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Evaluating the gear: Is it good enough?

From: Wedding Photography for Everyone: Bridal Portraits

Video: Evaluating the gear: Is it good enough?

One of my good friends, David (UNKNOWN) who is an excellent photographer and educator has sort of popularized this saying, and here it is. Gear is good, but vision is better. And I think it's true, and that's why we spent all this time working on our vision. What type of photographer do we want to be, what type of images do we want to capture, but now we are going to shift our focus towards gear. One of the things to keep in mind with gear is that, in this day and age, almost any camera can be used. And what I mean by that is that a camera phone, or a pocket camera, or an entry level camera.

Evaluating the gear: Is it good enough?

One of my good friends, David (UNKNOWN) who is an excellent photographer and educator has sort of popularized this saying, and here it is. Gear is good, but vision is better. And I think it's true, and that's why we spent all this time working on our vision. What type of photographer do we want to be, what type of images do we want to capture, but now we are going to shift our focus towards gear. One of the things to keep in mind with gear is that, in this day and age, almost any camera can be used. And what I mean by that is that a camera phone, or a pocket camera, or an entry level camera.

Well, all of those work. They're all winning contests. They're all creative photographs that are hanging in museums. And so, as you think about your gear, just keep that in mind. Also keep in mind this. Who you are really, really matters. I mean, gear's important, but again it's the who that perhaps matters even more. And as I was thinking about that I came across a couple of quotes that I wrote down in my journal that I wanted to share with you. The first one is by Arnold Newman. He's one of the kind of founding fathers of environmental portraitature and as a referenced him previously he said this.

He said that we don't capture images with our cameras, but with our hearts. In other words. It's what's on the inside that really matters. Or perhaps, we could take the same message from Ansel Adams who said, you know, the most important component of a camera is the person behind it. So again, who we are and how we approach our gear, I think does really matter. That being said, there may be a point where we need to spend some time thinking about what type of gear do we actually use? Perhaps we don't have gear that will help us actualize our vision or make that come to life.

In situations like that you may need to borrow, buy or rent gear. And as you do that tnough keep this in mind. The gear won't make you a great photographer, although it might help. So in the next couple of movies let's look at a few specific gear considerations as we're thinking about how we can create interesting bridal portraits.

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This video is part of

Image for Wedding Photography for Everyone: Bridal Portraits
Wedding Photography for Everyone: Bridal Portraits

44 video lessons · 10149 viewers

Chris Orwig
Author

 
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  1. 4m 10s
    1. Welcome
      1m 39s
    2. A roadmap overview to the course
      2m 31s
  2. 18m 5s
    1. The art and craft of bridal portraiture
      4m 27s
    2. Crafting a vision
      2m 27s
    3. Evaluating the gear: Is it good enough?
      1m 58s
    4. Choosing your essential gear
      4m 22s
    5. Considering other gear
      2m 6s
    6. Working with an assistant
      2m 45s
  3. 12m 49s
    1. Introducing location
      1m 41s
    2. The art of previsualization
      5m 40s
    3. Scouting the location
      5m 28s
  4. 7m 12s
    1. Getting ready and capturing candid moments
      2m 8s
    2. Photographing the details
      2m 2s
    3. Setting the tone with a conversational approach
      3m 2s
  5. 18m 24s
    1. Using natural locations
      1m 20s
    2. Working with window light
      2m 32s
    3. Working with open shade
      2m 3s
    4. Sitting versus standing
      2m 24s
    5. Working with poses, posture, and poise
      3m 35s
    6. The importance of authentic eye contact
      2m 7s
    7. Using the bouquet in the shoot
      2m 20s
    8. Working with multidirectional natural light
      2m 3s
  6. 21m 45s
    1. Capturing images that are quirky and fun
      2m 42s
    2. Introducing props
      2m 46s
    3. Working with props
      3m 28s
    4. Taking images with a vintage truck
      2m 53s
    5. Working with the makeup artist
      5m 7s
    6. Looking at the dress and veil options
      1m 29s
    7. Working with a backlit scene
      3m 20s
  7. 2m 6s
    1. Understanding the rhythm of the shoot
      1m 18s
    2. Wrapping up the shoot
      48s
  8. 8m 55s
    1. The quality and feeling of natural light
      1m 38s
    2. Working with the bride
      1m 20s
    3. Reviewing mistakes and lessons learned
      3m 20s
    4. Reviewing tips for working with natural light
      2m 37s
  9. 44m 28s
    1. Reviewing what worked and what didn't
      11m 1s
    2. Reviewing images from the beginning of the shoot
      5m 23s
    3. Reviewing images from the middle of the shoot
      5m 49s
    4. Reviewing the end of the shoot
      6m 15s
    5. Reviewing the film images
      3m 45s
    6. Comparing before and after
      7m 29s
    7. Making selects: A few words of advice
      4m 46s
  10. 4m 23s
    1. Reviewing final tips for bridal portraits
      2m 54s
    2. Exploring the next steps
      1m 29s

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