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!egyYvoBZV2/p/4431185#4431595
6/1/2025, 3:04:10 PM
>>4431185
/p/'s self-acclaimed gearfag here, I'll explain.
For 95% of situations, no it doesn't. Your classics and greats like HCB and Vivian Meier, Edward Weston, Ansel Adams, Helmut Newton, Richard Avedon were all for the most part working in focal lengths that amount to 28-100mm and specifically 50mm and 35mm.
They made these photographs on inferior equipment compared to today's scientifically perfect lens formulas. They shot crappy film and operated with mostly mechanical rangefinder and view cameras.
In niche situations like sports or architecture, and super-low light, yeah it matters. This was done with a 50 dollar 50/1.4 AF-D and Nikon Df which would get smoked by today's cameras on the market.
Good photographs are 90 percent being there in the right place at the right time with the right light, everything else is gearfagging, theory, processing, composition, all the shit you learn in Photo 1101
/p/'s self-acclaimed gearfag here, I'll explain.
For 95% of situations, no it doesn't. Your classics and greats like HCB and Vivian Meier, Edward Weston, Ansel Adams, Helmut Newton, Richard Avedon were all for the most part working in focal lengths that amount to 28-100mm and specifically 50mm and 35mm.
They made these photographs on inferior equipment compared to today's scientifically perfect lens formulas. They shot crappy film and operated with mostly mechanical rangefinder and view cameras.
In niche situations like sports or architecture, and super-low light, yeah it matters. This was done with a 50 dollar 50/1.4 AF-D and Nikon Df which would get smoked by today's cameras on the market.
Good photographs are 90 percent being there in the right place at the right time with the right light, everything else is gearfagging, theory, processing, composition, all the shit you learn in Photo 1101
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