Much is made about target focal length for portraits and what makes a good lens for that purpose; though in reality, the focal length is mostly a practical consideration related to rules of perspective, ease of working with the subject, and practical considerations regarding studio size, lighting options, etc. It goes like this...
Working distance can be your friend!
...and a longer working distance than "normal" buys you:
- Freedom from perspective distortion from being too close (big nose/lips)
- Desirable "flattening" of features
- Background isolation
- Ability to not be in the subject's face
- Greater freedom with lighting and posing
Of course, it is a longer focal length that makes the greater working distance possible for the desired portrait framing.
Too much of a good thing?
When was the last time we saw a video of a portrait shoot where the photog was using a lens that was more than a little bit longish? That does seem to be very rare...not unknown, but definitely outside the norm. The reason is practical and explains why so-called portrait lenses for 35mm film are crowded into the space between 70mm and 105mm focal length. There is nothing magical except that:
- Allows for adequate distance to satisfy requirements for commonly used poses and compositions
- Does so without straining studio space constraints
- Allows the photog to be close enough to allow easy communication
- Is sort of a sweet spot balancing DOF and subject isolation needs
Is that all?
Of course not! Lens character is another component, but "dreamy" only takes one so far and is often not the desired rendering. Many "portrait" lenses are sort of soft wide open, while quite sharp a stop or so down. Single focal length is nice, but often a short zoom (say 70-150mm) be just what your need. It is this last bit that is part of the fun. Strangely, 50mm works nicely for environmental and full-length work.
Steve