My actual kit, wedding by wedding

Three cameras, three jobs:

GFX50S II + 50mm f/3.5 — roughly 80% of the day.

This is the workhorse. Handheld, all day, every part of the timeline. Medium format files, a lens that’s small and quiet enough to disappear, and a rendering I’ve never wanted to move away from.

GFX100RF — around 10%, but intentional.

This is the wide angle. It hangs on its own strap over my shoulder all day, and when I need width — a room, a group, a doorway I can’t back away from — I swing it round rather than swap lenses. It’s a fixed 28mm-equivalent, so I know exactly what I’m getting before I lift it, which speeds me up rather than slows me down. In the evening I’ll put a Godox iTT30 Pro on it: slim, small, doesn’t unbalance the camera, and gives a proper direct flash for speeches, the dinner room, or a packed pub garden where ambient light has given up for the night.

X100V + Godox Lux Senior — the last 10%.

Dancefloor only. Light, small, and the Lux Senior gives that soft, warm pop of flash that doesn’t flatten a room full of people mid-song. I want to be invisible on the dancefloor, and this is the smallest, quickest thing I own.

Where the GFX100RF earns its place

It’s not there to be a second full system. It’s there for the shots the 50mm can’t get without me physically backing into a wall:

• Wide shots of a room before it fills — architecture, table styling, the scale of a marquee or a barn
• Group shots where there’s no space to step back
• Doorways, staircases, tight bridal prep rooms
• Any moment where I need the whole scene, not a slice of it

Because it’s a fixed lens I know before I raise it whether it’s the right tool, which means it’s fast in a way a zoom never quite is. And because it lives on its own strap rather than in a bag, there’s no fumbling — it’s already there when the room asks for it.