I don’t get asked a ton of questions about photography, but when I do they are most commonly things like which lens is the best, how much should I bid on a photography job, and which gear do you use the most? The first two questions are pretty subjective; my favorite lens and how much I charge for a particular job can very greatly from job to job based on the needs of that particular assignment. The last question of which gear do I use the most, however, I think is a really good indicator on which gear do I find most valuable across all of my jobs. As it turns out there is a handful of gear that I take with me on nearly every job that I do. I may not always end up using every piece of this equipment on every job, but I think of them as indispensable to the point where I am at a disadvantage if I don’t take them.
I guess the first thing I should start off with are the cameras and lenses themselves since, you can’t really do a photography job without both of these elements.
My two main cameras which go to every photography job are my 5D Mark II and my 5D Mark III. If you were doing professional photography you always, and I mean always, want two cameras with you at all times. If you’re in the field with one camera and it breaks for whatever reason you are, as they say, “shit out of luck.” The client isn’t going to take very kindly when you offer, “oops”, as an answer. So be prepared and take two cameras. If one of my 5Ds should fail, I have a Rebel and even an old 20D ready to jump in to add an extra layer of assurance.
The second most important component is of course the lenses themselves. For this I travel with these three following lenses: 50 mm, 24-70 mm, 70-200 mm. The 24-70 and 70-200 are both 2.8, which means I have some flexibility in low-light situations where maybe my flash isn’t readily available. The 50 mm lens is 1.4 f-stop, which means it both has creamy bokeh and even more leverage in low light situations. I’m sure a lot of photographers would disagree with me, but if you have these three lenses in your camera bag I would argue you have 80 to 90% of your professional lens needs covered.
So now that we have the cameras in the lenses out of the way we can talk about all the little bits and pieces that really help your photographs stand out from the rest of the field. These are of course things like strobe lights, speed lights, studio lights, light stands, light modifiers, and all of the other in between pieces of gear.I consider myself a fairly light shooter by comparison to some other heavyweight professional photographers. By this I mean I rely on a fairly small package of gear to get my photos. Let’s begin with lights.
I use four speed lights, the 600 EX-RT from canon, two 430 EX IIs from Canon, and one 285 Vivitar with an optical slave eye attachment. Along with these speed lights I have 1 Einstein and Two Alienbees flash heads from Paul C. Buff (Let’s just call them PCB from here on out). To control these lights I have 5 Aputure Radio transmitters and one CyberSync Commander and CyberSync Slave for the PCB Lights. Everything else is triggered optically if needed.
My collection of modifiers is something I am fairly fond of, but even with my vast array of light shapers, I really only a handful all of the time. The big 5 light shapers include a 7 foot shoot through umbrella with a detachable ‘softbox’ cover from PCB, a 36 inch Octabox from PCB, a 24 inch speed-lite softbox from Neewer (super cheap, super handy!), and a 22 beauty dish from PCB and 2 Reflector dishes, also from PCB. I have a ton more light modifiers, but these comprise a large portion of what I use on set regularly.
Finally, in my “other” category for gear used on set, I use 2 Avenger C-Stand Completes, 4 twelve foot straight stands, a Manfrotto tripod with ball mount head, one black flag, 1 tri-grip reflector, 2 three by five foot collapsible diffusion panels , a wide assortment of colored light gels, and a bunch of various fastening devices like clamps and gaffer’s tape.
Let’s break that down into list form real quick
- 5D Mark II
- 5D Mark III
- Canon f/1.4 50mm
- Canon f/2.8 24-70mm
- Sigma f/2.8 70-200mm
- Manfrotto tripod & Ball-mount Head
- Canon 600EX-RT
- 2x Canon 430 EX II
- Vivtar 285
- Paul C. Buff Einstein
- Alienbees B800
- Alienbees B400
- 5x Aputure Wireless Triggers
- Paul C. Buff CyberSync Commander
- Paul C. Buff CyberSync Slave
- 7 Foot Shoot-through Umbrella with removable Reflective/Softbox Backing
- 36 Inch Octabox
- 24 Inch Speed-lite Softbox
- 22 Inch Beauty Dish
- 2 Reflector Dishes
- 2x Avenger C-Stand Complete
- 4x 12 Foot Straight Stands
- C-Stand mountable Black Flag
- Tri-grip Reflector
- 2x 3×5 Foot collapsible Reflector/Diffuser
- Assorted Colored Lighting Gels
- Assorted Clamps
- Gaffer’s Tape
Tada! Hey, trust me, that’s not an unmanageable amount of stuff. The cameras, lenses, radio triggers and speed-lites all fit into one carry-on-sized camera bag, and the larger flash heads and tripod all fit into a 4×1 foot rolling light bag. The stands and light modifiers do add a cumbersome element to moving around when on on location, but with one assistant it’s more than manageable.
Benjamin Lehman is a commercial photographer in the Canton, Akron, Cleveland and NorthEastern Ohio Area.