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The 50mm f/1.4 lens: Photography’s magic bullet WHAT’S SO NORMAL ABOUT a 50mm f/1.4 “normal” lens? Almost nothing. There’s little this superhero can’t do. Low light? No problem. Portraits? On most DSLRs, oh yes. Sports? For indoor action, it’s the bomb. Extreme close-ups? With a reverse-mount adapter, it’s what w the doctor ordered. Sttreet pho hotography? Nothing better be r. Soft- focus us romance? Absolu olutely. Co ompact pact for f travell, it’s lighht 52 POP PHOTO FFEBRUARYY 2009 enough to carry 24/7. And that big maximum aperture delivers a blindingly bright fi nder image. Want more? Even the expensive ones are a bargain. Compare, for example, Nikon’s 50mm f/1.4, at $290 (street), to its 85mm f/1.4, which costs $1,000. No wonder every pro we know owns a 50mm f/1.4. Whi hile teles compress space and wide-angle gles expand it, the 50mm renders spatial atial arrangements almost exactly y as your yo eye sees FOR MUCH OF THE FILM ERA, 35MM POR RTRAITISSTS OPTED for foocal lengths betweeen 70mm and 135mm. WWhy? Becaause they fl atteer the human face e—they’re e neither long eno ough to ccompress spacee, which fl attens contours c s, nor wide enough to expaand a large nose. This pushed thee 50mm leens out of the porrtrait bus siness. But then came digitaal. Becauuse of the lens-co onversionn factor assocciated with most DSLRs, D the too-wide-for-fa aces 50mmm conveerts up to 75–80mmm—perffect for half-lengtth or evenn head- and-sshoulder portraitss. (Don’t get g any closer, thoough.) The 50mm f/1.4 alsoo beats “ portrait” (105mmm f/2.8 or 1335mm f/2.8) lenses, allowin ng convenient woorking distaances and beautifuully out-oof-focus backgrouunds. For a half-length portrrait madee with a 135mm, ffor instaance, you typicallyy must puut 12 feet or moree betwween camera and subject. s That T kind of spacce can bbe hard to come by b or work with—you may have to shout to be he eard. Withh a 50mm, thoughh, you ccan step forward to t fi x Junnior’s tie, then take a few steps back to click the t shutter. And if you want the kind of dreamy d backkground Michael Soo S produ uced for this i ntimate view of a model named n Tiffanny, nothing’s betteer than thhe f/1.4’s extreemely shallow deppth of fi eld. them. Try this: Mount a 50mm on your DSLR and look through the viewfi nder. Now, slowly lower the camera. Photographers weaned on superzooms that yoyo between expanded and contracted space may be surprised—there’s little difference between views. This distortion-free magnifi cation, perspective, and angle of view is why it’s called “normal.” And that’s only the beginning of the 50mm’s powers…
By Peter Kolonia 53 MICHAEL SOO, WWW.SOOPHOTOGRAPHY.COM
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