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13 hours ago, evikne said:

I have always felt most comfortable in the range between 35 and 50 mm. But to choose only one of them has been impossible to me. After all, there are differences that I cannot live without. I've had many different lenses, but most of them with these two focal lengths. I take mostly candid portraits, and I often prefer a loose cropping with some context around.

The 50 mm often results in slightly more standard portraits where I am more concerned about bokeh and background, whereas the 35 mm tends to be used even more candidly, with more focus on perspective.

A couple of days ago I took these pictures. First with a 50 mm:

A different 17 May

Then I changed to 35 mm:

A different 17 May, part II

If people didn't know, they probably wouldn't notice the difference. And because the lenses are so close in focal length, I feel in a way they act like one lens. But a very versatile one.

“Learn the rules like a pro, so you can break them like an artist.” 
 Pablo Picasso

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Guest Nowhereman

Seems to me that this thread ain't worth much — or at least not that interesting — without example images of how, for example, the 50 can be shot feel like a mild wide-angle and the 21 can be shoot not to feel like a wide-angle at all. I've posted examples of this for the 21 and, if I recall correctly, for the 50 as well — but I'm as lazy as anyone else and can't get myself to look for this. But if anyone wants to benefit humanity with such a post, please do.
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Frog Leaping photobook

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5 hours ago, Nowhereman said:

Seems to me that this thread ain't worth much — or at least not that interesting 

It’s preferable to laugh at two bickering numpties than it is to endure their photography. 
 

I’m definitely interested to see and understand the concept of angle of view illusion without having to put up with iffy examples being ‘talked up’ by the author, though. 

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It would be interesting for me to use criticism to tear to smithereens photos of some forum participants.

I also want to talk about the process of creating tricks. From art, film and photography. This will take your work from a simple level to participating in galleries. This will make your photos look better. Or you will immediately put the camera up for sale. I am laughing.

Edited by capo di tutti capi
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18 minutes ago, pedaes said:

That is not very nice.

It wasn't meant to be.  

I'm more interested in a discussion about the idea of 'consistency' in the way the OP has explained in his reasons for starting it than having the thread trashed by bickering.   

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24 minutes ago, capo di tutti capi said:

It would be interesting for me to use criticism to tear to smithereens photos of some forum participants.

I also want to talk about the process of creating tricks. From art, film and photography. This will take your work from a simple level to participating in galleries. This will make your photos look better. Or you will immediately put the camera up for sale. I am laughing.

Off you go then, here's your opportunity to put the thread back on track. Let's have a more interesting discussion, please.

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I can tell you why I settled on one lens.

1. In my work I have reached a high level and I am not interested in looking at the same thing.

2. When you know all the tricks it is very difficult to jump higher. It's really hard to take a good photo. By all canons. You see all the mistakes. Your own mistakes and the mistakes of others.

3. Modern photography is informational rubbish. View on second and like. Everything has already been filmed. Before posting a photo on the Internet, just search on Google.

 

It takes a lot of time to get really cool photography. For a like? I know I can, so I don't do it. Da Vinci did the same. He started to draw and did not finish it. He knew he could. And he was losing interest.

As I already said.

If you find out about all the tricks you put your camera up for sale.

You will not be able to create garbage. + item 3

Edited by capo di tutti capi
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Hello everyone, 

It looks like this thread has taken an unexpected turn.  It is only the second thread I have started here and, as a newbie, the last thing I wanted to do was set off an online flame war. 

Perhaps my initial post could have been better written (or certainly clearer) so please accept my apologies if I have contributed to this.

Although a new member, I've been a long-term lurker and have enjoyed (and benefited from) this forum immensely - there's a lot of knowledge, expertise and, in general, a good sense of camarderie. I really hope that will continue.  

Best wishes to all

Masukami

Edited by Masukami
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8 minutes ago, capo di tutti capi said:

In my work I have reached a high level

I'm sure.

Now, can you demonstrate and/or comment in a convincing way how you would use one focal length, or angle of view, to replicate or maintain 'consistency' in the way the OP has outlined, which is the purpose of the thread.

 

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On 5/19/2021 at 12:41 AM, capo di tutti capi said:

Then there's no point in answering. We don't know how others see it. No one shows it. Just lists the lenses.

Does how others "see" make a difference? I'm no photographer but I often use 90mm but showing the results in this context will have no meaning as although there is the consistency of the focal length, the results are versatile.

I also use 28mm and to a much lesser extent 50mm, but I lile to think and hope that the pictures I take have a similar feel... as the only ingredient that is really consistent is me.

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38 minutes ago, ianman said:

Does how others "see" make a difference? I'm no photographer but I often use 90mm but showing the results in this context will have no meaning as although there is the consistency of the focal length, the results are versatile.

I also use 28mm and to a much lesser extent 50mm, but I lile to think and hope that the pictures I take have a similar feel... as the only ingredient that is really consistent is me.

This is where I was a little confused by the OP at the beginning of the thread and I made a similar comment about the similarity of a photographer's work across different media and formats.  He is someone I respect enormously as a photographic artist.

I don't think this is what the OP is looking for, it's more to do with a perceived 'consistency' between angles of view, for example a 28mm or 35mm and a 50mm lens.  It isn't something I've ever thought about and I'm not convinced of it's worth, but I'm open to considered, demonstrable opinions.

When I photograph weddings, I mainly use just two prime lenses; 28mm and 50mm.  I use them with different intentions in mind and I can't really see how or why I would be looking for 'consistency' by using, what to me, would be an inappropriate lens or angle of view as applicable for how I wish to record the scene in front of me.

 

 

Edited by Ouroboros
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8 minutes ago, Ouroboros said:

This is where I was a little confused by the OP at the beginning of the thread and I made a similar comment about the similarity of a photographer's work across different media and formats.  He is someone I respect enormously asa photographic artist.

I don't think this is what the OP is looking for, it's more to do with a perceived 'consistency' between angles of view, for example a 28mm or 35mm and a 50mm lens.  It isn't something I've ever thought about and I'm not convinced of it's worth, but I'm open to considered opinions.

When I photograph weddings, I mainly use just two prime lenses; 28mm and 50mm.  I use them with different intentions in mind and I can't really see how or why I would be looking for 'consistency' by using, what to me, would be an inappropriate lens or angle of view as applicable for how I wish to record the scene in front of me.

 

 

This is the same as using a wide angle to accommodate as much as possible. Or use a wide angle to capture the intimacy of the moment. When you immerse the viewer in the scene. Here are the tricks. You take everything apart like a beginner. Instead of letting me open your eyes to everything at once.

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3 minutes ago, capo di tutti capi said:

This is the same as using a wide angle to accommodate as much as possible. Or use a wide angle to capture the intimacy of the moment. When you immerse the viewer in the scene. Here are the tricks. You take everything apart like a beginner. Instead of letting me open your eyes to everything at once.

Feel free show some images taken by you to reinforce whatever point it is you're trying to make.  Convince me that you know what you're talking about.

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2 minutes ago, capo di tutti capi said:

The Brenizer Method allows 90mm to become a wide-angle lens

Fantastic... great trick. How is that at all relevant to the subject of the thread ("he wrote as he pulled a bunny from a hat")

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