Wedding Photography Equipment

I believe, and we will always believe, that there is so much more to wedding photography than just nice equipment. Let’s be real: owning a high-end lens doesn’t automatically make you a master of light, composition, or storytelling. I’ve seen shooters with $10K setups who still rely on outdated techniques, flat lighting, and awkward framing—especially in fast-paced wedding environments where intuition and experience matter more than specs.

"I've met plenty of photographers who flex their gear like it's a badge of honor—but the moment they start shooting, it's clear they're stuck in the early-2000s digital mindset or simply don't understand how to use what they've got."

Wedding photography isn’t about pixel peeping or chasing the latest tech trend. It’s about knowing how to use your tools to capture emotion, movement, and atmosphere in real time. A seasoned photographer with a modest kit will always outperform someone who treats their gear like a trophy shelf.

Why I chose Canon

Don’t ask me why, but back in 2008—when I was just dipping my toes into the wild world of photography—I made a gut call and went with Canon. I was this close to buying the Nikon D40 (yes, the legendary D40!), because let’s be honest, that was all my budget could handle at the time. I had one foot in the Nikon camp, ready to commit… until Canon dropped the Rebel XSi that very month.

It was like fate stepped in with a spec sheet and whispered, “Go newer.” The XSi had slightly better features, looked slicker, and—miraculously—was the same price. So I pivoted. Canon it was.

Sony? Not even on the radar. Fuji, Panasonic, Olympus, and the rest of the gang (if memory serves me right) were mostly cranking out point-and-shoots. DSLRs were a two-horse race: Nikon and Canon. And when it came to buying gear, I wasn’t browsing Adorama or B&H. I knew they existed, but they felt like distant planets in the photography universe. My orbit was strictly BestBuy and Costco—places where you could touch the box before you bought it.

Looking back, that decision shaped everything. It wasn’t just about specs—it was about accessibility, timing, and a little bit of beginner’s luck. Funny how one impulsive choice can set the tone for your entire creative journey.

What all that Fuji gear?

Don’t ask me why, but a while back my wife—who also happens to be my partner in photography—decided to switch things up and hop on the Fuji bandwagon. Actually… I do know why. She fell head over heels for those dreamy Fuji colors. You know the ones—punchy, nostalgic, almost film-like. After chatting with fellow Fuji shooters in our industry and doing her homework, she pulled the trigger.

Fast forward about 18–24 months, and she drops a bombshell:
"I want my Canon gear back!"
Cue the dramatic music. Wait… what?

Turns out, the romance with Fuji had its limits. She found herself overshooting—taking way more frames than usual—not because she was experimenting, but because she wasn’t confident Fuji would nail the moment. And in wedding photography, that’s a dealbreaker. You don’t get second chances when the bride’s dad tears up or the couple bursts into laughter mid-vow.

Fuji’s autofocus system, while decent, just didn’t deliver the precision she was used to. Canon’s Dual Pixel AF? That thing locks on like a heat-seeking missile. And let’s talk lenses: Fuji’s primes are nice, but they don’t hold a candle to the sharpness of Canon’s RF glass. I’ve tested it myself. The RF 24–70mm f/2.8? It’s a beast. Sharper than some of Fuji’s best primes, and more versatile too.