I don’t usually like change. This is because I am disinterested in learning new tech every year, but also because I prioritize using the tools I already know how to use. After all, if it works fine, why change it? Well, for 2024, I am changing things up a little bit. Here is what’s staying and what’s changing.
Throughout 2023, I had plenty of great opportunities to try a variety of lenses and cameras. While I didn’t play around with a full-frame camera from a different brand, I did get a chance to try just about every medium-format camera available on the market. The medium format impressed me quite a lot, and it’s something in my long-term plans. However, if we think short-term, there is one thing I will be changing going into 2024. It might not seem like a significant change, but it is in my book.
A Downgrade, Possibly
Some might view this as a downgrade, but I beg to differ. I see this as an improvement. You see, I would always go on about how I shoot all my work with a 24-70mm f/2.8 and nothing else. When analyzing my usage of the focal range, I realized I was mostly using it around the more mundane focal lengths ranging from 40mm to 70mm. The wide-angle distortion that one gets at 24mm simply didn’t appeal to me. Then, going into more detail, most of the images I liked were shot at around 50mm. I used the slightly wider 40mm for full body shots, while the 70mm was saved for things such as close-ups and portrait images. Essentially, I would move less and simply zoom in and out when needed. With the amount of travel I did, I realized that bringing two camera bodies and even a single lens is a lot. Additionally, as I value redundancy, a single lens could be a point of failure.
One of the last, and best things I tried in 2023, was the 50mm prime lens. I used all three versions: f/1.8, f/1.4, f/1.2. Out of the three, the optical quality of a 50mm at f/10 on a 5Ds could not be compared to anything else; it was that good. However, it was quite heavy, and I knew that if I never used f/2.8 on my zoom, I would never use the f/1.2 on the prime. The reason I became so interested in the 50mm primes was not because of the fast aperture or superior optical quality, but for weight reduction purposes. I would place both the 50mm f/1.8 STM and the 50mm f/1.4 USM in the same category when it comes to the quality of the image produced. Generally, the difference is hard to spot unless you’re shooting on a high-resolution camera. I ended up with a 50mm f/1.4, anyway.
Pure Luck
It was almost by chance that I got this lens. My dear friend, Brandon, who’s making some incredible shots, happened to not be using it, and gave it to me for some time to test out and try. As soon as I picked up my camera with the prime attached, I could feel the weight difference as opposed to a 24-70mm f/2.8. While the loss of zoom was something I had to get used to, the lens actually prompted me to be more creative with composition and move around more.
The loyal reader might remember that earlier this year I wrote a piece on the 50mm f/1.8 being an overrated lens. I still stand by this, but not as strongly. You see, the times I used this lens before were a while ago, and I was just starting out. Within a few months of having the 50mm f/1.8 prime, I sold it because it didn’t give the results I was hoping to see. Back in yesteryear, the appeal of a powerful zoom seemed greater as I wanted to try out every focal length. So much so, I was considering a 28-300mm. I still stand by this. If you are a beginner photographer, go for a zoom lens and skip the boring focal lengths. Knowing my own process when I was starting out, I always leaned towards a more “interesting” lens when taking pictures as it seemed that I would get more interesting pictures as a result.
Nowadays, however, having traveled over ten thousand miles with the 24-70mm f/2.8 and having shot around half a million images with it, I feel it’s time for a change. Given that I shoot for weeks on end sometimes, the 24-70mm f/2.8 just does not sit right with my wrist pain after every shoot. While I am quite young and it’s not a problem that is really apparent, I am trying to be conscious of my wrists. Writing, photographing, editing, rigging, and so on all add up eventually.
Having tried to do entire shoots on a single 50mm, I can safely say that it is a keeper for now. The taste for this lens is an acquired one, somewhat like the taste for beer and wine. I am experimenting with various compositions and figuring out the lens at the moment; it’s very new to my kit still. Although I have shot around 10 shoots with it, I can’t say I am ready to give my full opinion on it. As it stands now, I’m not missing the 24-70mm f/2.8 zoom, and am quite happy with the weight and size reduction of the prime, even if it is not as professional-looking.
Closing Thoughts
So, this is the update to my kit at the beginning of 2024. It is not the update I was expecting, but an upgrade I am very pleased with. The image quality stayed the same, but the shooting experience got easier. Part of me is almost willing to ditch the second body and the 24-70mm f/2.8 from my travel bag. However, I am not sure it’s the wisest choice as my main body is currently sitting at a 200k+ shutter count and I worry that it will fail anytime in 2024. Perhaps it’s time to bring out the second, less high-resolution body and go full minimalist. And no, it’s still not the right time for a mirrorless camera. My next camera upgrade will be a very modest medium format setup, whatever it takes.
What are your experiences with the 50mm prime focal lengths? Would you recommend it to beginner photographers or to more experienced people? Are there any other primes you use? Let us know in the comments!
If anyone wants to know what a 90 EUR Canon EF50/1.8 STM lens can do on an old but proven EOS 5D MII, take a look at a panorama in the Swiss Alps - shot at F8 ...
https://satrobel.prodibi.com/a/8l9jg6mggrv8d50/i/768xm7mwrx9rz0y
I did not know that a 5dm2 can do panorama shots.
It's a stitched image from a series of images at 15 degree intervals using a tripod.
Yep. that lens is baller. So is the EF 85mm f1.8. I like it waaay better than the L series 85mm lenses.
I think zoom lenses are more quicker to compose a shot than fixed lenses. But to each their own. With fixed lenses, you may need to change focal lenghts when needed. So, I would carry a 35mm, 50mm, & 100mm if that is the case. I only have a 50 & 100mm fixed lenses.
Do bear in mind not all photographers need to zoom in and out on a zoom lens. A lot of portrait photographers, for example could photograph a whole shoot with just one prime lens. If they do need a second focal length, they could always have it attached to a second camera to save time - I'm assuming professionals will bring a backup camera to a shoot.
This is what we generally refer to as streamlining our gear. Working out what we really need, what focal lengths we actually use and carrying and using less gear but still getting the results we want.
So, what streamlined gear do you carry?
Perhaps if a lens maker made a nice light/fast 24-50-ish. And then just crop up to an 85mm FOV.
When I started I owned a 18-200 crap lens for a crop body, well, it gave me mediocre results, but mainly due to lack of knowledge on my side. The nifty fifty gave me plenty of possibilities to learn how light, sharpness and depth of field depend on aperture and time, focusing distance and focal length in contrast to my zoom lens. 50mm is a good choice to learn even on a crop body.
When I upgraded to a full frame body it blew me away, initially, but I thought the f1.4 option would be even better, and I was right. The Canon EF 50/1.4 is a quite old lens, so wide open it's just ok, stopped down it's quite good. I bought a second hand Zeiss Planar 50/1.4 and Dang, that lens was way better when stopped down, I never new how crispy sharp details could be, even at f5.6 (probably the sweet spot of the Zeiss). Ok, it was dreamy wide open, but hey, one could use this as character. Sold it, for a change in system, but that's a different story.
I strongly would recommend buying a 50mm lens, there are plenty of them to get second hand, and for mirrorless bodies, even more options are available for even less (ok, manual focusing should also be learned, doesn't it?).
I'm also finding the simplicity and image quality of prime lenses are more of a benefit than the versatility of a zoom lens, but I also don't do wildlife which I can't see doing with just a prime lens personally.
I can easily walk forward or back a few steps to achieve the desired framing. I also finally went mirrorless this year with a gh5ii w/ 15mm prime. small and sharp.
Yes, the simplicity and basics of shooting with primes is quite liberating, and I think fuels creativity.
Canon updated their EF 35mm f1.4L and their EF 85mm f1.2L ii but should have updated their EF 50mm f1.2L as well. i suppose they were designing new lenses for the RF mount but the old EF 50mm f1.2L does not really cut it now. i sold mine and purchased a manual focus Zeiss Milvus 1.4/50mm. i have both the old and new versions of the 35mm and 85mm
The EF 50mm f/1.2 L is a great portrait lens. It's not so good for flat document reproduction work (i.e. shooting test charts), but then it was never meant to be used for that. The same flat field correction that gives some lenses sharper edges and corners at the same focus distance as the center of the frame also gives harsher out of focus highlights.
Oddly, I own three 50mm lenses, and I never touch them. It's just a length that doesn't appeal to me. Although I LOVE my three 35mm primes. And, I just picked up the Nikon 60mm f/2.8 prime for slide/negative scanning. Maybe it's time I give the 50 and 60 primes a chance?
It's great that you're aware of your wrists, to avoid health problems down the road, so along those lines, take a look at your forward head posture in the two photos that I presume are of you shooting photos. That can cause a lot of neck, shoulder, and back problems in the long run.
If I was doing mostly studio work, I would definitely stick with primes. But with my photography - out in the "field", I'm always moving forward and backwards, zooming in and out, to find the perfect framing and composition.