An Ode to the Nifty-50
My minimalistic tendencies provoke me to hone my focus toward manageable formulas in order to simplify my daily life. Cargo-type work pants are bought in bulk and are the same exact brand and style. (Colors may vary.) This ensures that all pockets are in the same place every day, containing exactly what they did the day before. My phone, watch, belt and other items have their designated nightly storage/charging locations. If something gets off, the whole day might be off. Most of these habits result from a life of finding solutions to forgetfulness but are also plotted and predetermined for the purpose of fluidity. Ultimately, this daily preparation routine helps me to streamline decisions by removing unnecessary choices. My photography is no different.
Like many photographers I have had my share of Gear Acquisition Syndrome (GAS). Multiple zoom lenses and several camera bodies have graced my equipment bag. At some point I moved to prime lenses but still felt a bit encumbered. I often found myself in analysis paralysis with which lens to approach a project or even cary for the day. Then there was that nagging feeling that the better option is the lens not on the camera.
As with everything else in my life, there was a longing to simplify. Several years ago I sold most of my gear, keeping only one camera body and one lens. I was not doing client work at that point in time. So, with me in charge of when, what and where I took photos, I could swing that transition. It was fantastic. One camera. One lens. No gear decisions.
From that time until recently I have been primarily a 50mm shooter. It works for my lifestyle and how I see the world. I only recently added a 28mm and 90mm to my collection. These additions provide versatility and the occasional break from the norm. Even with these benefits I cannot assure you of how long they will be kept. I am known to go on a selling down to the essentials binge on a frequent basis. These new options may have their uses, but I am never as photographically happy as when I can leave the bag at home and just take one camera with a 50mm.
I believe that every photographer should have a 50mm in their arsenal. There are many reasons for this. I’ll narrow the list to four.
If you were to gather all of the most iconic images throughout the entire history of photography, you would find that the majority of those photographs were shot with a 50mm lens. Legends like Bresson, Frank and Erwitt shot whole collections of work using this focal length.
It is often called a normal lens and said that 50mm is similar to the perspective of the human eye. I would agree with that based on the word, similar. The human eye sees closer to the perspective of around 42mm in 35mm format terms. This means that 50mm is an ever so slight magnification of the reality of the moment being captured. It’s like typing in bold. It’s the same word, same font and font size, but there is an emphasis drawn to it. The 50mm focal length can accent a moment, bringing attention to the subject without distorting it, leaving out too much information or totally altering reality.
The versatility of the 50mm is incredible. Most of them have a fast maximum aperture creating an attractive depth of field. The focus falloff stays pleasing at most apertures. At close distances and wide open it will give you plenty of subject separation. At medium distances you can stop the lens down to f8 and still achieve a slight but nice lead in and out of focus. At f11 and infinity focus, most things are sharp. Portraits. Street. Event. Art. It can do most genres really well. It is this versatility that earned it the nickname, Nifty Fifty.
They are one of the best value lenses that money can buy. You can pay as much as you want for one. Or in my case, pay more than you want for one. However, to merely get your hands on a 50mm lens from a trusted manufacturer and with fantastic image quality, that can be accomplished for under $100. For example, if you bought a beginner interchangeable lens camera that came with a kit zoom lens, you can instantly improve the base line of your image quality for $100 or less with a 50mm lens. The money to image quality ratio is that ridiculously impressive. (Disclaimer: By improvement, I mean in things like sharpness and subject separation. I do not mean that you will be a better photographer. Image quality and the quality of an image are two different things.)
As with any focal length, the 50mm is not perfect. It is a superb all-arounder, but it also has its challenges. If you shoot with primes, you have probably heard the phrase ‘zoom with your feet’. The foot-zoom is a good concept until there is a wall behind you and you still have people that need to be in the group shot. A large building will not fit into the frame from across the street. There are times that I have seen a potential shot and there was a body of water between me and the subject. My inability to walk through walls or on water inhibits the foot-zoom on occasion. However, these are more fixed focal length issues and are not exclusive to the 50mm. And these challenges, at least in part, are another pro in my book. These limitations drive creativity. It may cause you to search for a different angle, frame your subject in a different manner or focus in on a smaller detail within the frame. Whatever the decision to arrive at a more interesting photo will be brought on by the provocation of deeper thought and creativity. That process might have eluded you in the absence of limitation.
Another challenge to this focal length is that it can be seen as boring. I believe this is in part to how many famous images were shot with it. Add the fact that most film cameras from the 1930s to the 1980s came as a kit with a 50mm lens, and it seems that it could be a little over saturated and under appreciated. Perhaps we as a culture are tired of that perspective. It can be a bland look. However, like with any focal length, you have to work at making the image right. Is it easier to nail focus with a wider lens? Yes. Can a wider lens offer more information and give a more exaggerated look? Yes. Does a longer lens give you more reach and increase subject separation? Of course. But those lenses take work to get the look right, as well. There are hundreds if not thousands of examples proving that the 50mm can do and has done its particular look right. That is part of my draw to it. It is proven. Plenty of photographers have made photographic gold with the 50mm. That leads me to the belief that if I am using a 50 and cannot make good images, I alone carry the fault. As I continue to hunt for better photos and in my personal search for simplicity by streamlining my gear decision making process, the Nifty 50 pretty much stays glued to my camera. My decisions are now reserved for the creative process.
Here are a few shots, some film and some digital, showing the versatility and challenges of the 50mm. This truly is my daily carry, making this gallery a true reflection of how I use this focal length— several arranged and posed shots, but mostly personal moments captured as they happen.
