can afford. In wedding photography redundancy is mandatory I would rather have 2 decent, matched, modestly priced reliable cameras than one super-fulll featured model. It is best to stay with the same system so there is total compatibility of lenses and othere accessories.

Obviously, spare equipment should be radially accessible from wherever you are shooting. When I am shooting on the run- it is on my person!

Commercial and Portrait Photographer. Ottawa, Ontario Canada

 

[Pure Photo NI]

Bit different for us as me and my wife work together so we have twice the gear that single shooters will have.

Sony A9 X2

Sony A7RIVa X 1

Sony A7IV X 3

Sony 24mm f/1.4 G.M

Sony 35mm f/1.4 G.M

Sony 50mm f/1.2 G.M

Sony 85mm f/1.4 G.M

Sony 135mm f/1.8 G.M

Sony 90mm f/2.8 Macro

Sony 35mm f/1.8

Tamron 17-28mm f/2.8

Sony 24-70mm f/2.8 G.MII

Tamron 70-180mm f/2.8

Have a bIt of a flash fetish :-D and we don't even use flash that much.

Godox V860III X 3

Godox V1 X 2

Godox V350S X 3

GODOX AD200 X 2

GODOX AD100 X2

GODOX AD600

All the usually gubbins that goes along with all of that.

Obviously we don't take all of that to every wedding, we pick and choose what we need depending on what we think we are gonna use and it breaks down into 3 bags, one for me, one for the missus and the spares bag.

 

[Michael Firstlight]

And that's why I adore my lightweight Pelican 1615AirWF hard roller case -- that holds most of it and we then take what we need in small shoulder bags and use the Pelican as the home base that has everything else.

Mike

 

[wr_photography]

Bit different for us as me and my wife work together so we have twice the gear that single shooters will have.

Sony A9 X2

Sony A7RIVa X 1

Sony A7IV X 3

Sony 24mm f/1.4 G.M

Sony 35mm f/1.4 G.M

Sony 50mm f/1.2 G.M

Sony 85mm f/1.4 G.M

Sony 135mm f/1.8 G.M

Sony 90mm f/2.8 Macro

Sony 35mm f/1.8

Tamron 17-28mm f/2.8

Sony 24-70mm f/2.8 G.MII

Tamron 70-180mm f/2.8

Have a bIt of a flash fetish :-D and we don't even use flash that much.

Godox V860III X 3

Godox V1 X 2

Godox V350S X 3

GODOX AD200 X 2

GODOX AD100 X2

GODOX AD600

All the usually gubbins that goes along with all of that.

Obviously we don't take all of that to every wedding, we pick and choose what we need depending on what we think we are gonna use and it breaks down into 3 bags, one for me, one for the missus and the spares bag.

That’s so much gear. I’m sure your results are stellar, but I would be stressed having that many options. How do you decide what gear to bring?

 

[Rock and Rollei]

I used to shoot weddings as a weekend warrior 25 years ago or so.
Back then, I used to take up to 4 EOS bodies - one with ISO 160 film, one with ISO 400 film, and one backup, or one backup for each on occasion, especially where I thought I might need to go beyond 36 shots in quick succession.
I actually deliberately used different (but similar) models for each film speed so I could tell them apart instantly - handling was very similar across both. My assistant (my wife) was in charge of loading bodies, and was second shooter as required.
2 flashguns (and loads of batteries) for fill, and especially church door shots, and a range of reflectors. Contrast control was always the technical issue back then, bride generally in white, groom in a dark suit and so on.
Lenses - I used an 18mm Sigma for big group shots, fairly slow zooms - that's what I had - both standard and tele (24-85 and 28-105, 70-300) but also 28mm f2.8, 35mm f2, 50mm f1.8 and 135mm f2.8 primes.
And film. Quite a bit of film.
I gave up when our daughter was born - time with her was more precious.
I turned pro about 10 years ago, but avoid weddings where possible - I mainly shoot conferences and events, which are similar sorts of shooting to weddings, and small business corporate stuff (if "small business corporate" isn't an oxymoron). I only shoot weddings as personal favours now.
In the bag(s): 3 bodies, 2 for use, one spare. Currently they are 3 different models, which isn't ideal, they should all be the same. Lots of batteries. Spare memory cards.
Lenses - 16-35 f4. 24-70 f2.8. 70-200 f2.8. 35 f1.4. 50 f1.2. 85 f1.2. 100 f2.8 Macro. 135 f2. These are all Canon EF L lenses that form my normal working kit. The last wedding I shot I used mainly my personal RF lenses - Samyang 14mm f2.8 AF (yes, the banned one), Canon RF 35mm f1.8, 85mm f2, and 24-105 f4 L, along with help from the EF 50mm f1.2, with the vast majority of shots on the zoom, a fair bit on the 50, the rest on the other 2 lenses. 70-200 f2.8 was in my bag unused. Light was good, flash was fine, the 24-105 meant a lot less lens changing as it was perfect for the venue.
2 flashguns - 470EX AI, which is my favourite event gun as it works out the best bounce angle for me, and 580EX II. And spare batts.
Some of those same reflectors I used 25 years ago - quality kit lasts - along with a selection of light modifiers/mini softboxes.
Electronic cable release.
Tripod. L brackets on the 2 main bodies, simple Arca Swiss plate on the 3rd - because I don't have an L bracket for that body.
Lens cloths, rocket blower, lens brush, small screwdriver, Swiss Army knife, Leatherman, ball of string, cable ties, gaffer tape, a few spring clamps in small and large, a roll of tin foil as an emergency reflector, a few drawing pins (thumb tacks?), a packet of Blu-Tack, a small roll of black felt to kill reflections, double-sided tape and a tabletop tripod. A flannel to dry kit off, or to use as an emergency duster, as I had to on the last wedding - a rather grubby corner of the building that they clearly weren't expecting us to use was otherwise perfect as a background, with lovely light from the window with a filthy sill.

An aluminium step/seat for extra height.
In the car just in case: single person pop-up background kit, full length reflector. Generally I'll know in advance if I need these things, and generally, I don't.

 

[Shabang]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

One alternative to this is to have lens adapters for each camera so that allow interchange of lenses between different bodies. If you pick lenses that can be adapted to multiple cameras then you don't have to worry about compatibility. That is our approach that we came to after doing lots of research. Ask your camera manufacturer to give you the MTBF (Mean Time Between Failures) data for the camera you are looking at.

We also use flashes that can be swapped between brands.

The other thing is to at least have one of the best and most reliable camera bodies you can get. It might cost much more but will save you lots of heartache with failures and quickly being outdated.

 

[Jacques Cornell]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

One alternative to this is to have lens adapters for each camera so that allow interchange of lenses between different bodies. If you pick lenses that can be adapted to multiple cameras then you don't have to worry about compatibility. That is our approach that we came to after doing lots of research. Ask your camera manufacturer to give you the MTBF (Mean Time Between Failures) data for the camera you are looking at.

We also use flashes that can be swapped between brands.

The other thing is to at least have one of the best and most reliable camera bodies you can get. It might cost much more but will save you lots of heartache with failures and quickly being outdated.

Whooooooosh!

That's the sound of Paul's point going right over your head.

 

[stratman1976]

I use two bodies (D850’s) with different lenses depending on where I am during the day. Then I have a spare body. All same brand of course. Some combinations would be:

• 24-70 & 70-200
• 35/1.4 & 85/1.4
• 50/1.4 & 85/1.4 (or 70-200)
• macro & 85/1.4

some prefer 24mm or 105mm primes. I love primes as well, but weddings just have too much fast changing situations that I use the two 2.8 zooms combo often. The spare body is also I case of failure, but I’ve never had that happen.

 

[ChristopherIQ]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

One alternative to this is to have lens adapters for each camera so that allow interchange of lenses between different bodies. If you pick lenses that can be adapted to multiple cameras then you don't have to worry about compatibility. That is our approach that we came to after doing lots of research. Ask your camera manufacturer to give you the MTBF (Mean Time Between Failures) data for the camera you are looking at.

We also use flashes that can be swapped between brands.

The other thing is to at least have one of the best and most reliable camera bodies you can get. It might cost much more but will save you lots of heartache with failures and quickly being outdated.

Heartache is when a guest spills a martini and it breaches the manual lens adapter and tanks your camera...

 

[danielblake]

As a wedding photographer, my gear bag typically includes a few essential items to ensure I’m prepared for any situation. My top priorities are:

1. Camera Bodies: I usually carry two reliable DSLR or mirrorless cameras for backup.
2. Lenses: A versatile zoom lens (like a 24-70mm) for general shots, a prime lens (like a 50mm) for portraits, and a wide-angle lens for capturing venue details.
3. Flash: An external flash for low-light situations, along with a diffuser to soften the light.
4. Memory Cards: Plenty of high-capacity and fast memory cards to avoid running out of storage.
5. Batteries: Extra batteries to ensure I’m never caught without power.
6. Tripod: A sturdy tripod for stable shots during the ceremony and any long-exposure needs.
7. Editing Software: Laptop with editing software for quick previews or backups if needed.

This setup helps me capture a variety of moments throughout the day while being adaptable to different lighting conditions.

 

[bridge77]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

Paul or whoever, how often do you have a camera failure?

i don't shoot wedding for hire, but my biggest issues are changing batteries and maybe a memory card.

is this a 1% of the time problem you all may have ?

thanks.

 

[Jacques Cornell]

one more note

everyone seemed to mention that the 2 camera bodies were primarily in case of a failure

but then most of you mentioned having the 2 bodies active with a different lens on each

so that needs to be called out - it is about not having to switch lenses all the time - you can switch from 24-70mm to 70-200mm simply by bringing up the other camera to your eye

this is also why people have suggested having identical camera bodies - you aren't having to adapt to different settings/buttons/menus

I know most of the replies from the educated posters had this concept in their reply - but I didn't see it specifically called out

now - if one of the cameras did fail, you would have the other already in your hand and ready to keep shooting - not "wait 10 minutes - I need to go get my completely different camera out of my car".

there is an excellent product shooter that I follow - his starting advice to a new pro? decide how much you can spend on a camera - then divide that by 2, and go buy 2 of that camera...

Paul or whoever, how often do you have a camera failure?

i don't shoot wedding for hire, but my biggest issues are changing batteries and maybe a memory card.

is this a 1% of the time problem you all may have ?

thanks.

I've never had a camera body fail, but I have had other bits of gear fail - a dropped lens, flashes that spontaneously failed or got knocked over by staff - and having backup is what saved the day. In event work, there are no do-overs, so it's incumbent on a pro to have more than one way to get the job done.

And, whether it's 1% or 10%, not being prepared comes with two forms of liability. First, you'll have unhappy clients who may spread the word, causing damage to your reputation. Second, you could be sued for negligence.

If you do this work long enough, you'll bump into all kinds of gremlins. Best to take precautions.

 

[ROUSSEL_Photographer]

HERE WE GO AGAIN ;

Pro shoot with 2 bodies, sometime 3

end of discussion

I am new to shooting weddings.

I use a wheeled Think Tank bag. Since it is on wheels, I pack it full.

- 2 full frame mirrorless bodies

- 24-70 2.8 main lens

-70-200 2.8 main lens

- 35 1.4 backup lens or specialty shallow dof

- 85 1.4 backup lens or specialty shallow dof

- 100mm macro

- 2 speedlites

- 2 AD200 off camera lights

- spare batteries, chargers, dual harness, misc stuff as long as it fits in the bag.

Light stand bag with 2 stands and umbrellas.

It looks like you have a nice kit. Have you considered one expensive body rather than two less expensive ones? We went with a Leica SL2 to allow a lighter bag than we would have with two bodies. So far that has been working well.