80% with only two focal lengths
Already in 2016, the 42.5mm as a classic portrait focal length (85mm equiv.) was responsible for about half of all photos. In second place was the 17mm (34mm equiv.) with almost a third.
In fact, that has hardly changed over the years. No wonder, because other focal lengths are not necessarily "necessary" at weddings. For a well-rounded story, these two focal lengths are completely sufficient.
For the reportage, I replaced the 17mm with a 15mm in late 2017 - just to have a little more room in my images. In the turmoil of a wedding, 17mm were often a tiny bit too narrow for me. 2mm doesn't sound like a lot, but it's priceless when shooting candids. That switch practically hasn't changed anything in terms of distribution though.
The situation is similar with the wide-angle range. The 7-14mm has been a solid 10% over the years without much change.
For a long time fisheye only had one job for me - group photos of large wedding parties. In 2019 it finally had its breakthrough on the dance floor. Since then I've been even closer and with the small, robust lens in the middle of the fray. The distortion of the fisheye does not interfere there and provides even more dynamics.
The statistics shift a bit from 2019 to 2020. Corona has struck here and not only massively reduced the number of weddings, but also the type of weddings has changed. Often the big weddings were canceled and postponed to 2021 or 2022 in the hope of being able to celebrate big again. The weddings that took place were almost all smaller than usual - only a few were with many guests and large parties, most of them were tiny weddings. Often it was "only" about the civil ceremony and the big wedding is saved for later.
And as we're in the middle of 2021 by now, this year could turn out to look very similar. Although in the meantime there are some bigger weddings on the horizon. Wish me luck!
Right. In 2018 a Sony A7iii was allowed to join me for my weddings from June to October. Therefore, the year doesn't quite fit into the statistics and would only have caused confusion in the graph above.
As far as the used focal length ranges are concerned, the little Sony excursion made practically no difference:
Almost a third of all photos were taken with the medium wide-angles (Mft 15mm and Sony 35mm) and about half in the slight telephoto range (Sony 85mm + Mft 42.5mm). The 75 came a little short that year, but otherwise the distribution has hardly changed.
From the angle of view a classic portrait lens (corresponds to 85mm on the 35mm sensor), fast AF, tack-sharp even with open aperture and creamy bokeh - by far my number 1 and the "always on" lens on my first camera.
A big name for this small and powerful lens. At 15mm, the Summilux is slightly wider than the typical reportage focal length (30mm equiv. vs. 35mm). So there is always a little more "life" in the pictures. The small lens also has a nice bokeh - provided you get close enough.
It is not the fastest of its kind, but it is sharp and does beautifully straight lines. This is great for architecture, but it also takes a bit of getting used to. Like all well-corrected wide-angle lenses, forms are somewhat distorted, depending on the composition of the image. People at the edge of the image are usually not very grateful. This is why you should be careful to keep heads and other body parts away from the edges of your phots. Less perfectly corrected wide angles (e.g. the 9-18mm) are more forgiving here. The extreme opposite would be the fisheye. Forms will have realistic sizes, but lines (and people) will be bent/curved.
The well-made lens is incredibly compact for its focal length. So it hardly takes up any space in the photo bag and, on the camera, it does not look like a 150mm telephoto (equiv.). That makes it perfect for inconspicuous headshots, among other things. Especially at large weddings, great moments can be picked out at the reception or at the tables without anyone noticing. In addition, the lens has good sharpness, fast AF and nice bokeh - you can't give it away anymore.
The little no-name lens weighs nothing, costs nothing, is sharp and goes very well with backlighting. For years it was my first choice, especially for large group photos from above in the evening light. This is a pretty limited use case and it spent most of the time in the photo bag.
In 2018 I rediscovered it for party photos on the dance floor and used it there massively, especially in the 2019 season. In 2020 the quota will go down again - not because my preferences on the dance floor have changed, but because thanks to Corona there was much less dancing.
And where are the rest of the supposedly 19 lenses from the LR statistics?
Some of them have been sold - for example everything related to the Sony. A few others don't belong to me and were just here vor testing - not long enough to make their way into the stats. Among them e.g. the Nikkor AF 85mm f1.8 - an excellent "reasonable" lens for Nikon - or the Nikkor Z 35mm f1.8 S - an awesome reportage lens for the mirrorless Nikon Z mount. Saja uses this combination for her business and wedding photography. The rest is probably slumbering in a drawer.
There me be even more in the drawer. But that doesn't really matter - especially not for wedding photography.
Basically, I actively use two cameras at weddings (and a third one in my bag for backup). It goes so far that in key situations I also take photos with both of them simultaneously. It looks a bit silly though, but it gives me pictures from two perspectives with different focal lengths at the same time - an advantage for wedding photography that I wouldn't want to miss.
Of course, a ranking makes little sense here. In contrast to lenses, cameras are replaced by successors much more quickly. Nevertheless, it is very exciting to see what has been part of my weddings in the last 5 years.
Main cameras are currently two E-M5 MkIII and a PEN-F for backup.
Olympus E-M5 MkIII
Olympus E-M5 MkII
Mavic 2 Pro
From 2016 to 2019, two of them were at practically all weddings. Four wedding seasons and a corresponding number of photos secure her top spot on the list over the last 5 years. By the way, a camera couldn't be much nicer
Not quite as pretty as the PEN, but with the autofocus and computing power of its big (and bulky) sister, it's currently the ideal camera for me. A great mix of quality and compactness. In the team since the end of 2019, she has almost only seen corona weddings.
Sony and I never had a good relationship. But she was at many weddings in 2018 - including some in Ireland with hundreds of guests and many, many photos. That currently secures her 3rd place. You can read here why Sony and I didn't become friends.
Unspectacular but reliable. That's how I would have described the update of the E-M5 that came into the team in 2015. Since the PEN-F, however, she has led a quiet life as a third camera for occasional live composites at weddings and as a backup camera.
In the statistics she is only in the photo booth because of occasional jobs. The E-M5 has long since stopped playing a role at weddings. She (a total of 3 pieces) was present at all weddings from mid-2012 to the end of 2015. The E-M5 in 2012 was also the reason for me to finally say goodbye to DSLRs and switch to mirrorless.
Wedding photography with MicroFourThirds?
Yep, that works!
It even works very well. And really now, I'm not an Olympus fanboy. However, I have been traveling with Olympus since 2012 without a mirror. You get used to some things - in the positive as well as in the negative - and you will certainly have a different view of other systems. Cameras are just tools. And now it doesn't really matter which system you use to photograph weddings - all cameras are now at a high technical level. The decision is more a matter of taste. The Olys and I are a good fit.
BRAUTRAUSCH® wedding photography
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