Originally posted by soccerjoe5 I use all sorts of focal lengths for portraits, each focal length has a look and feel I associate them to.
All fabulous, splendid shots, Diego! All showing great understanding of each lens.
Now let me tell a story. For many years, my father shot with just a 6cm TLR (Rollei, then Yashicamat), primarily on ASA 100 Verichrome Pan. He occasionally used a tele adapter, but mostly just shot with the onboard 80mm. For portraits, to change perspective, he changed position - different distances and angles, with careful attention to light and background. For wide shots, he moved back. For too-close closeups, he enlarged and cropped in the darkroom. Many prints, especially those 8x10" or smaller, were on glossy paper; many others, especially larger prints, were on textured paper, if grain seemed bothersome or the image otherwise called for it. He edited himself carefully, so his product always seemed 'right'.
So I'll inject some heresy here.
THERE IS NO CORRECT PORTRAIT LENS. Use what we have, what we know, what we're comfortable with. That may be one lens of one focal length, or a whole kit. We can adjust our usage to gain many different effects and perspectives. The tool-user should be more important than the tool.
I'll also suggest that the medium the image is to reside upon, and its size, and the distance from which it will be viewed, can be more significant than the lens used.
THE EYE TRUMPS THE LENS. I've shot 912x1216 monochrome images with a 1mp PNS that look grainless on a 12" LCD monitor (viewing distance: 2-3 feet) or a 25" TV screen (distance: 5+ feet) or 4x5" textured paper (distance: >2 feet). For a larger print, I might want more resolution - unless I know that the print will be viewed from further away. Or if I know that graininess is irrelevant to the image's impact, or may even enhance it.
Or maybe it's an image that would not otherwise have been captured. Years ago I shot Naples, Pompeii, Amalfi Coast, etc. with an old analog camcorder, as that was all I had then. I ported many 200x320 frames into my laptop, garishly PPd the hell out of them, blew them up to 8.5x14" to print on linen paper - and from a few feet away, they are stunning, recognizable, colorful, impressionistic blotches depicting southern Italy. No, they aren't photorealistic. That wasn't necessary. If I'd wanted photorealism, I'd have bought a calendar. If I'd been hired to produce a calendar, I'd have taken a different camera. (And when I return again, I'll use the K20D and my best lenses!)
Of course, with commercial work, it's the client who must be satisfied - we all know this. They'll likely demand a certain resolution. So be it. But the clients who come into a Wild West Village photo studio to dress up like Calamity Jane and Jesse James, shot for what looks like a 'tintype', have a rather different expectation than the dictator sitting for an official portrait to be plastered all over 'his' nation, or than the art director of a perfume ad shoot. There's room for a whole range of resolutions (and lenses) there, I think.