Overview of Wedding Photography Equipment
With so many different styles of photography out there, wedding photography equipment can vastly differ from one photographer to another. For example, a natural light photographer may require a very different set of lenses and accessories than a photographer with more fashion and studio lighting influences. And then there’s the whole issue of DSLR versus mirrorless (native) lenses!
Regardless, we still can narrow down our list of recommendations to what we think the majority of wedding photographers should own. For this particular article, we will focus on prime lenses only, and other articles will get into zoom lenses, camera bodies, lighting, and accessories that a wedding (or “lifestyle portrait” type) photographer might need.
To view our complete guide to camera bodies for wedding photography, click HERE.
To view our complete guide to zoom lenses for wedding photography, click HERE.
Define Your Style: Primes VS Zooms In Wedding Photography
The very first thing we need to discuss is primes VS zooms. When it comes to wedding, event, and portrait photography this always seems to be the biggest issue that divides all the advice-givers out there. There are highly zealous people who passionately argue in favor of each!
In our opinion, it is simply a matter of preference, not a “better / worse” type thing. Some photographers find that they simply hate zooms and love primes, while others cannot live without a set of good f/2.8 zooms. Both systems are capable of delivering amazing results; it simply depends on your style as a photographer. (How much you like to move around, or be challenged to think creatively, or if you have a bad back or something lol?)
Therefore, we will make our recommendations from both perspectives, in separate guides, and this article will focus mainly on zoom lenses.
Before we get to individual lens recommendations though, we need to talk about your overall kit. Recommending individual lenses just doesn’t complete the whole story for a wedding photographer because there are just so many different angles to cover!
A Complete Kit – Zooms
The absolute safest bet for wedding photography is a set of 2-3 fast zooms and 1-2 fast primes. For example a 70-200 plus a 24-70 and/or a 16-35 zoom, and a 35mm, 50mm or 85mm prime thrown in for creative shooting and low-light. That right there is many wedding photographers’ go-to setup.
Some photographers prefer the 24-70 mid-range because it is versatile enough to shoot almost everything from details and venue shots to candids and formal portraits. Other wedding photographers feel that 24mm just isn’t wide enough for their style and they opt for a dedicated wide-angle zoom instead. (Sometimes these folks wind up never using their 24-70 again!)
Either way, the bottom line is that it takes about 3-4 total lenses to create a well-rounded “product” for a wedding. (Not even counting specialty lenses such as macro or fisheye lenses.)
If you rely heavily on your zooms, then it is usually better if they are f/2.8, sharp as heck wide open, and stabilized if possible. Oppositely, if you rely more on your primes and only rarely use your zooms, you might be able to get away with f/4 zooms, or older / third-party f/2.8 zooms. But we’ll get into budgeting in a bit.
A Complete Kit – Primes
Usually, the wedding photographers who love primes fall into two categories- Those who love 50mm only, and barely use any other lenses, …and those who prefer a combo of two or more primes, usually a 35mm and 85mm setup. You often find these photographers shooting with two camera bodies at once, with those two primes permanently attached to each camera.
In my professional experience, I prefer a combination of primes and zooms. I love 85mm primes and 28-35mm primes, but wider and longer angles are best covered with a zoom. (The “zoom with your feet” thing really works best between 28mm and 85mm!) To be frank, I just find that 50mm gets boring after a while so I love having an 85mm prime on one of my cameras, paired with something wider on a 2nd camera.
Of course, when I talk about “permanently” attaching certain lenses to your cameras, I just mean the one or two lenses that a wedding photographer would use most frequently. You still need to supplement your arsenal with a few other lenses, in my opinions. Shooting with a single lens just won’t produce a full and complete product. For example, a prime shooter might rely mainly on a single 50mm prime or a 35+85 combo, but also have a 14-24 and 70-200 in their bag as I mentioned above.
This article will focus mainly on prime lenses and specialty lenses for wedding photography. Our article on zoom lenses can be found HERE.
The Lenses That “Define Your Style”
Whatever your style, you should be able to identify that one special lens that you just adore, the lens that helps you define your style. This is the lens you should spend the most money on, and maybe even consider having a backup of!
For example, if you love 85mm as much as I do, you might want to consider one of the best 85mm’s that money can buy. Unfortunately, most of those “exotic” 85mm’s are massively heavy, and expensive! So, why not also buy the f/1.8 versions as a backup, or for shooting more active situations where you need very snappy autofocus?
The Nikon, Canon, and Sony 85mm f/1.8’s are all incredible lenses, and they are great at nailing focus consistently even in terrible light. Plus, they’re much lighter and smaller, if you’re in a candid situation where you want be unobtrusive or incognito.
Why am I bothering to say all of this? Because often times, beginners feel compelled to go straight to the absolute most expensive lenses, all across the board, before they even know what their style is. To these people buying anything less than the absolute best is just a waste in the long run. If money is no object to you then that’s great, you can start shopping now; the rest of us can keep reading and figure out which lenses to invest in first etc…
In my opinion, as a working professional buying an affordable lens in the short term just becomes a backup lens in the long run. Especially if it is that one special focal length you just love. Imagine if you accidentally drop or get a splash of water your favorite lens, mid-wedding, and it becomes non-functional. What do you do for the rest of the day? Do you just completely change your shooting style and not use that focal range at all? The difference would really, really show in your final delivery. So don’t be afraid to purchase a mid-price lens if it is all you can afford at first. Also, it is better to make a small investment in a lens that you wind up only using here and there than to mistakenly spend $2,000 on a lens that you hardly ever use once you define your style…
So, spend the most money on the lenses that define your style. Then “fill the gaps” with other lenses. Maybe this means you get a few of the high-end prime lenses that you love, and just use third-party lenses to cover a zoom range that you use less often.. Or a combination of both primes and zooms; whatever suits you!
Disclaimer #1: Of course this philosophy of prioritizing your budget mainly applies to those who are just starting out. As you achieve success as a professional, (hopefully!) you’re welcome to fill your camera bag with all the best lenses on the market. Reward yourself for all your hard work! We’re not here to encourage hard-working photographers that they should buy a set of low-budget lenses. However, when you’re just starting out, keep your overall budget in mind and try to define your style before making big investments. Renting lenses and 2nd shooting at weddings, for example, is a great way to try stuff out.
Disclaimer #2: We understand that even our “value” recommendations may seem a little pricey to some people. We simply believe that any aspiring professional wedding photographer should be able to invest this much in at least 2-3 lenses. If you’re on an even smaller shoestring budget, we simply find it difficult to recommend any lenses below a certain price point because they usually do have more significant drawbacks that can cause you to regret the purchase eventually.
Without any further ado, we will break down the must-have prime lenses for wedding photographers, in our usual Gear Guide categories- “Performance Champions” and “Value Winners”. Enjoy!
50mm Prime Lens Recommendations
All-Around Value Winner:
Nikon 50mm f/1.8 G
Canon 50mm f/1.8 STM
Sony 50mm f/1.8 FE
From the aspiring pro wedding photographer who is on a budget to the veteran who is simply tired of lugging around a bag of heavy lenses, and even the f/2.8 zoom lover who barely ever uses primes, …there is no better news than Nikon’s decision to revamp their f/1.8 prime lineup in sharp, professional-grade new lenses. The $200 Nikon 50mm f/1.8 G is the most affordable of any new lens that we recommend to wedding photographers. This is not your uncle’s crappy “plastic fantastic” 50mm, it is a well-built, reliable piece of glass that even has a weather-sealing gasket at the lens mount!
I try not to publish “fightin’ words”, but from my tests this dirt-cheap beginner prime has equal or better sharpness than even our bokeh champion, the Canon 50mm f/1.2 L. Yeah, it’s that good. No, the DOF and colors aren’t as good; the Canon 50 L is still in a league of its own. I just want to make it clear that this Nikon 50mm is a force to be reckoned with if all you need is sharpness and solid quality.
Of course if you really love 50mm as a focal length and are working as a professional, you might as well just spend another ~$250 and get the Nikon 50mm f/1.4 or the Sigma 50mm f/1.4, since they too are relatively affordable at around $400-500. You should only budget so little money for a 50mm if you already know that your style lies more with a different focal range. Personally, I’m happy with the 50 1.8 G because I love to use 85mm and 28mm / 35mm a lot more. I really only get out my 50mm anymore for specific group shots that require that exact focal length.
Why are there no other “value winners” in this category, you might ask? Because quite honestly the other 50mm f/1.8 options out there are just not a good long-term investment for a professional wedding photographer. If you’re a Nikon shooter then this new 50mm 1.8 G should be your starting point, and if you’re a Canon shooter you should actually skip both the Canon 50mm f/1.8 and the f/1.4, and just get the Sigma 50mm f/1.4 instead. It is way sharper and stronger built than either of the affordable Canon 50mm’s. Yet the Sigma is so good that it belongs in our performance champion category! But I’m getting ahead of myself.
Performance Champion (Unlimited Budget)
Canon 50mm f/1.2 L II
Canon RF 50mm f/1.2
Unless you count the rare and elusive Canon 50mm f/1.0 L, these two lenses are the champions of all full-frame 50mm’s when it comes to achieving shallow DOF and creamy bokeh. The price tags, size and weight are pretty significant though, making their purchase a pretty big decision. They’re worth every penny, for sure, especialy the new mirrorless RF version. It destroys the other Canon 50mm’s with respect to sharpness and autofocus speed.
Keep in mind that the older, (DSLR, EF mount) Canon 50 1.2 L is indeed sluggish to focus, and accuracy can drop in low light, depending on which camera you shoot it with. A flagship 1-series Canon might not let you down, but with a Rebel or almost any camera with less AF power than the 5D mkIV, …you will struggle to nail focus consistently. Therefore, this (older) lens is best suited for general posed portraiture and only light photojournalism.
Performance Champion (Semi-affordable)
Sigma 50mm f/1.4 Art
At just under $1000, (usually $950, but watch for a $100 rebate every now and then!) …this Sigma lens isn’t exactly a cheap 50mm, however it competes very well with all the other 50mm primes on the market, including the $4000 Zeiss Otus!
Performance Champion #3:
Nikon 58mm f/1.4 G
Don’t be fooled by its lack of “f/1.2” written on the lens, this “normal” prime also packs some incredible, creamy bokeh.
Of course, if you already own the older Nikon 50mm f/1.4 G and you don’t use 50mm all the time, you can probably just keep on using that older lens. However, if you really love 50mm and want “that look” from your shallow depth shots, you should certainly consider upgrading.
Medium Wide Angle Prime Lens Recommendations
Between 24mm and 50mm there are a handful of prime lenses that many wedding photographers (especially the photojournalist types) love to use.
Again keep in mind that depending on your style, you might be much better off with a 24-70mm zoom instead, and you should rent/try out lenses before investing. Basically, the only main reason to buy a prime lens in this range is if you really want an aperture faster than f/2.8, otherwise, you’re better off with a zoom. These are some of the most commonly regretted purchases among newbie photographers, so proceed with caution!
35mm Performance Champion:
Sigma 35mm f/1.4 EX DG Art
This was one of Sigma’s very first “Art” class lenses. It took the prime world by storm, surpassing its direct competition, the Canon 35mm f/1.4 L (mk1) and Nikon 35mm f/1.4 G, …and at almost half the price! While the name-brand 35mm’s are indeed also performance champions, this Sigma steals our recommendation for any new buyers.
If you already have a name-brand 35mm f/1.4, you probably won’t really need to upgrade. The Canon 35mm f/1.4 L mk2 is indeed an incredible lens, however, it’s also nearly $1,700.
35mm Value Winners:
Nikon 35mm f/2
Canon 35mm f/2
Both of these lenses are relatively affordable, and good performers. They’re only f/2 though, making it tough for them to compete with the latest razor-sharp f/2.8 zooms. Unless of course you’re also looking to save weight – both of these 35mm’s are about the size and weight of a “nifty fifty”, making them a delight to shoot towards the end of a long wedding day.
These aren’t exactly “go-to” staple lenses though, for a long-term, heavy-duty workload. They’re certainly still a good intermediate buy, however, to indulge in your need for lighter and smaller lenses to use towards the end of a long wedding day, as I mentioned above, or simply to test the waters of this focal range and see how much you like it.
35mm Performance AND Value Champion:
Canon 35mm IS f/2
An oddball, this lens is. While it costs almost as little as its un-stabilized, aging siblings from Canon and Nikon, it is amazingly sharp, built almost like an L lens, and stabilized! Therefore we feel that it deserves both value and performance recommendations. If you are a bit jittery and hate heavier lenses, give this one a try for sure.
28mm Performance AND Value Champion:
Nikon 28mm f/1.8 G
Some prime-loving photojournalists feel that 35mm isn’t wide enough yet 24mm is a little too wide. Queue the 28mm primes! This new Nikon 28mm f/1.8 is a stunning performer. The image quality is superb, as good as any of its f/1.4 competition at 24mm or 35mm.
For those of you Nikon history buffs out there- why didn’t we bother listing the legendary Nikon 28mm f/1.4 in this category? After all it is indeed a “performance champion”… True, but unfortunately it has become such a collector’s item that it is highly overpriced compared to the alternatives. If you’re a Nikon die-hard fan you could consider it, otherwise you can find many better ways to spend ~$3,000!
F/2.8 Prime Champions:
Canon 28mm f/2.8 IS
Canon 24mm f/2.8 IS
These two lenses are great, but difficult to place in our guide- they are relatively expensive, for such modest specifications. They’re stabilized and sharp as heck though, so if you really like shooting natural light and hate the weight of a 24-70mm, but are OK with f/2.8, then do consider one of these.
Performance Champions:
Nikon 24mm f/1.4 G
Canon 24mm f/1.4 L mk2
While these two lenses aren’t much cheaper than an f/2.8 zoom that covers their range, they are at least a bit lighter and smaller. Also while the ability to create shallow DOF at 24mm isn’t that dramatic, the faster aperture does wonderful things for shooting hand-held in low-light, making them favorites among wedding photojournalists who prefer natural light.
This is one of the main “love/hate” relationship lenses for full-frame wedding photographers. Some find they never use it and just stick with their 24-70, or a 35 / 50mm prime, while others fall in love and the lens never leaves one of their cameras. Either way, if you love this focal length and you love shooting hand-held in natural light, these two lenses are awesome.
…Then again, if Sigma winds up making a 24mm f/1.4 “Art” that is nearly as good as their new 35mm f/1.4, these two name-brand 24mm’s could potentially get bumped out of their top spot. (It’s Sept. 2013 now; only rumors thus far about a Sigma 24mm)
Speaking of Sigma wide-angle primes; currently there are three older f/1.8 primes available, the 20mm, 24mm, and 28mm f/1.8. All of these lenses are decently sharp enough to be considered, though a little too pricey for a “value winner” title.
Ultra Wide Angle Prime Lens Recommendations
First I need to disclaim that ultra-wide angle prime lenses are pretty uncommon in wedding photography. To be honest most wedding shooters should probably just consider one of our ultra-wide zoom lens recommendations which we discuss HERE.
Why? Because most of the older primes in the 14-20mm range are totally eclipsed in performance by today’s zooms, and some of the more affordable zooms are almost as affordable as a comparable prime. So unless you randomly come across a great bargain at a garage sale or on Ebay, stick with the ultra-wide zoom recommendations.
Then again, all of these recommendations offer significant weight savings over most ultra-wide zooms, as well as decent cost savings.
Nikon 20mm f/2.8
Canon 20mm f/2.8
These two primes are tough to justify buying even for a prime lover, because they both cost even more than one of our favorite f/4 ultra-wide zooms, (the Tokina 17-35mm f/4) …and only a few hundred dollars short of a used f/2.8 ultra-wide zoom. Yet they are getting pretty old, and corner softness / field curvature can be a problem.
In fact compared to a zoom, the only reasons to buy one of these two lenses are like I mentioned- if you really care about keeping your total kit as light as possible, or if you “score” one for really cheap.
Tokina 17mm f/3.5 ATX Pro
A much better choice in my opinion than any other ultra-wide prime, the Tokina 17mm f/3.5 ATX Pro is a little-known gem. While most other ultra-wide primes either have bad image quality, fall-apart construction, or are cost-prohibitive, …this lens is decently sharp, rock-solid yet tiny, and extremely affordable! (The Nikon 18mm f/2.8 and Nikon 20mm f/2.8 are both $600+, while this lens is <$300) Additionally, it is compact, lightweight, and compatible with 77mm filters!
These lenses are a little hard to find, but create a “saved search” on Ebay or check KEH.com every now and then, and you should be able to score one for about $300 or less eventually.
Canon 14mm f/2.8 L
Nikon 14mm f/2.8 D
These two lenses are for the low-light photojournalist who often works in tight quarters and wants something as wide as possible without having to pony up for the likes of the Nikon 14-24mm f/2.8 G or Canon 16-35mm f/2.8 L mk2, and/or have it take up a ton of space in their bag.
They are the classic “rent one to see if you like it, don’t just randomly buy them” type of lens
Fisheye Lenses
We can once again harken back to our landscape ultra-wide lens recommendation here: Fisheye lenses are such specialized items that you should only invest in them to the extent that you plan to use them. If you’re obsessed with the fisheye look, such as for dance floor action shots or other interesting angles, then maybe consider a Nikon 16mm f/2.8 Fisheye or a Canon 15mm f/2.8 Fisheye. However, the Sigma 15mm f/2.8 EX DG Fisheye is a great option too if you just use it as a “play around” type lens.
Personally, as a Nikon user, I’d rather just get the oldschool manual focus Nikon 16mm f/2.8 AIS Fisheye, because it’s built like a rock (no, literally!) and I can just jam it in the bottom of my rolling camera case and not worry about it.
Telephoto Prime Lens Recommendations
Since there are primes available from 85mm to 200mm, once again we’ll have to just throw all the “performance champions” and “value winners” together in a jumble. Here goes nothing!
All-Around Value Winners:
Canon EF 85mm f/1.8 USM
Nikon AF-S 85mm f/1.8 G
A great alternative to a 70-200 zoom for low-light candids and portraits, these two lenses are well-loved by any photographer who wants a portable, lightweight telephoto prime for portraits of 1-2 people.
They’re also killer for general low-light photojournalism, however at well under 100mm they just don’t fully replace a 70-200 zoom, especially in larger venues. You might need to get a cheaper 70-200 or another telephoto prime to supplement an 85mm prime.
Canon 100mm f/2
Another little-known gem, for those who tried and liked 85mm but want a little extra reach. Great sharpness and overall image quality, once again the only issue is that you need to remove chromatic aberrations in post-production. Also, like the Canon 85 1.8 it is a little less rugged than an L prime.
Sheer Performance Champions:
Canon 85mm f/1.2
The king(s) of bokeh, when it comes to 85mm. While f/1.2 primes are usually a little more sluggish than their f/1.4 and f/1.8 alternatives, anyone who shoots portraits and weddings knows that there are still times when it’s worth it to nail focus and achieve a gorgeously blurred background.
Just be sure you’re well-practiced at nailing focus at f/1.2 before jumping into an action-packed wedding day. Nailing focus at any aperture faster than f/4 isn’t easy, but f/1.2 and 85mm are a whole new level of shallow DOF. The older Canon 85mm f/1.2 L II is a bit of a slug to focus, honestly, however the new mirrorless RF 85mm f/1.2 L ought to be much snappier if it is anything like its RF 50mm f/1.2 sibling.
Sigma 85mm f/1.4 Art
Nikon AF-S 85mm f/1.4 G
These two 85mm lenses are also ready to deliver beautiful bokeh and incredible sharpness, despite their 2/3 EV smaller aperture.
As with any fast prime, you should remember to use chromatic aberration removal in post-production, but other than that the image quality of both lenses is world-class. Both are also well-built. (OK, let’s be honest, the Sigma is a monster!)
Nikon AF-S 105mm f/1.4E ED
Nikon’s fast-aperture telephoto portrait champion is this beast, the 105mm f/1.4E. It is everything that an 85mm f/1.4 could offer, and then some. If you’re looking to really “kill” a background with bokeh, or shoot telephoto candids from a distance in low light, this lens offers more reliable autofocus than any Nikon-mount ~105mm alternative.
Canon 135mm f/2 L
A truly legendary lens among Canon photographers, you just cannot go wrong with this lens if you are looking for an alternative to all the hefty 70-200mm’s. Although it lacks IS stabilization, the added stop of light and shallower DOF is worth it!
Sigma 150mm f/2.8 OS Macro EX DG
While an 85mm or 100mm lens is not “long” enough to fully replace a 70-200mm zoom, this Sigma 150mm f/2.8 OS Macro is close enough to do the job quite well. (Especially if you have a 30-50-megapixel camera, and use 1.2x or 1.5x crop mode for general candid work.)
This lens includes stabilization, which most 105mm’s and 135mm’s do not, and it is also a 1:1 macro lens! A triple threat for any portrait/candid/event photographer who wants a prime in this focal range.
Exotic Performance Champions:
Canon 200mm f/2 L IS
Nikon 200mm f/2 VR
These two lenses, although some would argue are overkill for weddings and lifestyle type portraits, seem to be the “Rolex” of telephoto bokeh champions.
Bottom line, these two lenses are both flawlessly sharp, incredibly snappy to focus, and offer a truly unique shooting experience.
Of course, any successful wedding photographers could do just fine with a 70-200mmm f/2.8, but that’s not the point. These lenses are what camera geeks buy instead of a Harley when they turn 45.
Sony Prime Lenses For Wedding Photography
Over the last 5 years, Sony’s full-frame mirrorless system has gone from having almost no native lenses, to a complete and formidable arsenal of both zooms and primes. With the release of the newest GM (that’s Sony’s label for their best stuff) 135mm f/1.8, a Sony prime shooter has plenty of incredible options to choose from for both wedding and portrait photography.
Sony FE 24mm f/1.4 GM
Quite simply, this is the best 24mm around. We don’t know how they did it, but Sony managed to create a 24mm f/1.4 prime with incredible image quality from corner to corner, even wide open at f/1.4 or f/2. It’s also quite lightweight and portable, and offers an aperture ring that can be de-clicked for video use, plus a customizable Fn button.
Sony SONNAR T* FE 55mm f/1.8 ZA
This relatively compact, modest aperture prime is one of the most impressive performers that Sony has produced in its range. Incredibly sharp, it offers not just portability for those long 12+ hour wedding days, but also, its diminutive size allows the photographer to shoot in a more relaxed, casual atmosphere compared to sticking a giant 24-70mm or 70-200mm in everybody’s face. In short, this lens represents everything that is good about being a prime shooter!
Sony FE 85mm f/1.4 GM
As its GM designation indicates, this lens is incredibly sharp, relatively snappy to focus, and built solidly. If you’re looking for a workhorse 85mm prime that you can mount natively on your full-frame Sony (FE) body, this is a lens that can deliver the goods.
Sony FE 135mm f/1.8 GM
If you’re looking for extreme bokeh, look no further (pun intended?) than a 135mm f/1.8 prime, such as the Sony 135mm f/1.8 GM. Like its DSLR competitor the Sigma 135mm f/1.8, the Sony 135mm FE GM will deliver gorgeously shallow depth, while offering a longer subject distance which actually helps you keep a subject’s face in focus more, compared to the same framing with a 50mm f/1.2 or 85mm f/1.4. The Sony offers a high-speed, accurate AF motor system, as well as a physical aperture ring that can be de-clicked for smooth video shooting.
Manual-Focus Prime Lenses For Wedding Photography
While I personally have a hard time recommending manual focus lenses for use in wedding photography due to the active nature of weddings, there are some photographers out there who use manual lenses with great success.
The most popular manual focus primes are the classic focal ranges- 35mm, 50mm, or 85mm. Nikon, Zeiss, and Rokinon are the most common players here with Nikon and Zeiss offering beautiful image quality and incredibly robust lens construction, while Rokinon (and Bower and Samyang) offer great image quality too, but with build quality that may not last as long as a Zeiss lens.
Of course, for those of you who truly love the subtle aesthetics of bokeh and flare, certain Leica lenses seem to be a holy grail among lenses with “character”. Be prepared to pay a pretty penny for the best lenses, though.
My personal favorites? Although I would rarely ever use them at a wedding, I love the Nikon 35mm f/1.4 AIS, The Nikon 50mm f/1.2 AIS, and the Zeiss ZF 85mm f/1.4. But again, keep in mind that diving into this world is only advisable for the experienced shooter who knows how to manually focus quickly and accurately.
One benefit of modern mirrorless cameras is that you can quickly magnify the view around your selected focus point, making it truly easy to nail focus in any relatively static situation. Some mirrorless cameras will even auto-magnify to 100% whenever they detect that the focus ring is being turned!
Crop-Sensor Prime Lens Recommendations For Wedding Photography
What if you shoot with a crop sensor camera? There are both a handful of great APS-C and Micro Four Thirds dedicated prime lenses, plus of course with most systems you can also just use full-frame prime lenses too.
For this reason, we’ll restrict our recommendations to those wider and medium focal lengths, which allow you to achieve a focal length equivalent that isn’t easily achieved using a full-frame lens on a crop-sensor.
Sigma 16mm f/1.4 DC Contemporary
Sigma 30mm f/1.4 DC Contemporary (Also in Sigma Art form)
Canon EF-M 22mm f/2 STM
Canon EF-M 32mm f/1.4 STM
Fuji 16mm XF f/1.4 WR
Fuji 23mm XF f/1.4 R
Specialty Lens Recommendations For Wedding Photography
Wedding photographers are a versatile bunch. At the beginning of a wedding day in a dimly lit hotel room, they can go from shooting candid group photos to macro close-up photos of wedding rings and other jewelry within a matter of seconds. This begs the question- should you buy a dedicated macro lens, or just use your 24-70 or your favorite prime?
That is really a personal decision, simply based on how much you love doing macro photos. But in our experience, most non-macro lenses are just quite soft when shooting at extremely close distances. You can try using a 50mm prime stopped down to f/2.8, and some 50mm’s can focus really close, but others cannot, and none have nearly as much “magnification” as a dedicated macro lens.
Macro Lenses – Value Winners:
Tamron 90mm f/2.8 VC Macro
Tokina 100mm f/2.8 Macro
Sigma 105mm f/2.8 OS Macro
If you really like doing high-quality wedding ring shots, you’re in luck- You don’t really need to break the bank if all you want is something that is super-sharp and focuses extremely close-up.
Any of these three lenses will work amazingly well, especially if you plan to use manual focus and shoot from a tripod, or use flash. (We recommend manual focusing for macro shots anyways, but if you really prefer to hand-hold and use autofocus for your macro shots, you might consider a lens with stabilization. See below)
(Yes, you can also use these lenses at normal distances for general photography, too, especially the Tamron and Sigma stabilized lenses.)
Macro Lens – Performance Champions:
Canon 100mm L f/2.8 IS Macro
Nikon 105mm f/2.8 VR Macro
Sony FE 90mm f/2.8 Macro G OSS
This set of lenses is a might be a bit pricey for a wedding photographer, if you only ever use them for macro shots. However, at ~100mm and with both stabilization and great autofocus, they all make great portrait lenses, too!
So, if for example you primarily shoot telephoto on a zoom such as a 70-200mm, but you’re looking for a prime lens that can do double-duty as both a macro and a lightweight portrait lens for whenever your arm gets tired of hoisting the big 2.8 zoom, one of these macro lenses will be an amazing tool in your kit.
Tilt-Shift Lenses
Tilt-shift lenses were designed to correct perspective and improve depth of field, however, many portrait and wedding photographers dabble in using them to significantly alter depth and perspective in, well, very weird ways. It’s a difficult skill to perfect, and should only be used sparingly in our opinion, but it’s still a pretty cool effect Canon and Nikon both make 24mm, 45mm, and 85mm tilt-shift lenses, and Rokinon now makes a 24mm tilt-shift that is a great affordable option, especially considering the specialized nature of these lenses and the fact that you’ll probably only use it once or twice per job.
Conclusion & Additional Reading
Remember, your 1-2 favorite prime lenses are only part of a wedding photographer’s system! Depending on your style, you may want to supplement the wide and/or long end of your range with a zoom or two. The important thing is to practice a lot and define your style before making any major investments… If you’re just starting out, we highly recommend renting a bunch of different lenses and finding opportunities to 2nd shoot, or just get out and do some general practice on your own!
Here’s the other gear guides we have published for wedding photographers:
Our complete guide to wedding photography DSLR bodies
Complete guide to wedding photography zoom lenses
Click HERE to return to the main collection of photography equipment recommendations!
