In today’s article, I want to share how I photograph a wedding using only prime lenses.
So, I photograph in a wide variety of prime lenses, and if you’re wondering, why don’t I shoot on a zoom lens rather than a whole bunch of prime lenses? And there are a few reasons for that.
So, first of all, I love the low-light capabilities of prime lenses.
Another reason is that prime lenses generally have a better quality in their photos.
The prime lenses really do have a wonderful quality. The bokeh is beautiful, the sharpness is really crips, and I personally love using prime lenses.
One less reason why I really love using prime lenses is that prime lenses helped me stay creative throughout the day.
So these are my favorite 4 best prime lenses for wedding photography that I love to shoot with my whole wedding.
Which are the best prime lenses for wedding photography?
Here are my recommended top 4 best prime lenses for wedding photography:-
So when looking at this lens, I think there are two things you should consider the size and the price.
The size of this thing is massive.
This thing is almost double the size, if not a little bit bigger; when I attach this lens to the Canon art camera, it makes it very top-heavy; although it is very large, I really don’t find it too heavy to handle when I’m shooting with my art.
So now let’s talk about the other element that is the price.
This thing is not cheap at all, but for that price, you’re getting an F 1.2 85 millimeters new Canon RF lens mount.
And with the Canon RF lens mount, you’re getting faster autofocus and faster communication between the body and the lens.
So when I shoot weddings with this lens, it is absolutely a must; it is fast in autofocus.
So a few other things to consider is that this is a prime lens, so it’s 85 millimeters, so you’re stuck at 85 millimeters mount is only good for the Canon mirrorless system.
I have to say one of the coolest features of this lens is the control ring in front.
I personally use this control ring to control my ISO, so when I use this lens for this wedding, it was super quick, and autofocus was a breeze picking up I focus with the Canon art.
This thing was incredible; I found that the colors, the contrast, and overall picture quality was a lot better.
If you’re getting into prime lenses like myself for weddings, I say this is definitely a must.
As I mentioned before, this is F 1.2, and, incredibly, the sharpness is out of this world. The bokeh in the background is beautiful, and there is no chromatic aberration happening.
The Canon 85 1.2 is just absolutely insane.
It is big; it’s heavy, it is not a nifty 50.
However, I think it’s worth it because of the image quality, the razor sharpness wide open at 1.2, and the overall color rendition of this lens.
So let’s jump into a little more detail about why I think it’s worth it.
But let’s start with just kind of the overall appearance and the size of this guy. It is huge, is not a small 50-millimeter lens, definitely not a nifty 50 by any standard.
When I first got this, it turned me off because of the huge size; obviously, having the grip on the ASR makes it feel better in my hand.
However, it’s still usable without the grip, especially with the ASR, because the grip is so good.
The appearance of this guy builds quality-wise; it’s pretty solid.
I know that some people are not fans of the plastic outer coating that the lenses have; personally, I love it; it’s kind of like a tough plastic.
So I think that’s actually welcome in this is a weather-sealed.
I shoot both photos and videos for weddings for commercial work.
The first thing that is my absolute priority with any lens is autofocus, is it quick, and is it accurate?
Personally, I think that the lens performs really well; I don’t think it’s the fastest lens that I’ve ever used however it’s definitely fast enough for all my wedding use cases.
As I’m a pretty quick shooter, I like to kind of get in, pull the camera up and roll off a couple of shots and then move, and so I’m not really had a want for better autofocus from this camera and with the RF system.
It just feels good. It’s snappy.
I tend to use a single shot or an Fs most of the time, but then we’ll switch into servo with four shots where a bride and groom walk towards me or anytime or somebody walking towards me.
That’s typically when I go to continuous or servo autofocus; there is one thing to note, though to be completely honest, this lens the internal focusing element moves.
The next thing is image quality, and this is kind of where this lens shines.
I saw attack sharpness out wide open at 1.2 on the subjects’ eyes, and I was amazed I was blown away by how razor-sharp that was.
Not only that, but the out-of-focus renderings, the bokeh that you can see in these images, are just so soft and pleasant to look at.
Some lenses have out-of-focus renderings that aren’t as pleasant; this one is so buttery smooth, and I love it for that. I’m not a huge like bokeh maniac.
My experience so far has been nothing but good with this lens; it inspires me to shoot with it, which makes me shoot more with it.
I hope that gives you kind of a good idea, in terms of flair, how sharp that it can actually be, and various settings, maybe studio outdoor.
It’s just a really versatile lens.
I started my photography career with a single camera and 50 millimeter 1.2 lenses.
It is a versatile focal length that you can shoot events with; you can shoot portraits with you and shoot just about anything you want.
I feel like it’s good enough, and the image quality is great enough to where it is worth using, and it is worth purchasing.
I used to own that one, and I shot with it for about 3 years, so this lens was a huge upgrade, and I want to go into a couple of reasons why this lens was a huge upgrade.
So, one of my favorite things about this lens is its ability to shoot at 1.4; it’s still really sharp.
So this allows me to go down if there’s a messy background and get rid of some of that stuff in the background but still have lots of context with the longer focal length.
Another thing I love about this lens is the ability to frame in the corners, so I like creative framing. I don’t like to dissenter people a lot.
I like to have them off to the side or at the bottom, and so this lens allows me to do that without getting a huge penalty and corner sharpness.
So, when I’m doing my framing, I’m not constantly thinking about the center and getting that sharpness.
Another huge advantage of this lens compared to the old version is that there’s hardly any distortion.
So you get a really nice frame; I find that if the lens has a lot of distortion and then you’re crushing it in Lightroom, then the corners get even less sharp.
And for like family formals, where you’re putting people on the sides, you want to fill that frame for like it like an 8/10 at least, and I found that that this lens like it was like.
When I’m doing a photo, the first thing I’m usually looking for is the backlight unless it’s like Twilight or then the golden hour.
Because this will be a lot more flattering of a picture, we’re not going to have those like harsh shadows people’s eyes won’t be watering and stuff like that.
So I constantly shoot backlit, and I don’t get any chromatic aberration background with this lens.
Canons do BR lens element is really taken away a lot of that chromatic aberration, and so it saves me time in a post I don’t have to correct for it.
And the backgrounds look nicer, and there’s more resolution; you’re not losing resolution to like weird lens defects and stuff, so yeah, a huge advantage to this guy.
In conclusion, this is definitely my favorite Canon lens.
You get even a little more resolution and starboard 1.4; you still get those nice cannon colors.
I’d say this lens. If you’re a working professional, this is pretty much a must-have; I don’t; I would never want to go into a wedding without this lens.
If you’re a prime shooter like me and know it is your full-time job, I think this is an excellent investment for just about any working professional.
The 50 millimeters 1.8 OSS is one of the best lenses with a wide aperture in the IPC range; I’m going to give you five reasons why.
I’ve used this lens for quite a while now with my Sony A 6000, and it’s just one of those lenses that just gets picked over and over again when it comes to portraiture shots.
Firstly, the 50-millimeter lens has one of the best features you need when filming on the A 6000, and that always says optical station.
As you may know, the A 6000 doesn’t have fibers, which is tough for video users.
There’s obviously not too bad; the fibers allow photographers to use slower shutter speeds, which creates more light performance; they bump up that ISO to compensate for their low light.
In video work, it makes an incredible difference with OSS found in most of the markets.
Holding the camera smooths out, and it gives you a much smoother, steadier-looking image, which can be the difference between an amateur-looking shot and obviously a professional-looking shot.
But paired with a gimbal, you will get incredible cinematic footage out of this lens.
Secondly is the price; this lens is the cheapest autofocus with OSS on the market.
The beauty of having an APS-C camera is that the lens is so much cheaper than the Full Frame Options.
It’s a huge difference when I bought LEDs for my 6006 or A7iii that I do my six steps, saving money on a lens.
Obviously, it’s fantastic because you have more money in your pockets. Obviously, you got more money to spend on accessories that you might need, such as ND filters, gimbals, tripods, whatever you name that the reason this lens is great is the focal range.
Now, it’ll vary from person to person when it comes to the focal range, but this is a 75-millimeter equivalent.
It’s perfect for portraits and in a situation that you don’t want to get too close to the subject.
This thing is fantastically liners really great for gimbals; you can also purchase smaller gimbals, which are generally cheaper and much easier to carry around.
The negative side to full-frame is that the lenses are generally bigger and heavier, the body is obviously big in a bigger gimbal, and it just so heavy to carry around.
Lastly, the 50-millimeter lens is really sharp, even at a wide aperture at 1.8; this thing is incredible.
Stopping it down to 2.8 and f4, and boom, you have incredibly sharp images with pretty decent background compression or bokeh.
There’s a little bit of vignetting in the corners as check at the center sharpness, and it’s quite sharp in the center and on the corners.
It’s very nice and sharp in the center, with high contrast but a little bit of chromatic aberration in the corner.
Overall a fantastic performance by the Sony lens, so if you’re looking into getting a nice nifty 50 lens, this one is a must. It would help if you definitely got this lens.