TristanCardew wrote in post #11062656
I'm interested to know (because i'd love to run this set), why this combo works so well? What kind of shooting do you do? Do you shoot any events or just personal work? Do you find it has limitations?
24/50 (plus portrait lens, choose your poison... I mostly use the 135L) is fantastic for event work, and I think the reason it works so well is that it covers the whole range of focal length potential while simultaneously reinforcing a fixed-focal style. You can't "step back" to match the 24 FOV with a 50, just as you can't "step forward" to imitate the 50 with a 24 - with so much space between the two, the photographic approach diverges by necessity. Just imagine an enviornmental portrait done with both... the 50 allows you to focus on the subject and restrict their visible environs to a few paces to either side (allowing you to include a few objects / people that balance out or otherwise contribute to the frame), whereas the 24 forces you to include nearly everything in sight, putting significantly different demands on composition (angle of the shot for one). In this way there is no doubt in your mind which lens to choose for a given shot, no overlap "slop" (say, the 35L vs the 50L "just crop in post, or step back a bit") to muddy the creative vision. Furthermore, you could choose to frame equally with the 24 as the 50, whereby the distance to your subject (practically in their face if you want to fill the frame as you could with the 50) completely changes the perspective and style of the image. When I had the 35L and the Sigma 50, and the 24L, the three were too close in my mind, that I practically flipped a coin when I was making a shot. In a sense, with primes too closely spaced, you recreate the same creative crutch (zoom) that prime lovers tried to get away from in the first place. From my own experience, its either the 35/85 or the 24/50/100(135) split. (35/85 is great for size as long as you go with the non-L versions)