What's your street lens?

[Asher Kelman]

The 50mm may be a street lens but the D3X and 5D11 are hardly street cameras. There's nothing discreet about them.

Nigel,

The 5DII, being much smaller than the Canon 1D series in not having the extra battery space and handle for portrait mode, is really doable as a street camera. Of course the lighter Canon rebel might be more suitable for its high "lugability" index, but it's not so much smaller than the 5D.

Ideally, the next compact, G series size Canon digicam should contain the 5D sensor with a new L lens permanently attached. Now that would be the best street setup!

Asher

 

[Mike Shimwell]

Nigel,

The 5DII, being much smaller than the Canon 1D series in not having the extra battery space and handle for portrait mode, is really doable as a street camera. Of course the lighter Canon rebel might be more suitable for its high "lugability" index, but it's not so much smaller than the 5D.

Ideally, the next compact, G series size Canon digicam should contain the 5D sensor with a new L lens permanently attached. Now that would be the best street setup!

Asher

Asher

I agree the 5D(1 or 2) are bearable as a street setup with a 50/1.4 or 35/2 - certainly easier to lug than a 1D body.

I think your preferred next G series is perhaps pushing the envelope too far, but there is a rumour that canon will replace the current model with a larger sensored body with interchangeable lenses.

I think that Fahim has the right idea actually and the simple one film, one digital rf and a couple of lenses would be my ideal travel kit.

Unlike Fahim, though, I do have a P&S and like it for what it can do (go to work with me and my laptop!), though you notice the limits as the light falls or you want differential focus. However, it is functionally silent and very discreet (Ricoh GX200)

Mike

 

[Steve Robinson]

When I first got my K10D I used the DA* 16-50 f/2.8 with good results but with its size is not a discrete combo. This year I got the DA 35 f/2.8 Limited which is much smaller and would be pretty discrete on the smaller K7D and the even smaller K-x. The 35 Limited is beautifully made and is very sharp with terrific color rendition. I used this lens on the Scott Kelby walkabout this summer because I decided to go minimalist. The older Pentax lenses are also very usable. I have an M 50 f/1.7 which is also small and light but it's 75mm FOV is a bit long. I also have an A 24 f/2.8 which has a nice FOV for street shooting. Of course all of these are covered with the 16-50.

K10D + DA* 16-50 f/2.8.

K20D + DA 35 f/2.8 Limited.

 

[Nigel Allan]

When I first got my K10D I used the DA* 16-50 f/2.8 with good results but with its size is not a discrete combo. This year I got the DA 35 f/2.8 Limited which is much smaller and would be pretty discrete on the smaller K7D and the even smaller K-x. The 35 Limited is beautifully made and is very sharp with terrific color rendition. I used this lens on the Scott Kelby walkabout this summer because I decided to go minimalist. The older Pentax lenses are also very usable. I have an M 50 f/1.7 which is also small and light but it's 75mm FOV is a bit long. I also have an A 24 f/2.8 which has a nice FOV for street shooting. Of course all of these are covered with the 16-50.

K10D + DA* 16-50 f/2.8.

K20D + DA 35 f/2.8 Limited.

I agree Steve. I had a 16-50 DA* with my K20D and although it is a beautiful lens it is big and far from discreet.

I was very very tempted by the K7 before I changed to the D300 and may still get a K7 since it is not much bigger than my beloved Pentax LX and when fitted with my 24 mm 2.8 or even 40mm 2.8 pancake lens it is almost a pocket camera and would work like an LX and 50mm and you wouldn't get those strange looks from some people who are suspicious of 'professional' cameras.

If I could afford it I would definitely have a K7 plus one of the discreet LTDs as well as my D300 (maybe some day as the K7 is starting to come down in price now). Although not discreet as such I really quite fancy the almost retro aesthetics of having a black K7 fitted with an aluminium LTD lens. Very cool set up methinks.

 

[Steve Robinson]

Hi Nigel. I like my Pentax K20D's and I use the DA 35 Ltd a lot for its sharpness and clarity. A K7 and this lens would certainly be very discrete. But I often violate the 11th commandment, thou shalt not covet thy brother's D300. I really envy the AF speed and accuracy. Not the lens prices though.

K20D + DA 35mm F/2.8 Macro Limited, 3 image stitch.

 

[Asher Kelman]

A picture that's successful by Not cropping away the forgeround!

..... This year I got the DA 35 f/2.8 Limited which is much smaller and would be pretty discrete on the smaller K7D and the even smaller K-x. The 35 Limited is beautifully made and is very sharp with terrific color rendition. I used this lens on the Scott Kelby walkabout this summer because I decided to go minimalist.

K10D + DA* 16-50 f/2.8.

Steve Robinson: Church Against Sky​

I enjoy this shot a lot. Yes, one could micro-critique it and ask for more leaves branches at the top or other preferences, but, as it is, it does a good job for me in giving me an experience of standing across the street and looking up.

It has 4 crosses pointing into the sky, as if they are all needed to reach to heaven. The position of the church on a street corner in a neighborhood is kept intact by not cropping away the foreground. That asphalt surface of humanity works but has faults in it and is, in a way, the opposite of Heaven's perfect sky.

I am impressed with one simple but important choice you made that allows the shot to work. You kept the black street surface and it's a lot! However, it forces us to view the Church in a particular neighborhood context. The street contains the church. From there it tries to be impressive, but it's in it's natural place. we are not seeing architecture, we are seeing a church in a street, behind lamposts that one could have removed. But again you didn't and that's, IMHO, a good thing.

Dwayne Oakes, like you, has a good sense of when to not crop away apparently empty foreground. Both of you are blessed in not have been trained to cop tight as so many guru preach. You should see his picture here. As with your image of the church against the sky, his pictures require inspire reflection and taking a minute or two away from busy things.

This I'd love to see with the 35 limited as it's a picture with a lot of demands for writing lines, shading and color. Is the church near you? Zeiss lenses seem to do especially well in scenes like this with stones and sky.

Asher

BTW, Even though I use Canon, I still have my Pentax Spotmatic with the 50mm f1.4 Super Multi Coated Takumar lens and that was my principal camera for 10 years. One lens, one camera and some Kenko extention tubes!

 

[Steve Robinson]

Thanks Asher for your comments. The church is nearby and I can try shooting with the DA 35 Limited as you suggest. It's interesting that you mention the Zeiss lenses as Mike Johnston of The Online Photographer made the same comparison. I fear the FOV might be a bit tight but it's certainly worth a look and zooming with my feet. There is a park across the street which may afford a good view too. I'll go have a looksee.

 

[Asher Kelman]

Thanks Asher for your comments. The church is nearby and I can try shooting with the DA 35 Limited as you suggest. It's interesting that you mention the Zeiss lenses as Mike Johnston of The Online Photographer made the same comparison. I fear the FOV might be a bit tight but it's certainly worth a look and zooming with my feet. There is a park across the street which may afford a good view too. I'll go have a looksee.

Steve,

Some ideas to consider: Look at the sky and make sure it's right. This picture needs clouds, I think. Try also with sunrise and sunset depending on which way the sun lights the building. Look at the detail on the road. Try to get that in focus too as you did already. Also if you can, get the shots one either side and above so you have the absolute freedom to recompose at home. That may be sacrilegious to some since the concept is already in your head. Surely one can simply compose there and then. Of course, that's generally true. However, I believe that the artist should have the ability, in reserve, to respond on demand to his/her newborn art as it fills lungs with it's first breath of life and tells you, "I have needs too!

 

[Steve Robinson]

St Pat's

Here I've returned to St Pat's to use my DA Limited lenses. These are my first PP effort on these images and I've no doubt I'll return to them again. I didn't remove all of the vertical perspective because I think it looks unnatural and a normal eye level view shows at least some perspective. Taken with a Pentax K20D and DA 15mm f/4 Limited and DA 35mm f/2.8 Limited.

DA 15.

DA 35.

 

[Asher Kelman]

DA 15.

​

I do think that the 35mm is a better street lens but here the 15mm has been used well.

There's just enough cloud streams to make us believe they're there. The shape of the building is important. The church has to impose itself on the neighborhood and intercede, as it were, with the heavens above.

I can see that the distortion, throwing back the wall of the building, makes the crucifixes demonstrates to or perhaps wave to the sky and that's seems an appropriate effect. The color given by the Pentax lenses is rich. Can you go to the opposite corner with the 35 mm limited and point up a tad to get hte ground as well as the church saluting the sky?

Asher

 

[Steve Robinson]

I will give that a try. I'm not sure if there's enough FOV to have the ground and sky. Maybe a vertical pano might work here? We'll see.

 

[Ruben Alfu]

Not my street lens:

http://flash.popphoto.com/blog/2010/01/canons-enormous-5200mm-f14-dslr-lens-.html

 

[Asher Kelman]

Not my street lens:

http://flash.popphoto.com/blog/2010/01/canons-enormous-5200mm-f14-dslr-lens-.html

Ruben,

I'd love the lens but I usually shoot at f1.8 to f 5.6! F8 and f 11 in the brightest light. F14 I've never reached so this lens is not for me!

Asher

 

[Ruben Alfu]

Ruben,

I'd love the lens but I usually shoot at f1.8 to f 5.6! F8 and f 11 in the brightest light. F14 I've never reached so this lens is not for me!

Asher

Oh, it´s an aperture thing... LOL Aren´t you being too kosher?

 

[Asher Kelman]

Oh, it´s an aperture thing... LOL Aren´t you being too kosher?

Honestly, even in LF, I rarely choose such f stops unless it's pinhole photography. I like narrow DOF and soft focus!

Asher

 

[Madhu Tyagi]

24-70 on 5D. Covers most useful lens for this purpose.

 

[Wendy Thurman]

24-70 on the Nikon bodies. Having run out of patience on the M9, I've purchased a used M6 and will be using the 50 'lux exclusively for street photography. Should work well with Tri-X.

Wendy, anachronistic

 

[fahim mohammed]

Wendy a beast of a beautiful lens, the 24-70mm. The M9..just the ticket. The M6 and the ' lux 50, the
choice of the gods dear girl!

The lux 50 asph is the best lens made so far in that focal length by anyone. Might I add, methinks the best lens there is in any format.
Regards.

24-70 on the Nikon bodies. Having run out of patience on the M9, I've purchased a used M6 and will be using the 50 'lux exclusively for street photography. Should work well with Tri-X.

Wendy, anachronistic

 

[Eugene Malcovich]

For the street i usually use Nikon 17-55mm f/2.8G

It's one of my favorite. Own it for a couple of month.

 

[Asher Kelman]

For the street i usually use Nikon 17-55mm f/2.8G

It's one of my favorite. Own it for a couple of month.

Eugene,

That's a great range for street shots. Is that 17mm accounting for the "mag factor" of the APS-C size sensor?

BTW, that sky is very rich!

Asher

 

[Bob Rogers]

Interesting reading so much variety in lens choices, and the reasons different people choose different lenses.

Since getting my digital slr, (Nikon 3100 -- aps-c size) I've gotten the best street photo in New Orleans, using my ancient (pre-AI) 50mm f/1.4:

But it's a long length on that body. Hard to compose. I recently bought a 24mm f/2.8 AIs, and I think it's going to be ideal for the type of photography I do on the street.

 

[jake klein]

I love my nikkor 85mm f1.4 af-d! next is the 50mm f1.8 which I want to trade for the 50mm f1.2 ai someday. I don't get many chances for "street" photography. Only the times I'm at the Mall of America and the Minnesota State Fair. I actually enjoy using the tokina 100mm f2.8 macro as well as it's autofocus seems to be much more accurate than my nikkors.

Heres a few from last years fair with the nifty fifty.

d90
nikkor 50mm f1.8 af-d
1/500
f4
iso200

d90
nikkor 50mm f1.8 af-d
1/2000
f2.8
iso200​

 

[fahim mohammed]

The 35 or the 50mm. Anything else is mere icing.

 

[Ruben Alfu]

The 35 or the 50mm. Anything else is mere icing.

Fahim, my friend, that's a bold statement, and certainly one that you can support with your own street photos! It's a fact that the book on street photog has been written mostly with normal to wide focal lengths. They are connected to the spirit of the genre. However, IMO that spirit is strongly rooted in the simple convenience of carrying small cameras and lenses, I think that was one of the main reasons why the "great fathers" (Bresson, Erwitt, et al) used them. Anyway, for whatever reasons, intimacy, closeness, participation..., these have become sings of good street photography, at least in its traditional form, and I firmly believe that with the right vision and intention, that kind of expression can be achieved with zoom and telephoto lenses (now, 500mm or longer on the street is spying, period!).

Many of my favorite street photos has been taken with a 70-300mm, this is one of them:

Ruben Alfu : The sense of possession

​

Regardless of the artistic merits of the photo (or lack of), IMO this is aligned with the style and spirit of street photography. Couldn't it be that this lens issue is just another color/BW or film/digital kind of debate, you know, apples and oranges? They both do delicious juice!

Best regards,

Ruben

 

[fahim mohammed]

Hi Ruben. A beautiful image that you post. No doubt.

For ' what is your street lens ?', maybe I should have responded with ' whatever you have with you when you find yourself in a street or want to put on the cam.'.

I took the question to mean, what is the lens that I ( on most occasions anyways ) use for doing ' street' photography. Please do not ask me to describe what I mean by ' street ' photography.

I have used the 100mm, the 85/75mm, and the 24mm at various times. Just happened to have them on the camera, at the time I was walking along the street.

But more often than not, my camera has a 35mm or a 50mm on it.

You see, carrying anything bigger than a 50mm, makes me stoop. And the back aches. And I get upset with the cam, with myself, with the wife, with the world. Not a good state of being for photographing the ' street ', imho.

Take care Ruben.

p.s this with a leica 50mm on the street of Istanbul..

 

[Peter Galbavy]

I've been using my 24-105 as my "always on" lens for some time but about 18 months ago I bought a 100mm f/2.8 IS Macro and it's been real fun dialing in Monochrome + Sepia on my camera while wandering around HK and Manila. I like the vignetting at f/2.8 and the IS makes it feel like a rock solid performer;

 

[Asher Kelman]

I've been using my 24-105 as my "always on" lens for some time but about 18 months ago I bought a 100mm f/2.8 IS Macro and it's been real fun dialing in Monochrome + Sepia on my camera while wandering around HK and Manila. I like the vignetting at f/2.8 and the IS makes it feel like a rock solid performer;

Peter,

I like the immediacy of this image. We're there, at the end of a battle. There's a sense of reality and the brutality of unrestrained power turning on us. The ability to snap iconic pictures like this is what made war correspondents famous.

Asher

 

[John Wolf]

Around Chicago I usually try to get in close and shoot with a 28 or 40 FOV (m4/3). I just spent a week in Honduras and used a 28 - 90 FOV zoom exclusively. I really enjoyed it.

It was great having all those framing options, though it does slow you down a bit. Walking around, I'd leave it set at 50mm and then adjust accordingly while anticipating a shot. More Honduras pics on the web site.

John

 

[Asher Kelman]

Around Chicago I usually try to get in close and shoot with a 28 or 40 FOV (m4/3). I just spent a week in Honduras and used a 28 - 90 FOV zoom exclusively. I really enjoyed it.

It was great having all those framing options, though it does slow you down a bit. Walking around, I'd leave it set at 50mm and then adjust accordingly while anticipating a shot. More Honduras pics on the web site.

John

John,

This is an excellent picture with a brilliant underlying metaphor that's open to all possible meanings. Very well composed and finished.


Asher

 

[Asher Kelman]

I always wonder what's the widest street lens one needs. With film, I'd of for 28mm to 35 mm as what one uses is what one gets.

With digital, there's more leeway. With a prime, one can easily overlap adjacent fields for later stitching, so a 50mm focal length is a great choice. However, zoom and fast focus can really change one's ability to surreptitiously reach out and grab images without disrupting people's expression. This is where the compact 4/3 and APS C cameras are so valuable. One can have a longer lens that's less obvious. However, with longer lenses, AF becomes more valuable.

My GXR, small and black, with the 50mm Macro is great for general use as it has a fine lens and an APS C sensor.

Asher