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Originally posted by Steve Beswick First off I would like to say sorry if my last post came off a bit rude. That was not my intent.
No problem. I try to learn from these discussions, so knowing if I've said something that rubs someone the wrong way is useful feedback.
Quote: True, but if someones intended task is portrait photography then it is far more valuable than it ever was in the 35mm era.
Very excellent point!
That's important for the OP to sort out: *why* he's thinking of a 50. if it's just because some blog said everyone needs one, I'm not impressed. If it's because he is specifically interested in portrait photography and wants to get started as cheaply as possible, it's a no-brainer choice, I'd say. So if I call it a "special purpose" focal length, portraits are indeed one of those special purposes. Similarly, I think of a the 100-135 range as being fairly "special purpose" as well - too long for standard portraiture, too short to be all that useful for sports, wildlife or other typical long telephoto uses. But amazing useful for concert photography, so my 100 and 135 tend to be my most used lenses. I'd still call them special purpose, though, and not recommend them to everyone unless I knew they were interested in concert photography or some other application where those focal lengths work well for many people.
Quote: I usually suggest the A 50 2.0 for two reasons:
It is the least expensive lens that will meter correctly on DSLR's.
It does not have the aperture ring issues of the A 50 1.7.
Unfortunately, there is no ideal choice. My own comparison as well as conventional wisdom suggests the 1.7 is really quite a bit better than the 2.0 optically, at least up to maybe f/4. So you kind of have to pick your poison: not as sharp at large aperture for the A50/2.0, a higher price tag and potential aperture ring issues for the A50/1.7, and potential metering issues with the M50/1.7.
I will say that the A50/1.7 is common enough that if you're patient and search diligently enough, you should be able to score one for well under $100. On Ebay, for instance, search for cameras, not just lenses, and chances are someone is selling a junker camera with a perfectly good A50/1.7 attached that doesn't show up when just searching on the lens so few people bid. And while I am familiar with the reports of aperture ring issues, and I can feel for myself that mine feels less than solid, I just try to avoid ever moving it off the "A" position so I don't stress it.
As for the M50/1.7, if you have the K20D or K10D, the metering issues would give me pause. On other bodies, there aren't the same issues with the actual metering performance - just the ease-of-use issues (need for stop down metering in M mode). I'm used to that, and part of me thinks it's not such a bad idea for others to get used to working that way and thinking about exposure in that way as well. But that kind of depends on whether you're seeing the 50 being a real workhorse where you couldn't deal with that change to your exposure routine, or primarily for experimentation where it wouldn't matter.
So like I said, pick your poison; the A50/2 does indeed deserve consideration as well.
Quote: The point of the exercise I had in mind is to demonstrate the usefulness of the 50mm FOV relative to other lenses. Another way to look at it is to show that it is quote possible to do good work with nothing but a 50mm.
OK, I won't promise you a week, but if I could spend a day out last week with nothing but a 15 and a 500 (*), I can certainly do the same with a 50. So I'll at least go that far.
(*) I cheated and took *one* shot with my 40 because I saw a scene I just really wanted to capture that way. But for my 50 day, I'll take nothing but the 50.
Last edited by Marc Sabatella; 03-15-2010 at 11:01 AM.