Which lens should stay on each APS-C camera for a wedding?
Asked 7/19/2017
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I’m photographing a relative’s wedding with two APS-C Canon bodies: an 80D as the main camera and a 40D as backup. My lenses are Sigma 10-20mm f/3.5, Sigma 30mm f/1.4, a manual-focus Pentax 50mm f/1.7 with adapter, and a Tamron 70-200mm f/2.8.
I’d like to minimize lens changes and possibly leave one lens on the backup body all day. The 80D has better image quality and low-light performance, so I’d prefer to use it for the most important shots. The 70-200mm is heavy, and the Pentax requires an adapter, so neither is ideal for frequent swapping. The 30mm is my most familiar “normal” lens, but its autofocus can be inconsistent.
For a first wedding, which focal lengths are most useful during the ceremony, portraits, and reception, and which lens/body combination makes the most sense if I want to avoid changing lenses constantly?
Originally by Photography Stack Exchange contributor. Source · Licensed CC BY-SA 4.0
Photography Stack Exchange contributor
9y ago
2 Answers
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The most important focal length for a wedding is the one you need at the time. Weddings cover a lot of different shots from a lot of different distances. Shooting a wedding on prime lenses is possible but tricky and requires a lot of planning of when you can get shots without missing something else, so it will be doubly hard for an amateur/first time wedding shooter.
My personal standard load out is a 24-70 f/2.8 and 70-200 f/2.8 on a full frame camera. Dealing with your lens selections and experience level, for the ceremony I'd probably put the 70-200 on the main body and the 30mm on the backup. I'd shoot with both bodies using the main body to get close shots from a distance and use the backup for capturing the wider room shots and such. This will let you avoid lens changes and will also keep you out of the way in case anything goes wrong that you need to fix or adjust.
At the reception, I'd probably switch the 70-200 to the backup body and put the 30mm or maybe even the 10-20mm on the main body for general candid shots. I'd use a mix of the 30 and 50mm lenses in portraits.
Be sure to remember that light may be a factor when using slower lenses so be mindful of your shutter speed. Also, be mindful of the depth of field when shooting moving shots as really narrow depth of field can be hard to hit well in low light on moving subjects (for walk in and walk out for example).
Also remember that getting the shot is more important than getting the shot with the right lens. Go to the rehearsal, make sure you know where you need to be and when for key shots and don't miss shots because of badly timed lens changes.
Get a monopod if you don't have one already, particularly for when shooting with the 70-200. At those distances, in low light, camera shake will be a very real issue. The tripod isn't really needed for most of the shooting, but can be helpful for portraits if you are doing those.
Make sure you set expectations well in terms of your experience as well. A whole lot can go wrong shooting a wedding. Most of being a wedding photographer isn't about taking great photos (though you need to be able to do that), it's about dealing well with people (which you should presumably be able to do since they are family), being on your toes for changes, knowing weddings inside and out so you know where to be and when (which is experience you won't have outside of maybe a rehearsal) and being able to be out of the way while getting the shots so you are a help to the couple's day rather than an annoying distraction.
Originally by user11392. Source · Licensed CC BY-SA 4.0
user11392
9y ago
0
Generated from our catalog & community — verify before relying on it.
There isn’t one single “always-on” wedding focal length—weddings need both wide and tight shots, often quickly.
With your kit, the safest setup is usually:
- 80D + 70-200mm f/2.8 for ceremony close-ups from a distance
- 40D + 30mm for wider context, room shots, and general coverage
That minimizes lens changes and lets you react fast. The 70-200 is especially useful if you’re restricted in where you can stand during the ceremony.
Your 10-20mm is best as a specialty lens for a few wide venue or dance-floor shots, not as the main lens all day. Use it carefully near the wide end to avoid distortion, especially around people.
The manual-focus 50mm is better reserved for posed portraits if you have time; it’s risky for fast-moving moments.
A common theme from experienced shooters is to keep the kit simple. Weddings are long, crowded, and easy to miss moments at if you’re swapping lenses. If the 70-200 feels too bulky for extended use, rely more on the 30mm for general coverage and bring out the telephoto mainly for the ceremony and portraits.
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