I wish to touch on gear and equipment for the aspiring pro.
So that you don't anyhow buy and waste money. Its too easy to fall into that trap. What you really need as tools and what are luxury and toys.
And it doesn't matter Canon or Nikon.
24-70 f2.8 - bread and butter lens, will get you thru all kinds of genre, and enable you to see anything, shoot anything. I know some people sing the all primes lens ship, but that is specialization for a genre, ie weddings and portraits, which will severely limit your versatility to take on other assignments. A fast good zoom like the 24-70 is the best money you will ever spend.
Another cheapo zoom for backup, that is the kit lens if you are on DX format, or an old film era cheapo zoom if you are on FX. It doesnt matter which one, any one, important its got 1) general zoom range from wide to tele, 2) its light and 3) its reasonably sharp at f5.6 to 8. Truth be told when I need to shoot in a suit and tie, thats the setup I go, the lightest and smallest.
2 flashes, any flagship models from the brand you are in. Not necessary need to be the current flagship model and old ones are actually better and cheaper. For 'Ambient only shooters', again that is specialization and not knowing flash will limit your versatility in taking on assignments. 'Ambience only' shooting is denial to reality and an unwillingness to learn and explore possibilities. All good photographers knows flash, whether they use it or not doesn't matter to you or me. Important is do you know flash and how can it help you?
A flash batt pack if you are in events and weddings. Third party ones will do well enough. Flash triggers if you are advanced enough and use OCF. Flash modifiers, stick to one and learn that one.
2 bodies, preferably same model, otherwise is ok. FX if you can afford, otherwise DX is fine. A FX/DX hybrid is hard to mix but in this case I will keep all lenses FX for the eventual switch to fully FX. Avoid buying the latest flagship models, those are for rich hobbyists like lawyers, doctors and pilots. For the working pro, you want to stretch your dollar and diversify your risks. Two units of $3000 cameras is better than one unit of $6000 camera. Your best bang is the flagship model BEFORE the current one, or the current best semi-pro, all pre-owned. Buy once do not upgrade anymore until it gets really obsolete. Having 2 units enhance your ability and speed on the field, and for backup.
Specialization lens, you add this as soon as you are able, for this will get you the money pics. 14-24 if you are in interiors and architectural, 105 macro for food and products, 85 1.4 for portraits and weddings, 70-200 for events specialists. Based on experience, other than the 24-70mm, these are the money generating lenses. Buy for your genre and do not waste money lusting after things you don't need.
A full prime lens specialization is an expensive one if you go 1.4, if you don't go 1.4, its a waste of time coz a good 2.8 is not too far behind from the 1.8 and 2.0s.
Best bags are the rollers, and a smaller backpack. Shoulder bags and sling bags hurt your body.
Lots of memory cards so that you do not have to format one too soon and take risks.
Buy most of the stuff pre-owned. Only hobbyists buy new and still smile.
Any money you save, goes to marketing materials, advertising, a haircut and presentable clothes.
Added on 16/07/2013:
On studio lights and studio space - RENT
Unless you have established yourself as a known name in that particular genre with steady stream of clients all lined up Mon to Fri for such shoots, AND you are charging enough for it - RENT.
The less depreciating assets you hold, the less recurring cost (property lease on studio space); the more you earn and keep. And in actual fact your gear always 'stays updated' because the job (and cost) of keeping those equipment updated lies with the people you rent from and they bear the cost of depreciation and maintenance, not you.
Further read on depreciation of equipment: Link
So that you don't anyhow buy and waste money. Its too easy to fall into that trap. What you really need as tools and what are luxury and toys.
And it doesn't matter Canon or Nikon.
24-70 f2.8 - bread and butter lens, will get you thru all kinds of genre, and enable you to see anything, shoot anything. I know some people sing the all primes lens ship, but that is specialization for a genre, ie weddings and portraits, which will severely limit your versatility to take on other assignments. A fast good zoom like the 24-70 is the best money you will ever spend.
Another cheapo zoom for backup, that is the kit lens if you are on DX format, or an old film era cheapo zoom if you are on FX. It doesnt matter which one, any one, important its got 1) general zoom range from wide to tele, 2) its light and 3) its reasonably sharp at f5.6 to 8. Truth be told when I need to shoot in a suit and tie, thats the setup I go, the lightest and smallest.
2 flashes, any flagship models from the brand you are in. Not necessary need to be the current flagship model and old ones are actually better and cheaper. For 'Ambient only shooters', again that is specialization and not knowing flash will limit your versatility in taking on assignments. 'Ambience only' shooting is denial to reality and an unwillingness to learn and explore possibilities. All good photographers knows flash, whether they use it or not doesn't matter to you or me. Important is do you know flash and how can it help you?
A flash batt pack if you are in events and weddings. Third party ones will do well enough. Flash triggers if you are advanced enough and use OCF. Flash modifiers, stick to one and learn that one.
2 bodies, preferably same model, otherwise is ok. FX if you can afford, otherwise DX is fine. A FX/DX hybrid is hard to mix but in this case I will keep all lenses FX for the eventual switch to fully FX. Avoid buying the latest flagship models, those are for rich hobbyists like lawyers, doctors and pilots. For the working pro, you want to stretch your dollar and diversify your risks. Two units of $3000 cameras is better than one unit of $6000 camera. Your best bang is the flagship model BEFORE the current one, or the current best semi-pro, all pre-owned. Buy once do not upgrade anymore until it gets really obsolete. Having 2 units enhance your ability and speed on the field, and for backup.
Specialization lens, you add this as soon as you are able, for this will get you the money pics. 14-24 if you are in interiors and architectural, 105 macro for food and products, 85 1.4 for portraits and weddings, 70-200 for events specialists. Based on experience, other than the 24-70mm, these are the money generating lenses. Buy for your genre and do not waste money lusting after things you don't need.
A full prime lens specialization is an expensive one if you go 1.4, if you don't go 1.4, its a waste of time coz a good 2.8 is not too far behind from the 1.8 and 2.0s.
Best bags are the rollers, and a smaller backpack. Shoulder bags and sling bags hurt your body.
Lots of memory cards so that you do not have to format one too soon and take risks.
Buy most of the stuff pre-owned. Only hobbyists buy new and still smile.
Any money you save, goes to marketing materials, advertising, a haircut and presentable clothes.
Added on 16/07/2013:
On studio lights and studio space - RENT
Unless you have established yourself as a known name in that particular genre with steady stream of clients all lined up Mon to Fri for such shoots, AND you are charging enough for it - RENT.
The less depreciating assets you hold, the less recurring cost (property lease on studio space); the more you earn and keep. And in actual fact your gear always 'stays updated' because the job (and cost) of keeping those equipment updated lies with the people you rent from and they bear the cost of depreciation and maintenance, not you.
Further read on depreciation of equipment: Link
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