All language subtitles for 3.06 - Gear Schmear

Okay guys, welcome back.

Here we are moving into week three.

And in a way, like I mentioned, we're

moving from what Eric and I feel is

the most important stuff, right?

The fundamentals, the bedrock of what we're doing,

the things that we're thinking up in here,

what we're seeing, what we're feeling.

And so now we're kind of moving into

what the other end of the spectrum, what

we feel is in some ways the least

important.

Okay, we're going from that psyche, and the

headspace, and the philosophy, and the approach to

the gear.

Okay, so all you gearheads out there, now's

our time.

We're going to dive into two-man gear

bags.

And I'm sure many of you can relate

to the most common question that Eric and

I get about photography is, what camera?

What lens?

And as I'm sure you can relate, most

of us understand that that's really not what

makes the difference, right?

It's like, you give me Jimi Hendrix's guitar,

I'm not never going to be able to

play like Jimi Hendrix, okay?

And we could probably give Jimi Hendrix any

guitar and he's going to make some magic.

So far more important than what's in our

hand is what we're doing with it, right?

And like we talked about, more important than

what's in these bags is two things, right?

First, that we've simplified as much as possible,

pared down to just what we need to

help us do our job without getting in

the way of us doing our job, right?

No extra shit to bog us down and

overwhelm us.

So we've simplified and we've practiced.

So everything that's in these bags, we know

how to use it, inside and out.

This isn't necessarily what you should bring to

your weddings, but this is what Eric and

I bring to our weddings.

For a wedding, when Eric and I get

packed up, this is what we have, okay?

We have one think tank retrospective each.

Here's Erica's, here's mine, okay?

And it's basically everything that we're going to

need during the day leading up to the

reception, essentially, okay?

So Erica has everything she's going to need

throughout the morning here for bride prep and

I've got everything I'm going to need in

here throughout the day for groom prep and

hopefully nothing else, nothing extra that's going to

slow us down.

And then so over here, this is the

think tank navigator.

We call it base camp because we just

have to get it to the reception.

This is all the extra gear that we

might need.

And the first thing we do when we

get to the reception space is establish a

base camp.

So we find a quiet, hopefully well-lit

little corner where we can stash all our

gear and keep it organized there.

Sometimes I'll have this with myself in the

morning.

Sometimes Erica will have it with her.

If we happen to have an assistant, they'll

have it with them.

We just got to get it to the

reception one way or another.

And then over here, this is the Profoto

B10, which you guys are going to see

in action in the field.

We're going to talk all about it once

we get into off-camera lighting, okay?

But this is basically, this has two Profoto

B10s in it.

If we're shooting a local wedding, we'll bring

both of them.

If we're traveling for a destination wedding, we'll

usually party down to just one B10, okay?

And then we've got our two light stands,

which I'm going to talk about.

One each.

So when we arrive at the wedding, basically

all I have, got my shoulder bag and

one light stand, okay?

And then Erica has the same thing.

And then the base camp and the Profoto

bag is somewhere, making its way to the

reception.

For an engagement session, we obviously don't bring

all of this.

For an engagement session, it's usually just these

two bags, no light stands because Eric and

I are basically holding each other's lights for

each other.

And we'll usually have one of these B10s

in one of these bags.

So we just par down to this for

an engagement session.

And then when we're traveling with our kids,

we just have a really super small shoulder

bag, and that's it.

So when we show up at the wedding,

I've got my shoulder bag, my light stand,

and Erica's got her shoulder bag and her

light stand.

So now what we're going to do is

I'm going to unpack everything, lay it all

out, and break every piece of gear down

for you and explain what it is and

why it's in our bags.

So here we have it.

It's all laid out.

Everything that was in those four packs is

now here, and I've got it organized so

you can visualize.

This is Erica's stuff right here.

This is everything that was in Erica's bag,

plus her light stand.

And then here, this is everything that was

in my bag, plus my light stand.

And then over here, this is everything that

was in the base camp.

And over here, this is everything that was

in the Profoto B10 bag.

We're going to go through this item by

item.

What is it?

Where and when do we use it?

Why is it in our camera bag?

So I'm going to start with cameras.

So what we've got here is we have

four Sony A9s, two each.

Erica and I have been essentially transitioning from

Canon 5Ds to Sony A9s throughout the last

year or so.

We first started playing around with mirrorless actually

just for family travels.

We had our little mirrorless cameras, we had

our little mirrorless Fuji cameras, and it was

awesome.

Small, light, great for travel, not quite there

for our weddings in our mind.

Everything was just a little bit slower.

Startup, buffering, focused, wasn't quite there for weddings.

Then Christmas before last, I bought Erica a

Sony A9 for Christmas.

And unknowingly, she was buying me a Sony

A9 for Christmas.

So since then, we've had two Sony A9s.

And now just this year, we've got two

more.

So now we're officially fully Sony cameras exclusively.

The Canons are gone.

And the reason we've made this switch, a

number of reasons, I'm going to kind of

start from least important to most important in

our minds.

First of all, the size.

Okay, obviously, they're a lot smaller, a lot

lighter, we can be a little more discreet

with these things.

Okay, so they're smaller and lighter.

And the frame rate is pretty awesome.

20 frames per second, we don't use that

very often.

But to have that frame rate is pretty

amazing.

Okay, and now moving to more important, the

silent shutter is kind of a game changer

for us, like literally doesn't make a sound.

Okay, here, I'm gonna there, I just blasted

off 60 frames, okay, completely silent, which is

awesome in situations, intimate moments where we're trying

to be discreet, right and respectful, working with

videographers, they love this, right?

We don't have to make a sound, church

ceremonies.

That's great.

Even more important for us, the flip screen.

Okay, like actually being able to compose like

this, or getting down right down to the

ground, right and not having to contort our

bodies anymore into those ridiculous positions.

That's game changer.

The EVF, okay, actually being able to see

the exposure on the back of the camera

or right in in the viewfinder here while

adjusting.

So as I'm changing my shutter speed, and

my aperture, I'm seeing visually my eye is

actually seeing the exposure, I don't have to

wait to make a frame, check the back

of my camera to check exposure.

And we started to realize, you know, how

much are we missing, when we're not chimping,

right, but actually just checking exposure.

Literally, now we don't have to take the

camera off of our eyeballs ever, right.

And if we do, it's right there, I

can see my exposure.

So the EVF is amazing.

And but the most important thing for us,

the strongest reason for us switching is was

the autofocus.

I mean, it is another world.

It's in another planet, the autofocus capabilities, super,

super intelligent, Erica is going to show you

all about it.

After we do the gear, Erica is going

to get into the camera settings and basically

explain how she's going to show you exactly

how we set up the cameras.

But the autofocus is basically changed the way

we shoot.

Okay, the eye focus, especially just tracks right

on.

So those are the reasons that we've moved

to the Sony a nine.

Generally speaking, we'll have one camera, each for

natural light.

And the other camera is linked to our

flash for off camera flash.

Or if we're, you know, we're shooting off

camera flash exclusively or natural light exclusively, we'll

have just basically two different lenses, right, one

wide and one more telephoto on each of

the cameras.

And that's going to make a lot more

sense once we start breaking down and explaining

our strategy for each section of the day.

In terms of drawbacks that we've come across

so far in moving from our big DSLRs

to the little mirrorless cameras is first of

all, we are noticing that we do have

to clean our sensors a little bit more

often, or at least pay attention to when

we're doing the lens changes, to just be

a little more careful to not get that

dust in there.

You know, it's changing the way we shoot.

It's kind of like learning to drive a

new car, because the autofocus is so powerful

and intelligent, we're actually shooting differently than we

used to.

And the feeling I would say is feeling

more like operating a computer and less like

operating a camera.

So if there's any drawbacks, it doesn't feel

as fun.

It feels a little bit more like a

video game.

So I'm hoping that the ergonomics continue to

get better and better.

And two slots in there, not one, two

slots.

Full frame mirrorless camera with not one slot,

two slots.

So Eric and I par down to one

camera each basically after the ceremony.

So it's two cameras each throughout the day.

And then after the ceremony, we basically resign

two of them for the night.

We take the memory cards out of those,

we take the batteries out of those.

So we don't make the mistake of picking

up the wrong camera that doesn't have a

memory card in it later on throughout the

night.

And that just simplifies things for us for

the rest of the day.

So for portraits through reception, it's just one

camera each.

In terms of the straps, Eric and I

like to just have these normal, straightforward, good

old fashioned camera straps.

That's it.

We've tried playing around with all the various

two camera holster systems, tried the moneymaker, we

used to play around with the spider holster

setup.

And we just found that we couldn't find

one that allowed us to shoot with two

cameras at the same time the way we

like to shoot, which is getting down on

the ground, rolling around, we'd always have a

camera flopping around or getting in the way.

So for that reason, we just use normal

good old fashioned camera straps.

And really the only time that we're ever

shooting with all four cameras and play at

the same time is during the ceremony.

That's when we like to each have a

wide lens and a telephoto lens on our

body.

And so we basically just live with getting

a little bit tangled up, a little bit

twisted, maybe during the ceremony.

And then for the rest of the day,

we basically just, we're just shooting with one

camera at a time.

And the other camera is just on the

floor in a camera bag on the bed

somewhere nearby.

And we can grab it if we need

it.

Okay, so we're going to move into lenses

next.

You'll notice here that these are all prime

lenses except for this one, which I'll talk

about.

This is the 16 to 35.

All the rest are prime lenses.

The reason we used to shoot with zooms,

but the reason we've moved away from them

is not because the primes are faster glass

or wider apertures, or sharper or any of

those reasons.

It's just because, again, it simplifies our thinking.

And it's a little counterintuitive because I used

to think, oh, well, that means I have

to have more lenses.

If I just get one big zoom that

covers every single possible focal length, then I

only have one lens.

Okay, with primes, I have to have a

couple, two or three lenses.

But if I've got a zoom lens on

my camera, I sort of feel like I

have the entire arsenal.

It's like I'm wearing a hip belt with

every single Sony lens around my hip.

And I have infinite possibilities.

I can choose any focal length.

I can do anything.

And we're going to talk about in this

course how limitations really is where real creativity

comes from.

And so when I have one focal length

on my camera, I have one possibility.

So that simplifies things in my mind.

I go from infinite to one.

There's one place where my camera has to

be right now to capture that moment, to

fill the frame with that action or that

moment.

So for example, when the 35, when the

35 is on my camera, so then I

can basically go right in there.

And even without looking at the camera, I

can almost pretty much frame the composition because

I know this focal length.

And I know the 85.

So I know these few focal lengths inside

out and backwards.

Whereas with the zoom lens, I was like

a jack of all trades, master of none.

Okay.

So we zoom with our feet now and

it simplifies our thinking.

So let's go through the lenses.

I'm going to start with our PGA.

We basically have our PGA lenses and our

portrait lenses.

By PGA, I mean photojournalism or the lenses

that we use for when we're using the

documentary approach to the storytelling part of the

day.

When we're making portraits, we sometimes choose different

lenses.

So let's start with over here in Erica's

bag.

She's got right now, she's starting the day

with the 35 2.8. Okay.

It's a nice small little pancake lens.

So here's her 35.

Erica's going to talk about, she's going to

get into all the settings, right?

When and how we choose our apertures.

But one of the things she's going to

talk about is when we're shooting documentary, we're

rarely ever wanting to go wider than 2

.8. Unless our subject is seated in a

chair or delivering a speech, if there's any

movement whatsoever, we're at least 2.8 or

higher when we're trying to layer stories together,

right?

So we don't need that 1.4 glass

on the camera.

So 35 is the sweet spot for us.

It's kind of the way that we see

the world.

If we had to choose one lens to

be on our camera the entire day, it

would be the 35.

On her other camera, she's got the 85.

And I would say she doesn't use that

much at all during bride prep, other than

if she's doing some sort of a reflection

shot through a window, which we're going to

get into.

So she also has the 50, 1.4,

for if she's maybe doing like an up

-close shot of the eyelashes or something.

And she's got her 16 to 35, 2

.8. This would be for if the 35

wasn't wide enough, okay?

So she's wanting to get closer or she's

in a really tight, small space, like a

small little bathroom, she can put on her

16 to 35.

This 16 to 35 while we're on it,

this is our only zoom lens.

It's our dance floor lens.

So you're going to see when we get

onto the dance floor, we're going and we're

basically treating this lens as a prime.

We basically lock it at 16 and fill

the frame in nice and close.

So this is our dance floor lens.

Okay, so let's move over to my side.

So on this camera, I've got the 28

millimeter f2.0, which is great.

It's awesome.

It's small.

It's light.

I can get in there close.

I can get in amongst the action with

my little 28 millimeter lens here.

And on the other camera, I've got the

35 1.4. The 1.4 really, like

I said, I'm rarely ever going wider than

2.8 for documentary storytelling.

The only time we'd be going down around

1.4 is if we're using this lens

in a portrait situation.

We used to shoot at one point shit

all the time, right?

Because I paid for 1.4, I'm going

to shoot at 1.4, damn it.

And then gradually we started to learn our

lesson and to give us that focus buffer

and actually layer some stories together rather than

just blur everything out.

Then we've got these other lenses that we

don't lean on during the day, but we'd

like to have them for when it's portrait

time or sometimes for ceremonies, sometimes for speeches.

Okay, so we've got the 24 1.4.

This is a great lens for if we're

doing a really wide like wedding scape type

shot, also if we're shooting at night, doing

a star shot, it goes to 1.4.

Then we've got our 85 1.4, which

is our 85 millimeter lens of choice for

portraits, right?

Because it allows us to go wide open,

have that creamy, dreamy bokeh.

But honestly, for storytelling, we'd rather have this

one that Erika's got on her lens here,

the 1.8. It's just that much faster,

less glass to binding focus and lighter.

Okay, and then this is the 135 1

.8, super awesome, sweet, dreamy telephoto lens for

portraits.

Also, when we get into the toolbox, we

start talking about bokeh panoramas.

This is an awesome lens for that.

Okay, that's it for lenses.

These are the lenses we bring.

You'll notice a few things.

So you'll notice that we've taken off the

lens hoods on all our lenses.

The main reason for that is just because

it gets rid of a whole bunch of

extra plastic that we don't need.

It takes up space in our bags, and

it takes up space when we're shooting because

often, we like to get our lenses in

really close to the action.

Sometimes we're shooting right through somebody's arms or

fingers, or we're shooting right through wine glasses

or trying to reflect on something.

We have the camera right up against a

window, and just those extra couple inches gets

in the way.

Plus, taking the lens hoods off lets more

light in, and when we find that we

actually do want to shade the lens, the

lens hoods don't do as good a job

as if we just shade it with our

hand, okay?

Because this allows us more control.

We can shade it entirely, or we can

let a little bit of light flare in,

so we have a little bit more flexibility

that way.

So extra stuff we don't need, get rid

of it.

On all of our lenses, we put UV

filters, okay?

Just a normal, straightforward UV filter just to

protect the glass.

That's it.

So that's it for lenses.

Let's move over now into flash equipment.

Guys, we're going to be diving deep into

off-camera lighting with you guys, so for

now, I'm just going to explain which flashes

we're using, okay, and why.

We're using the Profoto A1Xs, two each.

We only just switched from our Canon 600s

to these, I guess it was about two

years ago now when we first got to

try these babies out on the dance floor,

and it changed the game for us.

We couldn't go back.

The main reason for that is right here,

the lithium battery.

So compared to the AA rechargeable batteries, these

things, the refresh rate is just way better,

okay?

Plus, they work, and they fire consistently until

they die, and then they just stop, whereas

with the AAs, it was like this long,

slow death, and the refresh rate would just

get longer and longer and longer.

These aren't the only flashes out there with

lithium batteries, of course.

These aren't the most affordable flashes out there,

of course.

Godox have some great flashes.

A lot of our friends, a lot of

our alumni use Godox.

Some of them love them.

Some of them hate them.

I think part of the issue is you're

more likely to get a lemon with a

Godox.

The quality control might not be quite what

we're getting with the Profotos.

We got to tour the R&D headquarters

in Sweden and see the behind-the-scenes

of what goes into the research and development

to build these things, which was super impressive.

Their quality control is as high as it's

going to get.

Also, the Godox, compared to the Profoto, simplicity

-wise, these are super easy to use.

Literally, we learned how to use them without

the manual in five minutes.

The Godox are a little bit death by

menus.

There's literally just two menus here in the

interface.

The other consideration you might want to think

about, Profoto versus Godox, is the V1, for

example, is literally, from the inside out, just

reverse-engineered, piggybacked off all that R&D.

I get it.

It's much more affordable.

The Godox might not hold up as long

as these ones do.

For that price, you can afford to go

through a few, but it is something to

keep in mind.

It is interesting how, as photographers, we really

value intellectual property.

If we see somebody who's copied a photo,

we're all up in arms, but we're okay

buying from a company that's taken the intellectual

property from another company.

It's a little bit of an interesting, ironic

thing there.

There's the flashes, and then here's the transmitters.

Again, we're going to break down the nuts

and bolts and the mechanics of off-camera

lighting, but these transmitters, these are the Profoto

air remotes, and they trigger our flashes off

-camera.

They work great.

They link always.

They link across several blocks, which is amazing.

Two drawbacks we've encountered so far.

One is that you can turn your flash

up or down right from your camera, which

is critical, but you can only turn it

up or down by fractions of stops or

full stop at a time, and it doesn't

tell you what the power output is on

your external flash.

There's no way of knowing what power it's

at.

You can only go up or down by

a certain amount and then eyeball it.

Hopefully one day, Profoto, please show us what

the power output is on those flashes.

The only other little thing is Erica and

I sometimes like to share a flash, so

we'll be on the same channel, and whereas

we used to be able to control the

power output independently, if Erica wanted to shoot

full power and I wanted to shoot half

power, we could do that.

Now we have to share the power output,

so if Erica turns her flash up, it

goes up for me as well, which is

something else that would be cool if they

could figure out a workaround for that.

So I did a review of the Profoto

A1, and we'll share that link with you

guys.

So next we'll just look quickly at which

modifiers we have here for our flashes.

Erica and I each have two grids, okay,

and over here, and we each have, Erica's

got two, I have one, we each have

a gel, and we each have a little

diffuser, and again, we're going to get into

off-camera flash in detail, but for now,

the grid, guys, is just, this is a

game changer for us.

This takes our light, the cone of light,

and turns it from spray paint into a

fine-tipped paintbrush, okay, so we can paint

with light just where we need it, right?

The absence of light is just as important

as the presence of light, so these grids

are critical to lighting the way that we

light, and then we're going to get into

gels, but this is the gel that we

use for balancing skin tones, okay?

It just balances this color temperature nicely with

the indoor, nice ambient indoor light that we

get, and so, but we basically just eyeball

it.

If they look orange, we take it off,

okay?

If they look like smurfs, then maybe we'll

go to a warmer gel, and then we

put the grid on top of that because

sometimes you'll see that there are situations where

we take the grid off, but we usually

leave the gel on, okay, and then this

is just a diffuser.

It really doesn't shape the light at all.

It just sort of, like, diffuses the falloff

between the light and shadow, so now over

here, these babies, these are the Profoto B10s.

You guys are going to see these things

in action in the field throughout this course,

but for now, if you want to go

behind the scenes, we'll share a link to

a little video of Eric and I using

these in India, but they are basically five

times the power of a speed light, okay?

Really for us, the only time when this

is not enough power, honestly, is if we're

outside in daylight, okay?

These are more than enough power for us

when we're indoors, in any indoor environment, and

obviously, they're more than enough power for us

at night after the sun comes down, and

really, until last year, that's the only time

we ever used off-camera light.

Outside of that, during the day outside, we

would always just use the natural light.

This just gives us the power now to

play around, and really, we would only do

this in portraits, is we could have some

more power.

We can actually match the power of the

sun now, so we're starting to play around

with this during the day with portraits, and

they come with the grids, so we can

shape the light, and they come with the

gels, so we can play with the temperature,

okay?

Oh, it's also, they're also really, really cool

with the modeling light, so not only can

I control the light output on the modeling

light, but I can also control the temperature.

Super cool, super warm, so you're going to

see that that comes in handy in some

situations to help us figure out the angle

of our light.

Okay, so now let's move into light stands.

You saw that we basically have two light

stands, one each.

They're super small and light.

That's the key here, okay?

Because if we're going to be making our

own light as documentary photographers, then we have

to be light and fast, okay?

So this is the Manfrotto Nano, and it's

small and light, okay?

Because if we want to be making light

in a documentary, with a documentary approach, we

have to be able to move the light

fast and get into position.

Even more important than the size and weight

of the light stand is what goes on

top.

So what we put on top of each

of our light stands are these NovaFlex ball

heads, okay?

And there's a few other variations of this

sort of thing out there, and basically what

it allows us to do is to put

our flash up here, okay?

And it allows us 360 degrees of control,

okay?

So we often see photographers with big, heavy,

clunky light stands just for small little speed

lights, right?

More than we need.

And up here, they're fiddling around with one

of those adapters that only kind of move

in one plane of movement at a time

and doesn't quite go in the sweet spot

where you need it.

360 degrees allows us to aim it exactly

where I want it, and I can even

come in with one hand and totally adjust

the angle, okay?

So each of our light stands has one

of these on top.

That's key.

So now another item you see here in

Erica's bag and my bag is this NanoClamp

thing here.

So this is the Manfrotto NanoClamp, and we

basically combine it with the NovaFlex ball head,

okay?

And what that allows us to do is

it allows us to clamp this.

I'll put a flash on here so you

guys can see.

So now I can clamp this flash onto

the back of anything.

Yeah, that'll work.

Clamp it on here, and then now I

can rotate this flash in which way.

So if your light stand is too cumbersome

or clunky to get into a tight space

like you're in the bathroom or in between

the toilet and the tub, then the clamp

can help you out because you could clamp

it to a light fixture, you could clamp

it to a shower curtain, you clamp it

to the back of a chair, basically anything

within about an inch-ish diameter.

So then another item you see here, and

this lives in the base camp, is just

any old monopod, okay?

And basically where we use this is on

the dance floor sometimes when we're lighting for

each other.

It's basically light on a stick.

So we take one of our foot stands

and we put it on.

Take our flash, put it in.

Okay, and then this basically just acts like

a boom, okay?

So we can get that flash out there

and we can move it around and reposition.

It's really the only time we ever use

it.

Any old monopod will work.

Something light gives you a few extra feet

of reach.

These light stand feet that come with your

flashes, we usually buy them in bulk at

the beginning of each season because we end

up leaving them at weddings, but basically we

each have one of these, okay?

And that's just to allow us to set

our flashes down on things.

And we'll talk about later why that's not

always the most versatile option, the most natural

option for us, but sometimes it does the

job.

Okay, so with our Profoto A1s, they come

with a magnetic head.

So it accommodates all the Profoto light modifiers,

which are round, right?

So a lot of photographers are using flashes

with rectangular heads.

So if that's you, you can do what

we used to do, which is use MagMods.

So I've got some here just to show

you guys what they look like.

Basically, it comes with a MagGrip, which stretches

onto the head of your speed light.

And then you've got your stackable grids, which

are magnified, so they just stick right on

there.

And they're modular, so you can stack multiple

grids if you like.

And you've got your gels, and you can

put whatever color gel you want in there

and it stacks on there, okay?

So all the rectangular flash head users, MagMod

to the rescue.

Now let's move over to the fun stuff,

the other stuff, okay?

So first of all, we've got the batteries.

So usually I've got two extra Profoto A1

batteries with me and two extra Sony batteries,

and Erica has the same, okay?

And we also have a couple extra batteries

over here in the think tank for later

on with a Profoto charger and a Sony

battery charger, okay?

So that's basically, we take care of that

stuff at the reception.

So then right here, we've got two memory

card cases, and we could actually probably get

smaller ones now because we're using all SD

cards.

But the reason we have two is because

one's stacked full of blank, empty, formatted memory

cards, and the other one is for the

ones that we fill throughout the day, okay?

And we use 128 gig cards, and that

allows us to get through most of the

wedding, usually all the way to the reception

before we have to think about changing cards.

And when we do, everything stops.

Who's ever just filled a card?

Stops, takes the card out of the camera,

comes to me.

So if it was Erica, because what I

do is I keep one of these clipped

to my belt loop and in my pocket

like this, okay?

So then if Erica fills a card or

if I fill a card, we stop, comes

out, goes in here, upside down and backwards

so that we know that it's a full

card, into my pocket, and it stays here

on my person for the rest of the

night until we've downloaded and backed it up

in multiple places later, okay?

And then right here, I've got my iPhone.

We each usually have our iPhone, obviously an

important tool for all the apps and various

ways that we can help ourselves out through

the day, including like the family formal checklist.

But also, as you're going to see, it's

a cool little mobile reflective surface that we

can play around with.

We each usually carry four AAA batteries, actually,

just in case we need to change the

batteries on our air remote.

So you'll see here we've got a little

tripod.

This is just a little, one of these

tiny little flexible things.

This is what we'll use.

This is what we'll bring with us on

a destination wedding when we're traveling.

For a local wedding, we've got a Gitzo

proper tripod, but honestly, it rarely ever leaves

the trunk of the car.

Really, the only time we ever use this

is if we are doing a night shot

under the stars, which is rare, but in

those cases, we bust out the tripod.

Got the beer.

Sometimes Eric and I will stash a few

beers in our camera bag, particularly on like

an engagement session when we're going out and

it's our first time with the couple and

we're trying to help them feel, help them

relax before the shoot.

Sometimes we'll just bust out a beer, have

a beer together, and it helps sort of

like set the mood and get them chilled

out and relaxed.

And never a bad idea to have a

spare pair of underwear in your camera bag.

You never know when you might shart yourself.

Okay, guys, that's basically it for gear.

Thanks a lot.

If you have any questions, head on into

the Facebook group.

Eric and I are going to do a

live Q&A, answer all your questions.

I got to use the bathroom.

Thanks a lot.