You ask for opinions, and our opinions are simply what WE would do. Everyone has somewhat different needs, related to their different styles. However, if I were assembling the outfit:
I'd want the 5DII for its low light capabilities and also to take full advantage of the availability of L optics in general.
I'd probably want a 24-70/2.8L, rather than the 24-105/4L (which I prefer for my own work), for its lower light capabilities and shallower depth of field. For wedding photography, the field curvature of the 24-70 would not be as serious an issue as for landscape work. This would be a hard choice for me. I think the IS of the 24-105 might be more useful in some situations -- e.g. flash-prohibited ceremonies, where people aren't exactly jumping around. Also if you have a 24-105 on a full frame and a 70-200 on your crop frame brackup, both hanging around your neck at the same time, you've got a nice continuity of focal length without changing lenses. Just a thought. Too bad there's not a 24-70/2.8L IS.
I'd want the 70-200/2.8L IS, as it's a brilliant portrait lens. It would be truly awful to have to go hiking with one of those things, but for a wedding, it's a good choice.
I'd want some sort of mirrorless camera. I hate mirrorless cameras; however, I remember photographing a wedding in which the bride and groom told me I could do photography during the ceremony without flash, and the church told me I could not do any photography AT ALL during the ceremony because of the noise of my camera (a DSLR). If I had only had a mirrorless camera, I could have shot the ceremony silently and had at least SOMETHING to show the bride and groom.
I would have no need for a 24mm prime. The 24mm end of either the 24-70 or 24-105 would be fine for photographing the reception. I would certainly not use 24mm for photographing the bride/groom/family, because even small distortions that appear inconsequential to you can look horrible to your subjects. By contrast, small distortions in the guests' images won't matter as much to your clients. I still avoid wide angle photography of people wherever possible.
Forget the 50/1.8. It's not really as good a lens as people like to think. Sure, it's sharp in the middle, but it could do better wide open, could have better edge sharpness, and could have better bokeh. It also focuses like a cheap electric drill. Instead, I'd get the 50/1.4 if you want a fast normal prime.
Rather than the 85/1.8, I'd get the 100/2. It's a similar lens, but IMO a slightly better focal length for full frame head/shoulders portrait work.
Although you don't need backup equipment now (because YOU are the primary photog's backup), I'd think in terms of an older APS-C XXD backup, which will have a user interface somewhat like the 5DII. Using a Rebel series camera is a frustrating experience if you're used to Canon's prosumer bodies. I have a 40D as my backup camera. It takes nice pictures, and I bought it rather inexpensively.
With that, you will have a nicer outfit than the primary photog. ;-) There are items here that are essential and items that are not. Personally, I'd forget the primes and get the essential zooms and the 5DII for now. If you can't afford the zooms and the 5DII, get a 5D instead.
Finally, I would google and study the strobist blog. He's got an excellent small flash lighting tutorial that will give you ideas about the other critical, usually neglected end of photography, which is your light. If you want to shine as a photographer, get the light right.
, Feb 02, 2012; 04:11 a.m.
