Inside My Bag
Canon 5DmkII 21mp DSLR
I expect to use this extraordinary camera for many years to come. Along with very satisfying color rendition its high ISO performance comfortably handles every situation I’m going to see on a wedding day (I now shoot at 3200 without hesitation). The high resolution provides excellent contrast while effectively reducing noise when the huge RAW files are scaled down to normal viewing sizes. I added the Canon Eg-S precision matte screen for enhanced focusing clarity – it’s really a necessity for Zeiss lenses.
Zeiss ZF 28mm 2.0 Distagon T*
Zeiss ZF 35mm 2.0 Distagon T*
Zeiss ZF 50mm 2.0 Makro Planar T*
Zeiss ZF 85mm 1.4 Planar T*
These lenses represent my bread and butter, responsible for virtually all the images I make on a wedding day and the majority of my portfolio. Why use the Nikon-mount ZF version when Zeiss makes a ZE line for EOS mount with identical glass? First Nikon’s smaller bayonet results in a narrower barrel for the ZF line, a feeling I prefer. It’s easier to handle in the lens bag I carry on my body and focusing feels more delicate, prompting me to be more sensitive and precise. Second all Nikon lenses turn in the ‘wrong’ direction relative to virtually every other lens maker; Nikon puts infinity on the left, which I also prefer when focusing manually. Nikon lenses must be stopped down manually using the aperture ring (non-existent on most microchipped lenses these days). I don’t mind it even though the viewfinder grows increasingly dark as your desired depth of field increases.
I use Fotodiox Pro adapters on each lens for a snugger fit than the cheaper alternatives.
In my career I have owned quite a few Canon lenses including the 10-22mm EF-S, 16-35mm 2.8L II, 28mm 2.8, 35mm 1.4L, 50mm 1.4 and 1.8, 85mm 1.2L II, 100mm 2.8 macro, 135mm 2.0L, 200mm 2.8L II, and the 70-200mm 2.8L IS. While part of me regrets having purchased and sold so much gear, trial and error is inevitable on the path of discovery.
I now use manual focus Carl Zeiss T* (pronounced T-star) coated lenses only, with one small exception which I’ll discuss. Here’s why:
RESOLUTION AND DETAIL: In almost all cases they are as sharp or better than their best competitors. But sharpness is only part of image character. Zeiss lenses provide an extremely even response across the image data range, providing linear shadow and highlight rendition. Other lenses seem to have a sort of S-curve built in, adding contrast to the deep blacks and highlights. While this lends itself to pop culture drama (no disrepect to the millions of talented Canon L users is intended) it doesn’t suit me – I much prefer the natural look I’m able to achieve with my current setup. In the world our eyes naturally adjust to reveal detail in all things, even the deep shadows of black hair and the brightest areas of sunlit peonies, so it’s very important that my lenses not rush to pure black and pure white. I’m very conservative with any RAW processing curves for the same reason. I want to see everything and I think it keeps us gazing at a photograph longer.
MICROCONTRAST: Zeiss 35mm lenses also offer exceptional microcontrast, the fine tonal separation between small details. It’s a hard thing to put your finger on if you’ve just started looking at this characteristic but it’s the primary element that creates lifelike clarity in images. Where other lenses might resolve details but leave them slightly washed out Zeiss lenses show rich colors and strong blacks in these areas. Much like high-definition TV, polarizing sunglasses, and good speakers, microcontrast is an under-appreciated property that everyone enjoys when they experience it even if they can’t explain why.
COLOR CONSISTENCY: Many of the high quality lenses I’ve owned in the past had considerable temperature variations which nearly drove me insane during color correction. One lens in my bag might be warmer, another would have a bit more cyan. My preference is that every lens I carry reveal identical skintones in the same scene. Zeiss lenses, thanks in part to the T* coating, are highly matched to one another. Perspective clues aside it is now nearly impossible for me to tell which lens made a given image.
BOKEH: When I started out many of the film photographers I admired had a smoothness of out-of-focus blur that I found very seductive. Instead of highlights and backgrounds being busy, jangly, loud, squeaky, or jarring they were simply natural and pleasant. It felt like how my eye actually saw the world. A large part of this is Zeiss’ approach to bokeh. Their engineers wrote a rather dense white paper on the subject in April 2010 that technophiles will enjoy. I can only say that their lenses have a unique character that I value.
Canon 70-200mm 4.0L IS
This lens is the silent star of the Canon lineup, a lens for which there is no Zeiss counterpart. It is easily the sharpest zoom I’ve ever held with excellent microcontrast and all the color qualities that I like. I use it for ceremonies because my movement is always somewhat restricted and I need to make shots at many different focal lengths quickly.
Sandisk 32GB CompactFlash cards
I use big Sandisk cards to shoot – honestly I would have gotten a single 64GB card if it wasn’t so incredibly expensive. There are some people who have concerns about having 1100 RAW images stored on a single card but I don’t worry about it. I always buy Sandisk cards from one of their authorized resellers. The unusually low cost ones on eBay are counterfeit and do not bear the manufacturer’s serial number on the spine – I learned this the hard way. I’ve never had a reliability problem yet with authentic cards. Those with concerns about having ‘all their eggs in one basket’ had the same concerns about 8GB cards and 16GB cards, both of which I used without issue. I say do whatever lets you sleep peacefully at night.
Contax 645 medium format SLR with Zeiss 80mm 2.0 Planar T*
Increasingly popular in the wedding world, this camera truly does handle like an oversized SLR. The large viewfinder makes manual focusing nearly effortless, something that cannot be said of 35mm digital bodies. I only shoot a handful of rolls at a wedding and this camera makes it easy to alternate between systems. I have enough Contax film backs that I can change them after every roll instead of changing the film-holding inserts. This saves me from potentially dropping a just-shot roll and watching it unravel on the grass in front of me. With practice I’ve gotten faster at removing the backs and shifting the darkslides quickly.
Medium format reduces lens depth of field compared to their 35mm focal length equivalents so my Zeiss 80mm for 645 performs like a standard 50mm 1.2 but with a wholly different bokeh signature. I quite like it. This combination does things that my 35mm system simply cannot.
Canon Elan 7e
Easily the most enjoyable 35mm Canon body I’ve ever held. It’s extremely quiet and extremely light, besting digital bodies on both counts by a large margin. Too bad it doesn’t have a digital sensor in it! I use it rarely but keep it so I can use my Zeiss lens to shoot 135 film when the mood arises.
Canon 580EX II Strobe with Canon CPE-4 Battery Pack
I carry three of these combinations to every wedding – they simply work and accomplish everything I need during the evening. I never change batteries. Typically I’ll mount two on Justin clamps (Manfrotto 175F) and keep the third on my camera.
Radiopopper PX Trigger System
I use Radiopopper PX receivers on my off-camera strobes and either a PX transmitter on my master Flash or a JrX transmitter in the hotshoe directly. Being able to use E-TTL is hugely valuable to me during receptions. Multidirectional lighting is what separates mediocre dancefloor shots from dramatic ones that hold their own in the back of a wedding album after a beautifully backlit ceremony and portrait session. It takes a long time to develop a look and style that you like and can replicate quickly but it can elevate your work to another level. I have a lot of respect for this company and gladly support their innovations.
