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Not that easy if you are in a habit of cropping or stitching (I do both).

The following two crops are from the same stitched photo using 28mm. This is why I like 28mm.

Wider than 28mm (21mm?)
attachicon.gifexp_sm_20151016Yosemite_hike_n_camp-1005632-merge.jpg

narrower than 50mm (60mm?)

attachicon.gifexp_sm_20151016Yosemite_hike_n_camp-1005632-merge-4.jpg

Awesome photos from Yosemite.  Where is that?

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HCB's comments on the 50mm lens, published in the New York Times...

 

"It corresponds to a certain vision and at the same time has enough depth of focus, a thing you don’t have in longer lenses. I worked with a 90. It cuts much of the foreground if you take a landscape, but if people are running at you, there is no depth of focus. The 35 is splendid when needed, but extremely difficult to use if you want precision in composition. There are too many elements, and something is always in the wrong place. It is a beautiful lens at times when needed by what you see. But very often it is used by people who want to shout. Because you have a distortion, you have somebody in the foreground and it gives an effect. But I don’t like effects. There is something aggressive, and I don’t like that. Because when you shout, it is usually because you are short of arguments."

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Do you know this one?

 

« Moi, le 50mm c'est ma vie. Une certaine distance avec les gens. Le grand angle gueule, et le 90mm me rappelle ces cornets acoustiques qu'utilisaient autrefois les vieilles dames. »

Henri Cartier-Bresson
Photoportraits sans guillemets
Le Monde, 10/10/1985
(quoted by Le Photographe n° 1607, page 28)
 
Free translation: 
The 50mm lens is my life. A certain distance with people. The wide angle shouts, and the 90mm reminds me those ear trumpets that old ladies used to use in the past.
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Do you know this one?

 

« Moi, le 50mm c'est ma vie. Une certaine distance avec les gens. Le grand angle gueule, et le 90mm me rappelle ces cornets acoustiques qu'utilisaient autrefois les vieilles dames. »

Henri Cartier-Bresson
Photoportraits sans guillemets
Le Monde, 10/10/1985
(quoted by Le Photographe n° 1607, page 28)
 
Free translation: 
The 50mm lens is my life. A certain distance with people. The wide angle shouts, and the 90mm reminds me those ear trumpets that old ladies used to use in the past.

 

 

Thanks. I hadn't seen it in the original French.

 

Ernst

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Times and aesthetics do change, as the history of art and photography proves.

 

We have become thoroughly accustomed to seeing wider-angle shots than HCB was, and that affects how we see and how we respond. What we think of as natural changes.

 

35mm is now a very moderate wide-angle to use. If nothing else, phones have seen to that, but it had happened before that, with photo-journalists and cinematographers often using wider (and longer) lenses than were readily available in HCB’s time. I don’t believe that it “shouts” to our sensibilities any more, and I suspect though I can’t know that he might have seen the world just slightly differently had he been photographing today.

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HCB used to use a 40mm lens at the end of his life (Minilux):

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

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A truly serious M photographer will not concern themselves with merely the "best" focal length; they will want to have the "best" lens in each focal length. 

They will buy one of each of the 112 M lens that has ever been made and will carry all of them at all times so that they will always have the "best" lens for the job always at hand.

 

Since there is no bag currently being made that will accommodate all of the 112 M lenses at once, six Billingham 550 shoulder bags will be needed to carry the lenses.  Air travel, mountaineering photography and street photography will be a bit more challenging - but it's the only way to really be sure.

Edited by Herr Barnack
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A truly serious M photographer will not concern themselves with merely the "best" focal length; they will want to have the "best" lens in each focal length. 

They will buy one of each of the 112 M lens that has ever been made and will carry all of them at all times so that they will always have the "best" lens for the job always at hand.

 

Anyone able to afford all these lenses will hire a chap (or chapess) known as a 'lens caddy or caddie' who will carry them around for him/her. Actually, they will probably have a camera fastened to each lens to save all that lens changing with the potential dust problems it causes. So that's several 'lens caddies' required.

 

If I may plagiarise (sort of) from Wiki:

 

"In Leica M photography, a caddie (or caddy) is the person who carries a photographer's camera and lenses, and gives insightful advice and moral support. A good caddie is aware of the challenges and obstacles of the photography being undertaken, along with the best strategy for taking it."

 

I wonder if HCB had one?

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[...] "In Leica M photography, a caddie (or caddy) is the person who carries a photographer's camera and lenses, and gives insightful advice and moral support. A good caddie is aware of the challenges and obstacles of the photography being undertaken, along with the best strategy for taking it."

I wonder if HCB had one?

 

Interesting testimony of an HCB's "apprentice" here: https://ishupatel.com/PHOTOGRAPHY/My-Time-with-Henri-Cartier-Bresson/1/caption

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