Eddy Vortex

I also put my strap on first, every time...even if I'm sitting down. In the photo world, it's good to be a creature of habit :)

Larryben

I was a photographer in the film days with all the gadgets. I only play now but don’t see how you can really expand your reach with out an updated computer and edit software. You are a savy shopper so just look for a brand new last years model. i5 processer or faster. Some of the photo edit programs can be processor gobblers but as much as you spend on the camera equipment the cost of a better than “good enough” computer is tiny and yet can almost make bad pictures good.

bkyser Loc: Fly over country in Indiana

First, I would suggest you post in the Wedding Section. Some of us don't frequent the other sections too much, because wedding photography tends to be looked down upon by many in the other sections.

First, I wouldn't worry so much about the camera body. I was shooting weddings with D70s back in the early days of digital, and never had a complaint, so being worried about having the latest and greatest is fine, but not necessary.

What you really do need is 2 of everything, (3 is better) because stuff WILL break, or quit working. Murphy's law is alive and well in wedding photography.

Lens choice is also dependent on your style. Ask 5 wedding shooters, you'll get 5 answers. Of course, there are those that swear by the holy trinity of lenses, while some swear by prime.

So my suggestions in order of importance.
Get legal. (tax ID, any business license your state requires)
Get liability insurance.
Get indemnity or professional liability insurance
Make sure you have at least 2 of everything

Pick up David Ziser's book on lighting for wedding photography, best book on the subject I've ever read, and learn OCF (Off Camera Flash)

The rest is always keep educating yourself, keep up with trends, develop a style and make it your own. Once you have a style, that is what sets you apart from other photographers.

bk

rmalarz Loc: Tempe, Arizona

I agree with your father. The neck strap stays on until the camera is locked on the tripod. It's put on before the camera is unlocked from the tripod. It's the least expensive insurance against dropping a camera available.
--Bob

DannyKaye Loc: Sheffield now but soon moving to Blanzay

1) get a wrist strap
2) get a flash
3) get a couple of friends to practice on
4) practice in difficult situations
5) practice some more

Danny

Horatio

The choice between the new D-750 and a used D-4, my preference would be for the new D-750. From what you have described, this would be my first choice. I think you would really like it.

Stardust Loc: Central Illinois

Absolutely - I throw away others or one that comes with the camera. Don't like weight hanging on my neck and wrist strap double circles so hand catches any drop (or even attempt to grab from me as happened one night in Jamaica) Also allows to keep camera more candidly at side when out on streets. (I travel often)

Don W-37 Loc: Bangkok, Thailand

I have a D750 and love it. I've used it in all types of light with good results. It is apparently on sale back in the States, so you get a new camera, full warranty and a good price. What's not to like?

I also recommend you buy the kit with the 24 - 120, f4 zoom. It's a very nice lens. Best of luck, Don

Ched49 Loc: Pittsburgh, Pa.

The D4 or D750 would be a step up from the 10 year old D700... although it's still a pretty awesome camera even by today's standards. I think of it this way...it will be a long time before you get another venue as bad as your last one.

CatMarley Loc: North Carolina

Get a day job?

appealnow Loc: Dallas, Texas

Is there any single place on the net to go to see all the current Nikon camera line up with reviews, comparisons?

Ched49 Loc: Pittsburgh, Pa.

You could probably Google your question, Ken Rockwell does a lot of Nikon reviews.

appealnow Loc: Dallas, Texas

I think his site is very good. Not sure I can easily peruse the current body lineup. Maybe I can use the Nikon site for the camera bodies and Rockwell for the reviews.

I have a D5300 and am thinking of buying another camera body so I don't have to switch lenses in Alaska or on an upcoming African safari. I have the Nikon 18-300mm F/3.5-6.3 DX zoom but was thinking something longer may be needed, especially in Africa. I was thinking of the 80-400mm or the 200-500 mm FX, the latter being the equivalent of 300-750. Alternatively a teleconverter, but I am concerned there would be way too much degradation of the image with the 18-300 zoom, which already contains compromises. My full complement of lenses is: the kit 18-55mm; 18-70 left over from my D70s, an FX 70-200mm that I bought when I was using my D70s which is a very sharp lens. I take that on car trips to national parks, etc., and a 35 mm. F/1.8, which I have yet to use.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Hi gang and the OP!

Firstly, if you have any serious aspirations to part or full time PROFESSIONAL wedding photography and you are seeking advice and information on this site, please do join us the small but helpful group in the wedding photography section.

I don't wish to be unkind or confrontational but whenever questions like theses, pertaining to wedding photography, appear on the main section, all kids of snarky, uninformed and unhelpful comments arise- it's disrespectful, uncalled for and not constructive. I certainly don't blame or deride anyone who does not wish to do this kind of work- it's highly specialized and is not for the casual enthusiast or even a polished professional who does not not have the patience to work under oftentimes very uncontrolled circumstances.

I am a full time commercial, portrait and industrial photographer and wedding photography has been an important part of my “day job” for a very long time. Done correctly with, good technique and artistry along with sound marketing and business management, it can be a lucrative, exciting, rewarding and challenging aspect of photography.

To the OP: For the time being, forget about camera models, necks straps and bounce flash. If you want to re-enter the wedding business in this era, concentrate on a overview of the work, the attitudes and skill set you need to progress and succeed. Your experience is portraiture will be an asset.

You mentioned a difficult venue, one that was not particularly photogenic. In wedding photography you can on one day work in a majestic cathedral and an opilant ballroom and the next day you are challenged by a tiny modest church and a legion hall that has not been redecorated sine 1959. Both brides, however, deserve an elegant representation of their wedding- the best you can come up under whatever circumstances- that's where you- the PRO come in! Lighting, camera angles, lens usage, TECHNIQUE! That has got to be your attitude. If you know what you are doing, you can make a simple back yard SEEM like the Hanging Gardens of Babylon- the bride a groom deserve that treatment. None of this, so far, are “tricks” or radical post processing applications- just good solid photography and problem solving. Creativity on demand. If you aim for the “impossible”, at least you will achieve a good job

Then there is the aspect of total reliability and safety. Of course you should use a “neck strap” for safety. But if it breaks and you camera falls into a water fountain, is impacted, or just decides to malfunction, you need plenty of back up gear- at leas one spare overlapping unit so whatever happens you can complete the job.

Dark venue? You need to be prepared for just about anything. In my own case, I do not use little Speedlights. I prefer Lumadyne portables. They have modeling lamps. I don't need to turn the on all the time, but in a dark hall, I can still see what I am doing, focus and compose. If you fire a flash shot in a pitch-dark place, folks will have dilated eyes that looks “weird” and may be more prone to “red eye” even if the flash is well above the camera. The modeling light is just enough to prevent that possibility. Also- for fast candids in a dark place, I have one old prime lens with a footage scale- it is slightly shorter than normal so even if my auto focus fails, I can still scale focus using the hyper-focal method.

A Speedlght mounted atop the camera in the hot shoe, is only a good basic starting point for a more versatile multiple lighting system that can be pressed into service in the absence of ample or aesthetically pleasing available light. There are many methods combining ambient light and flash. Flash, in general, has garnered a bad rap among folks who don't know how to use it. There are dozens of simple flash techniques that can yield natural, dramatic, striking and colorful images.

There has been an emphasis on a photo-journalistic approach to wedding coverage- I agree with that wholeheartedly, however, there is also an aspect of fine portraiture which can be combined and integrated with the candid impromptu approach. Simply stated, folks want to appear at their best in there wedding photos! If you know haw to do that, you are already ahead of the game.

Cameras? Everyone has the favorite makes and models but, realistically, any reliable middle to high end range of DSLR will work well and there might even be a trend to the more light-weigh mirror-less systems. You should choose a camera system that the most ergonomic in you hands. There are many wedding scenarios which offer a small window of opportunity to get things done. You can't fumble with you gear- camera operation needs to become second nature- nearly autonomic. This is because your undivided concentration needs to be on being in the right place at the right time for all your shots, anticipating action, watching for peak expressions and working in a smooth flowing manner even during formal sessions.

There are methodologies to be learned, practiced and perfected. It takes time, perhaps some formal training. There are many workshops, seminars, and classes offered by professional photographers associations- theses are extremely helpful, to the point, nuts and bolts and are well worth the investment of time and money. Online resources, books, and AV programs are great but hands on live training by experienced professionals is invaluable. Apprenticeship is rare nowadays but if you can spend some time assisting a consummate pro who is willing to mentor you- that is the “gold standard”

Exposure needs to be precise. You are dealing with detailed white wedding gowns and oftentimes black formal-wear and skin tones in the middle. You might make hundreds of shots and you don't want to have to “re-shoot” the entire job in the computer because that is not cost and quality effective. Good consistent exposures and compositions will enable a fast, economical and efficient workflow. Post process shroud be applied to enhance already good files and enable some creative and tasteful special effects.

Frankly- this is not a job for the faint of heart, the lazy photographer, the impatient or folks who are into misogamism , that is the hatred of marriage”! People skills RULE in this part of the business. As many will attest too, nowadays the market is a bit insane and chaotic but “the cream rises to the top”. The photographers who are doing well artistically and financially are sustaining businesses. The hacks, come and go.

I hope this overview helps. The very best of luck and success in your endeavors.

appealnow Loc: Dallas, Texas

Thank you for taking the time to make your excellent post.
As an amateur who was drafted to be the sole photographer of record at my brother's wedding (he is an excellent photographer) and at the wedding of one of my nieces, I can tell you wedding photography can be fraught with anxiety. Fortunately (whew!), both times the pics turned out very good.