Today, I’m going to be walking you throughmy gear for the 2020 wedding season. Taylor Jackson shooting 67 weddinglast year. Taylor Jackson, welcome. You are well known in this community.You’re an amazing photographer. Welcome to my gear for 2020 asyou can see, this does everything. My bag has exploded everything into avery photogenic set up right here and I have the the blackjack dealer cam aboveme, which I’m pretty excited about. This is my camera gear specificallyfor wedding photography. If you’re a follower of this channel, you know that sometimes Ialso do hybrid coverage, which means I’m making a highlightfilm of two to four, five, six minute film while also doingwedding photography coverage. We’re talking specificallyabout photography too.

 

So if I’m hired to go out and do a fourhour wedding or a six hour wedding or an eight hour wedding or 12 and 14, 18hour wedding this is what I’m bringing. I might bring more batteries.We’ll talk about that in a moment. If I’m doing like a big longday, my typical day is somewhere. Usually I would say maybe eight to 10hours and this is kind of the kit that I use for all of that. I started, I had alot of equipment, I had a Rollie case, I have second bags everywhere. I’ve realized over time that ifI can fit everything in here, it really does make my life happiness aheck of a lot better. A quick mention, if you’re watching this video beforeApril 11th I have the biggest deal that I’ve ever offered and I willnever be offering again. So I apologize if you’re watchingthis video after April 11th, 2020 but if you’re watching it beforeyou can get all of my wedding photography courses, it’s like $2,000 in course content for$30 there is a link in the description below this deal. Neverbe coming back. So again,

 

I apologize if you’re watching thisafter April 11th let’s get into the, the talking about the gear. The one edition this year is my Nikon Dseven 80 and that’s going to be my main camera body as I spoke to before.I also do hybrid coverage as well. So I’m doing both photography andvideo sometimes. So as a main camera, this Nikon D seven 80 is really key. I actually put up a review ofthis maybe two or three days ago. So if you’re interested in checkingthat out, a head over there, but also keep in mind if you’re watchingthis and you’re only doing photography that you don’t need to go for somethinglike a [inaudible] that’s brand new. You can get a D seven 50 which is, I’m going to say the best deal in allof camera’s right now to get a beautiful full frame camera that has back accessto every lens at Nikon’s ever made since like the 70s pretty much that you’reable to just have access to all that. Some of them are going to bemanual focus, but there’s a lot, there’s a lot of goodstuff in the catalog, so don’t obsess about getting thelatest greatest if you’re just doing photography.

 

The advancements really do come inwhen it comes to doing video coverage. So if you’re interested inhybrid, this might make sense. But if you’re justinterested in photography, don’t worry about spending all themoney to get something like this or the [inaudible] or whatever it mightbe. On my main camera body, I’m actually gonna do a little, littlequick switch here on my main camera body. I always have, or I’m goingto say 95 98% of the time. I always have my 85 millimeter F 1.4 G. This lens here is my favorite lens. It is. The reason I think that I stuck with Nikonis that I liked this lens so much for weddings specifically. This might not translate to absolutelyevery other genre of photography, but for weddingsspecifically and portraits, when you shoot this lens at somethinglike 1.4 it really just does create a flattering image across all lightingsituations unless there’s a lot of really strong contrast like it might not handlelike contrast points like the black and the bright sun behind me here.

 

But that’s, that’s a thing you get to know andwhen you’re photographing people, if they look good in the images, ifthey’re happy with their appearance, if their skin looks great, they’re goingto be a lot happier with their photos. And I find that this 85 really does gobeyond any other 85 from any manufacturer that I have ever seen. So I lovethis lens a lot. It is my main lens. It would be on my cameraall day if I could, but unfortunately sometimesyou got to get that wide shot. Secondary body is always my widecamera. So usually how this goes, the reason why this one has a strap onit is that I will just kind of have this over my shoulder like so all day withthis in my hands taking photos now if I ever need a wide or if a group comesup to me and they’re like, Hey, can you take our photo of150 people? I’ll be like, so this camera here to the blackjackcam is a Nikon D eight 50 with a 24 millimeter 1.4 G on there and overallit gives a very similar style to this 85 so these go very well together.

 

You might have seen even yesterday a the35 Tamron review went up and that is a lens that I use on my secondary body. Actually I use that lens on my secondarybody for photography coverage until I got this 24 and I just reallyliked this 24 a lot. One of my, I guess big things, maybe it’s leaning a little bit toomuch into just shallowed up the field to compensate for lack of otherthings going on in an image. But on a wedding day you can really kindof balance using depth of field to make things look more interesting. And I think shooting a lens like this 241.4 wide open is one like aesthetically I think it’s one of myfavorite looks ever. It’s just this kind of beautiful wideangle lens and you don’t really see it too often. So that’s the reasonthat I got this lens. I thought 35 one eight looksgreat. I love that lens. It’s way more versatile overall, but I like the 24 specifically and justhaving these two lenses, 85 one body, 24 in the other body,

 

I feel like I can get pretty mucheverything from a wedding day completely captured as beautifully as I want itto be. So this lens here, I love it. This lens here, I love it. I alsohave the 35 version of this the, the G version of it as well. And I find myself not really using itas much that I wish that I probably would’ve just stuck with a Tamron and Isuspect that it will be in that 35 1.4 G at some point this year. The only otherlens that I use outside of these two, or if I know, usually I have a heads up, if I’m going into a wedding day andthere’s going to be a group of a hundred people that are going tohave to photograph and thesize of the studio and I can bring this super wide. Or another thing that I do is I tend towork with the same photographers pretty often.

 

So I’ll ask Tim, Hey Tim, canyou bring the supervised this weekend? I think we’re going to have to like doa shot in a very unusual and strange environment. So sometimes he will bring what I needand I know that that’s pretty much the only thing that maybe I could ever kindof paint myself into a corner with the, if I was doing solo coverage eight hourday or something and a group was like, Hey, can you photograph all of us inthis room? And I’d be like, ah, yeah, I guess so. And then my creative problemsolving would go and I’d be like, I can just do a Panorama with this.Instead of shooting with this super wide, I’ll just do six frames andI’ll do that a few times. So they stitch better and everybody’ssmiling and looking and then I’ll just build it in post rather thanshooting with a super wide. So that’s always in mymind. My contingency,

 

I guess if I don’t have a wide enoughlens or if I only brought my 35 and I have to do something that needs awider lens, that’s another, another quick work around This 70 to a hundred is the lens thatI use pretty much for every ceremony as you’ve seen, I’m sure in thefull wedding days on my channel. And the reason I like it is because Ican get all of the shots that I need without really kind of moving myfeet too much during a wedding day. Like any other part of the wedding day, I’m happy to just kind of zoommanually if my feet and the, the negative is that I guess I don’t havethe 7,200 on all day that I can’t get all of the shots and Ihave to actually move. But the positive is that they usuallycan look a little bit better and it gives you that little edge. In the grandscheme of things with business, is that making me moremoney? Probably not. I realistically could justshoot everything with thisall day and just kind of get it done.

 

And I feel like that’s kind of thesame as shooting with a 24 to 70. Is that like, yeah, the imagesexist, they look pretty good. But I feel like these two lenses herereally kind of do make your images a little bit next level. With the 7,200, it is simply because I don’t wantto run around during the ceremony. I would rather just be able to zoomaround and get the shots that I need and then moving into hybridcoverage and doing video. This is the VR on it is really amazing.It’s their, I guess sports line, I don’t know, differential Termez. But it’s whatever their best VR thatthey can put in the lens is this, I feel like I’m on a steady cam wheneverI’m shooting with this in VR mode. And maybe if you’re a Nikon shooter,there’s a F a few different VR options. So you have normal and you have sport orsometimes you have normal and you have active what the active or sport in somecases means is that you’re ever shooting from a moving vehicle. That, that’s the, the studying that you should be onthat it really just kind of tries to stabilize everything and then normalmeans you’re kind of standing still doing stuff. So maybe hopefully I helped you.

 

I’m sure Canon or other companiesprobably have something similar going on. But that’s something that I learned acouple of weeks ago and I thought I would share with you cause it really did makemy images from a car a heck of a lot better. Next up in the importantthings. We have this go docs flash. It is the V1 depending on whatcamera system you’re using, you have to be selecting it. Sothe goat ox V one and is for Nikon. And basically it means that it justworks correctly with your Nikon camera or the see if you’re a canvas shooter,F if your Fuji or S if you’re Sony. And it does everything that I couldever need from a flash on a wedding day, a speed light.

 

I do have anAAD 200 pro also by go docs. But I find myself that this justkind of gets more than enough done. But I really do find that the power, I’m never outside with like a modifiertrying to overpower the sun or anything crazy like that. So I neverreally need that level of power. This does everything that I need wheneverit starts to get a little bit darker and I need to compensatefor a little bit of flash. I also have with me in theback of the, the case here, we’ll get to the bag in a moment. Inthe back of the pouch, there is this, this lovely little, I’m gonna call it the, it’s like a little Turkey little Turkey. And what that does is just a littlestand here for my flash and I find myself using this as much as I actually usethis light stand. So this light stand, I don’t know what it is. It’s I dunno. I want an Amazon and whatever thecheapest light stand was, I purchased it. You don’t have to get too crazy withlight stands if you’re just supporting a small little speed lightlike this.

 

But do know to, to put them in a spot where they’re notgoing to kick get kicked over by kids like running around and kickingstuff because things get a little, things don’t really get that wild atweddings, but your light stand, I’ve had, I’m gonna say three or four flashestip over and they’ve all survived. Fortunately, one of them, I lostthis piece. It just exploded out. But flash still works perfectly fine. Basically my process for flashis that if I walk into room, quality of light is good butit’s very dim. No problem. I have cameras that can go high ISO andreally just kind of handle anything. And if you’re interested, there’s actually a video thatI shot all that 5,000 ISO. The entire entire wedding day was all at5,000 ISO and it was on this eight 50. So yeah really no problems at all shootingthat high ISO if quality of light is not good, which means that there’s those littlepothole or pot lights and just kind of like making everything just looka lot.

 

It just doesn’t look good. Everybody’s bags into their eyes at thatpoint is usually when I come in with an on camera flash and if I know that oncamera flash just isn’t going to cut it for whatever reason. I’ll move it offcamera. So when I move it off camera, I put this X T, I put this X to T N cause again Nikonicon on the top of my camera up here. And all it does is actually really cool. So it controls everything by groups here. So if you’re on group a oron group B or on group C, D, which means whateveryou’ve set your flash to. So if you have a bunch of thesekicking around in the room, you can control all of them individually. You have your wheel down here to quicklyjust change whatever the settings are. So if you’re a littlebit too high flash power, you can easily dial that backor you’re gonna shoot it on TTL. I find for my post-production that it’sbetter when I shoot everything manual so that everything is just the same. And I can do batch corrections whenI get back into Poston and correct. But if you wanna shootTTL, by all means do that.

 

This is like the nicest off camera flashkit really that I’ve ever used and I’m super excited that I can actuallyuse off camera flash reliably. Now beyond off camera flash, one thing that is often overlooked isjust a simple video light like this. This is the go docs. Ithink it’s the [inaudible]. If it’s not a put the correct name on thescreen and essentially what it does is it just, it’s a nice soft white lightand you can change the Calvin of it. So if you want to go all the waydown to something like, I don’t know, make it nice and orange, you can go andyou can match that weird incandescent. There’s also a bunch of likecrazy different settingsyou can do like red if you want to get like really unique and weirdI guess with your wedding photography, I find myself usingthis, the police siren, so if you ever filming a movie and youneed that blue and red flash in the background, you get that anyways.

 

Notreally necessary for a wedding day, but for just having that nice soft videolight that if you ever just need to clean something up or if you’rein a dark space and you’re like, this is a beautiful environment, but I just need a little bit more lighton the couple to make them kind of like more of the focus of theimage, that video light, it’s usually a better situation thansetting everything up with an off camera flash. And what I actually use a lot is thislittle sort of cup here and this actually works with the V one. So if you want a little more modifierthere or if you want it on here, it works as well. So basically what itdoes is it just makes everything nice, nice and soft. So rather than abig kind of more directional LEDs, it just softens it out. So that kind of looks a little bit morelike a real light that could have been within the frame. My off cameralight or my, I guess off camera, video light. Really, the only thing that I’m trying to do ismake it look like it should be part of the scene.

 

I don’t want it to look like it’s justlike weird light that just shouldn’t exist. Or if the lights actually inthe scene, I just like, I just want it. I want it to look natural. I want it to,I want to hide my African or flashes. Guess what I’m trying to say. Ontop of that, we have a CTO gel. If I could have a CTS gel, which is just like a little less orangeI think it’s color, temperature, straw, I would love that. But I don’t have that. So basically all this does magnet againclips on there and now your flash is orange. With this you can just changethe color temperature to match that. So it’s no big deal. But for flash that’s pretty muchthe only thing that I ever use. I rarely if ever, use thislittle cup here on this flash, but what I will do is is used as ifI’m in an incandescent environment. Next up we have batteries and wehave cards and a battery charger. So battery charger, pretty exciting. These all charge or this camera chargesUSBC now so I can just kind of bring one of those battery packs with me and chargewherever rather than finding basically if I find an outlet like cool, I’ll use that and then I leave thatthere and I never see it again and I lose batteries and chargesthat way quite often.

 

So if I can just charge it withlike USBC just kinda in my, or even like put it back in my camera bagand shooting my second body while it’s charging. I would way rather do that than justkeep replacing these over and over again cause I really do forget them. Iforget a lot of light stands too, so that’s why I buy the cheap ones.Amazon basics batteries for this, X T for this [inaudible] getting really, it’s difficult to saybecause Fuji has the, the X T two X two three and X T four andthis is the [inaudible] very confusing to say. And then a backupcard for each camera. I have two cards in each of these cameras, two SDS and this one and execute and anSD in this one and I have one 20 eights sometimes I’ll even shoot thetwo 56 if it’s the SD and that. I would say if I’m just doingphotography on a wedding day, I will never reach the end of that again. That’s kind of my eight to 10 hour day. I was doing something like an 18 hour day, which is long time to be at a wedding.I might bring extra extra cards, but again, this is kind of gearedto the, to my usual environment. And then if I’m workingwith a second shooter, usually I have a second little smallbag with me and it has my laptop, a card reader and a hard drive in itso I can just download all their cards.

 

Or you get somebody like that in ourbox that I don’t have here with me. But you need to download cards that wayand it just downloads everything to this hard drive that you just walk aroundwith or you just take your seconds cards and you meet up with them on a Mondayor you have them shoot on your cards. If that’s the easiest. There’s, I dunno,there’s a lot. It’s like Photoshop. There’s a hundred differentways to do everything. So how you get your photos from yoursecond photographer, that’s your business. Last item here, peakdesign, everyday messenger. This is the V one version of this bag.There is a [inaudible] available as well. I, this one’s perfectly fine, so I’mprobably not going to upgrade and tell. I need to. But all the peak designitems are just absolutely amazing. This is all I bring with me. So the, I guess the cool thing or the amazingthing with this is that you get these little, these little flip downs if you wantto make some shelves in my peak design messenger,

 

I have kind of threeslots here. So usually what happens, I guess I’ll load this up sincepretty much pretty much done here. Usually this guy sits right here. Let’s go docs V one sits right here inthe middle and my second camera body sits up front there. So if it’snot needed, all I need is this. That’s where that all goes in thefront pouch here. What happens there? Battery charger, X two T, extra cards, extra batteries. You can putthem in slots if you want to. And then this guy that we forgot about, he can either go on the side orhe can go on the front up here. There you go. One of the other great things with thepeak design bags is they have this kind of, depending on how full it is, it’s a little stretchy and youcan pick which one you are. So if you don’t have thesecond hammer body in here, you can probably be all the way down here. And if you do it kinda just makes itlike as compact of a package as possible. So no problems whatsoevercarrying this bag around all day.

 

I leave my light stand in my car causeI don’t really need that all the time. And yeah, that’s all this in my hands. That on my shoulder sometimes my secondcamera body on my shoulder as well, depending on what part of the data is. And then this just in the trunk ofmy car. Thanks for watching today. I hope that this revealed some of themystery and the fact if anything else like you can invest in these expensive lensesbut you can also get similar versions of them that are a lot less expensiveas I spoke to with the D SevenFifty like that. That’s an amazingphotography camera. So you don’t have to worry too much aboutspending all your money on the latest and greatest if you’re justdoing photography. So yeah, thanks for watching today. I reallyappreciate you being here. And again, if it is before April 11th, you can currently get all of my weddingphotography courses for $30 rather than 2000 plus dollars and save yourself ACOa lot of money. Thanks for watching. See you next time.

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