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50mm

Chris GampatThe Phoblographer Sigma 50mm f1.4 V2 images (2 of 2)ISO 1001-60 sec at f - 1.4

“Use a 50mm lens! It’s got a normal perspective! It will see just like you see! Taking photos will never be easier! Look at all the glorious bokeh!”

No. Just no. No a thousand times and a million times over that. So long have I heard something preached over and over again to consumers and photographers in general just starting to get into the photography world and too long have I wanted to say that it is nothing else but absolute garbage.

I was just like many of you at one point or another: a photographer that was a total novice and looking to learn about anything while trying to discover myself as a photographer. And in many cases I used the 50mm focal length. It really started with my 5D Mk II and the 50mm f1.8 II–otherwise known to many shooters as the cheapest nifty fifty you can get your hands on. Yes, it’s sharp when stopped down. Yes, you can get beautiful bokeh. And even more so, you can make potential clients look good and deliver beautiful images with one.

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Chris Gampat The Phoblographer Sigma 50mm f1.4 Art Lens Review images (1 of 13)ISO 4001-800 sec at f - 3.5

We’re curious about the age long debate for you guys. While every photographer is taught that 50mm lenses give you a more normal perspective closer to what the human eye sees, many photographers have made very valid arguments for the 35mm field of view.

So with that in mind we wonder: do you see the world in 35mm or 50mm?

We’d love to hear your thoughts though. Click the poll below and also let us know your thoughts in the comments below.

Do you see the world in 35mm or 50mm?

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Chris Gampat The Phoblographer Zeiss Rokinon Sigma 85mm f1.4 three way comparison (1 of 3)ISO 4001-125 sec at f - 3.5

A while ago, we did a comparison of the Canon 50mm f1.4 vs the 85mm f1.8 (due to price points) when it comes to taking portraits. Weekly Imogen recently did their own filmed portrait comparison and asked their readers which one they preferred. After a long time of gathering comments and feedback, many of the readers loved the look of the 85mm lens more. However, as some commenters state, the crew used a cropped sensor camera body–which for Canon actually renders an 80mm field of view not the 75mm as stated due to the 1.6x crop factor.

What this actually means is that a 50mm lens will give the field of view of an 80mm lens and an 85mm lens will give around 136mm to the viewer with a cropped sensor camera. Still though, the lenses will still act like their actual focal lengths–which means that an 85mm will still render a less distorted image.

The comments and feedback are an interesting back and forth debate–though many still lean more towards the 85mm. The video is after the jump.

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Chris Gampat The Phoblographer Sigma 50mm f1.4 Art Lens Review images (1 of 13)ISO 4001-800 sec at f - 3.5

When it comes to getting a first prime lens, many of us on the staff reached for the 50mm f1.8–otherwise known as the nifty 50. But as time progressed, almost the entire staff also moved onto the 35mm field of view. In fact, many of my personal friends have too because 35mm lenses could arguably be stated to have a field of view of what you actually see in a scene. But this is one of the biggest debates for prime lens owners: 35mm or 50mm. In a recent video, DigitalRev tried to solve this debate. Kai makes some great points stating that one is a great travel lens and street photography lens and great for working with tight spaces, but when it comes to getting bokeh you’ll want to go for the other (obviously the 50mm).

And just in case you’re curious, you should check out our Sigma 35mm vs 50mm Art comparison. The video on choosing a 35mm or a 50mm lens is after the jump.

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julius motal the phoblographer Loxia 35 mm Product Sample 2014.05.08 3

Fresh from Zeiss’s factory come two new lenses for Sony’s full-frame E-mount line of cameras: the Loxia 35mm f2 and the Loxia 50mm f2. Each lens is solely manual focus and has a clickless aperture ring and a depth of field scale. True to Zeiss’ tradition, the lenses have a metal body, and to meet the demands of the A7/R/S, they’re weather-sealed, too. They’ll get their first display at Photokina in two weeks.

Based on the tech specs, these lenses will be a boon for street photographers and photojournalists, and we bet that the 50mm in particular will work well for portrait photographers both outside and in the studio.

The 50mm f2 will be available in October for $949.99, and the 35mm f2 will be available towards the end of the year for $1299.99. Once we get the lenses in, we’ll be sure to review them for you.

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Prime lenses are a not-so-secret weapon favored for their fast apertures, crisp detail, and creamy bokeh.  They differ from the more commercially popular zoom lenses because of their ability to better maximize available light and separate foreground from background with aesthetically pleasing crispness.  They also possess the power to be a catalyst for creativity since they force the shooter to be more physically involved in their compositions.

Editor’s Note: This post was originally published on Borrow Lenses’ Blog. It has been republished with permission.

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