Ok...where to begin...
Let's start at the front end.
You have a camera, and given your photographic background, I assume you can compose a frame and light for it.
What camera is it? Do the mic inputs ( the XLRs you mentioned ) supply phantom power?
Presumably the camera has it's own internal mic.
On the camera the first thing you want to do is DISABLE the automatic gain. You want/need to be in control of what is going to tape/HDD.
Next thing - microphones.
Now you have expressed a preference for wireless...which is fine...but given what you are trying to achieve, might not be necessary.
Will you be doing "walk and talk" style production, or will the talent be in a fixed location sitting or standing?
The reason I ask this is that using a cabled (non-wireless) version of a mic will
always sound better than the wireless version.
If you are going to be serious about this, it would be prudent to have both...one as a spare.
So...here's a thought to get you started. Grab a Sennheiser G3 Radio mic system:
http://www.bhphotovideo.com/c/product/618739-REG/Sennheiser_EW_112P_G3_A_EW112_p_G3_Camera_Mount.htmlNow...the microphone that comes with this is ok, but you could upgrade it to a Sennheiser MKE-2 which sounds better, and is smaller - which is an advantage in the ENG/EFP world. Grab one terminated with a plug to fit the G3, and grab another one terminated with an XLR for hardwire/fixed location setups.
Is this the best radio mic system in the world? No. But it is very good bang for your buck.
Now comes the hard bit...making it all work together.
Buy some decent headphones...and no - Beats by Dre are not decent.
You need good isolation because you will need to make qualitative decisions in a hostile environment.
Next you have to learn gain structure. This cannot be over-stated. You need to get all of these elements working together in the most efficient way. You need to make sure that the input of the transmitter is not distorting, the output of the receiver is not distorting, and the input of the camera isn't distorting, and that you aren't so conservative that you have noise issues...and given that every interview is different, there is no one size fits all setting. You have to listen and adjust BEFORE you start recording. This is why you don't do stuff in auto mode on the camera.
If you get distortion at this stage, you are quite probably fucked. Or up for some serious coin at a professional post house to fix.
By using a hardwired microphone, you remove 2 gain stages...and therefore have a better shot at making it sound good quicker...especially as a neophyte recordist. Time wasted learning how to drive this rig in front of the talent/client does not fill him with confidence. Trust me.
So...voice overs. Presumably you'll do this at your edit suite in an acoustically controlled environment, right?
Here's the quick and dirty way. Buy a decent mic, and record onto your camera. That'll get you going.
Eventually you will need a small mixer for monitoring purposes in your suite. At that point you can record directly to your edit software via that mixer for voice over.
The edit software itself is a matter of personal preference. Avid is the industry "standard", but people have got good results from Final Cut Pro (FCP) up until the point that Apple emasculated it and basically made it "iMovie Pro". Adobe Premiere CS6 is making inroads, but all of the Avid guys I know who are using CS6 are hating life at present.
Hope this helps.
Cheers,
Tim
PS. Do not fuck the whole industry for the rest of us by going in too cheap. It helps nobody...including you.