Yes, I'm a landscape photographer. Also wildlife, although that's secondary. And all my photography is accountable for my own income - if I don't produce the images, I don't earn anything (at least not from the income stream that comes from photography). I also happen to have helped found a wedding photography business (despite not being a photography for them, since I don't shoot weddings myself) and worked with them on their equipment, technical and studio side of things, so I am very familiar with what they need and how they shoot. And short lenses at f/1.2-f/1.4 are rarely part of the equation when shooting action - only occasionally in posed shots where things aren't moving (and, even then, they prefer the 200 f/2 or the 70-200).
We might just have different markets and working distances - I imagine Australia has longer working distances outdoors at your weddings? Prob the best photographer I've worked with shot three 5DIII's and three primes from that selection I just mentioned. Standard lenses in the US here. That's if you're with someone shooting primes. Some people do zooms, others do solely primes. I mix and match, but I'll always need the 50mm, as much as I hate the field curvature on that lens. It's like a necessary evil in this locale. I would love to shoot nothing but 200 f/2 all day, yeah, but the working distances don't work out that way here, especially at smaller venues. We'll use those shorter lenses wide open all the time for fine art reportage style instead of too much posing, and it pays off when the paycheck comes. It's tough and requires more, or at least a harder-to-find skill, that's why we can charge more.