Once you’re familiar with the basic concepts behind high-volume photography, the next logical step is to figure out what gear you need to purchase. That’s when the panic might hit. Suddenly you’re flooded with decisions about cameras, lenses, strobes, backdrops, barcode scanners, and more, each category including tons of different options at every conceivable price point. The goal of this piece is to isolate only the core components and focus on what you need and why you need it, explaining the key concepts behind each piece of gear so that you can make informed decisions while building out your kit. Though the idea of high-volume photography might seem simple (it’s a bunch of headshots), the execution can vary widely from gig to gig. Let’s break down the essential gear into three key categories and explore how each one can help you totally nail high-volume shoots and lock in happy, consistent clients for years to come.
Cameras and Lenses
The most important tool is, as you might expect, a camera. Almost any camera on the market right now will check the primary boxes–high-resolution images, reliable autofocus, decent battery life, etc.– but a handful go above and beyond. Panasonic, Canon, and Sony all produce camera bodies that can utilize firmware upgrades specifically designed for high-volume photography work (more on that later). These models include the Panasonic S5 II and S5 IIX, the Canon R7, R10, and R50, as well as the Sony a7 IV, a7S III, a9 III, and Alpha 1. Which of these models you purchase come down to your lenses and how you plan to use the camera.
The Panasonic models take L-mount lenses that are also produced by Leica, Sigma, Samyang, and more, so you have a wealth of great options. The Canon cameras use RF-mount lenses, which are fantastic but often pricey, as they’re almost exclusively made by Canon. The Sony bodies use E-mount glass, which is primarily produced by Sony itself but there are options from third-party manufacturers like Sigma and Samyang. If you already have camera bodies or lenses from either ecosystem, it makes the most sense to stay within it for maximum compatibility and familiarity with menus. If you’re going Canon, try to buy bodies with the Cropping Guide firmware pre-installed (those models are linked above). If you already own an R7, R10, or R50 and want to add the firmware, you’ll have to send it into Canon for service. Within the Sony models, the a7 IV is a great all-around pick, the a7S III is the best for video, the a9 III’s global shutter make it fantastic for sports, and the Alpha 1’s high-end flagship features make it ideal for corporate and event photography. If you see yourself taking other gigs outside of high-volume work, focus on these strengths to help pick within the Sony world.
As far as lenses go, we recommend zoom lenses for increased speed and flexibility when you’re on location. You’ll often be assigned a location by the client, so having flexible zooms like a 24-70mm and a 70-200mm ensure you’ll be able to make the space work. Longer lenses like a 70-200mm also often include a tripod foot that can help you easily rotate the camera between portrait and landscape by attaching the foot to the tripod and loosening its connection to the lens to free up rotation. You’ll also likely want a lens with an aperture of f/2.8 or f/4 so you can better separate the subject and background. Some high-volume clients might want the whole image in crisp focus, while others could request a blurry or slightly out of focus background to help the subjects pop–that is going to be extremely hard to achieve with any aperture higher than f/4. Make sure the lens you get matches the mount of your camera (L vs E), as well as the size of your sensor. All the cameras we recommended above have full-frame sensors, so avoid pairing them with APS-C lenses unless you’re okay with cropping in quite a bit. The final part of this step is a good tripod, something that can be adjusted easily and hold at least four to eight pounds. The Manfrotto MK055XPRO3 and Vanguard Alta Pro 2+ are two classic choices.
Backdrops and Lighting
Now that you’ve figured out the camera and lens, the next step is to decide what will sit in front of them. Some clients might already have a studio or practical background in place that they want you to shoot in front of, but most expect you to bring your own backdrop. The most flexible option is a green screen, as you’ll be able to replace the background with whatever you choose, but those can be difficult to light and add a ton of time in the post-processing realm. The more popular choice is a seamless backdrop, sometimes with a single color but more often with a pattern or blend. Muslin or fabric backdrops can also be a good choice as they’re more resistant to accidental damage. No matter what you go with, get yourself a strong backdrop support kit from a brand like Impact or Wescott to hold the background up. Try to get as large a space as possible from the client so that your equipment has some breathing room, and the subjects don’t feel cramped or stressed. For backdrops, bigger can often be better, as it allows you to place it further from the subject and have a nice separation blur.
Lighting can also be extremely client- and job-dependent, as well as a reflection of your personal tastes. Some photographers prefer continuous lights for ease of use, while most will go with monolights (also known as strobes) for their increased punch of power. The Godox AD400Pro is an extremely popular choice, as is the Westcott FJ400. Make sure you get a flash trigger or remote compatible with your camera model, as well as stands for each light. Softboxes and umbrellas can help soften and diffuse the light, but this is where we get into personal preference. Many high-volume photographers like a key light with a softbox and grid to localize it on the subject, as well as a smaller fill light to even out contrast ratios and fill in shadows on the far side of the face and under the chin. A large reflector on a stand can also serve as a fill. A hair/rim light above the subject can complete the image and provide a touch of character and beauty, even if it’s just a small speed light or LED tube. The best approach for lighting is to talk to your client about the look they want, share some refence images, and then consult studio and portraiture lighting guides to map your exact layout, maybe even using an online lighting simulator to see how it might come together.
Scanners, Software, and Peripherals
This is where your gear list starts to get truly unique. As mentioned earlier, Panasonic, Canon, and Sony sell firmware upgrades to unlock features like custom grid lines and scanner compatibility. These are essential if you’re serious about volume photography, as organizing and sorting thousands of images by hand is never going to be a sustainable model. Add in a compatible barcode scanner, printer, as well as camera to computer tethering and a laptop base, and suddenly you have a mobile photo studio where you can assign each subject an ID, link their photo to that ID number, and embed that information in the metadata of the photo. Photography ingest software like Capture One Pro and Adobe Lightroom help you organize sessions, edit raw images, and quickly rename and reorder shots. Speed, ease of use, and reliability are the key factors here, and either application should check all those boxes. The specifics of tethering will depend on your camera and computer model, but a high quality USB-C cable is usually a good first step. Talking delivery specs through with your client is also going to be essential here, as they might want specific edits, file formats, and specs, or a memory card handoff in lieu of any post-production work.
The final purchases to consider are peripherals that could improve your shooting experience. Rolling hard cases from a brand like Nanuk or Pelican can be lifesavers when it comes to transporting gear. Posing stools might be provided by the client, but it’s good to have one on hand just in case. Extra batteries for the cameras and lights are always a good idea, as well as backup storage media in case of card failure. Speaking of battery power, talk to the client ahead of time about whether you’ll have access to AC power. Even if you do, batteries are good in case of emergency. Over time, you might find yourself building out your high-volume kit with additional lenses, lights, and accessories, but the pieces we discussed in this piece should get you a great base kit for typical jobs.
What other pieces of gear should people consider when taking on high-volume photography gigs? Do you have questions about the gear we discussed? Let us know in the comments section below!
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