I’ve been a photographer from a very young age. I started photographing when I was 14 years old, on a Ricoh camera, after being accepted to an art school’s film department. Professionally, however, I started almost 10 years ago as a photojournalist for major Israeli news outlets, before moving my focus to weddings and photo gear to Nikon.

When 2020 turned out to be the quietest season the wedding industry had ever seen, I was trying to adjust to the new reality and I wanted to make the most of what I have, pushing my business brand while investing in my self-growth. For me, it was the right momentum to expand my documentary skills. I decided to shoot my family’s daily routine when we where in quarantine, and edited a short movie out of 10 hours of raw footage (see below).

These days, when working at events, I keep my equipment very minimal. There was a learning curve, however, to understand what is important and what I can afford to leave behind. When I was starting out, I was all about lenses and equipment, and I was looking at other people’s work thinking, “Well, they produce such amazing work because they have the Leica M,” or whichever latest must-have item I didn’t have.

Nowadays, I focus on the story, on my clients, and my own experiences as a photographer and an individual. The most important lesson I have learned over the years is to be genuine. Don’t try to copy other people’s creativity. It won’t bring you long-lasting success. Don’t forget that clients you aim to work for are those who are drawn to the way you tell the story.

Cameras

Now, I have only two “workmates:” the Nikon D850 and Nikon D810. I am absolutely in love with the 850. It’s a beast to work with. Its colors are amazing, and the video capabilities are simply outstanding.

For traveling or just daily life, I use the Fuji X100F. I bought this camera for a family trip to Japan so that I wouldn’t need to carry my heavy gear with me. It’s amazing to shoot with because its colors are beautiful and comfortable, and you can put it in your back pocket. I can frankly say it regained my desire to take pictures every day, all day.

A camera I use once in a while is my 1958 Yashica 635 film camera. I bought it in Portobello & Golborne Market in London. It took me some time to get used to because of the way you need to frame the picture (looking down to the viewfinder), but nowadays when I use it, I’m much more focused and intentional thanks to that, and I find the results so sensitive and beautiful.

Lenses

Having gone through my fair share of lenses (e.g. the NIKKOR 70–200mm f/2.8 that I still use sometimes), for the majority of my work, I now mostly use these three lenses:

1. NIKKOR 85mm f/1.4 

This is my favorite lens. It’s both sharp and versatile. On the one hand, I use it for portraits but also for macro shots. The build quality is amazing—it’s just so much fun to work with.

2. Sigma 35mm f/1.4 

It’s not too costly and gives high-quality photos. If I had to choose just one lens to go out with for the day, I would choose this one.

3. Sigma 24mm f/1.4 

I use this lens mainly for when the party starts and the dance floor is super crowded. I also like to use it when doing couples shots to reveal more of the location in the background.

Lighting

I use only two flashes at the moment: the SB-800, and the SB-700. The SB-800 is magical. I think I have had it for more than 10 years and it keeps on going (knock on wood).

I used to work with triggers and tripods on the dance floor, but now I just put the flash on the camera and the results are amazing. It makes working on the dance floor less intimidating and more comfortable.

Bag

My all-time favorite bag is the Everyday Bag by Peak Design. It has many cool features, great dimensions, sleek design—it was all really well thought out.

Software

I use only Lightroom to edit my photos. I never had the chance to use Photoshop because I never felt like I needed it. I blame it on my days as a photojournalist when Photoshop was a big no-no to work with. I guess old habits die hard.

Ben Kelmer is a wedding photojournalist based in Tel Aviv (well, Givatayim, actually, he says, “which no one can ever find”) in Israel.