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  1. #31
    Paul Glover's Avatar
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    With the 35mm gear I tend to put whichever lens I felt like using that day on, sling the camera over my shoulder and go. 3 out of 4 times it's the 50/1.4. It's rare that I'll carry multiple lenses.

    My favorite results lately have been with the Yashica A with its fixed 80mm, which I'd consider to be my usual one-camera-one-lens rig. That, plus #8 and #25 Kodak series V filters and the old Luna Pro F, and I'm generally happy. I seem to get better results when I arbitrarily limit my options.

  2. #32

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    Quote Originally Posted by baachitraka View Post
    OM-1n + Zuiko 35mm f/2.8
    When I went to Paris last year, my kit was a 1n + 24mm f2/8. Good choice for walking around a city with narrow streets.

  3. #33

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    Update: one camera, two lenses

    Picked up a 75mm for the Pentax 67, which I feel is the perfect focal length for this camera - the 105mm being a little limiting at times. The 75 still isn't as wide as I'd imagined, but just about right for straight photography - I'm sure the 55mm is too wide. I do find it strange how the 67 has a more restricted field of view than the Hasselblad.
    'Cows are very fond of being photographed, and, unlike architecture, don't move.' - Oscar Wilde

  4. #34
    baachitraka's Avatar
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    Quote Originally Posted by Moopheus View Post
    When I went to Paris last year, my kit was a 1n + 24mm f2/8. Good choice for walking around a city with narrow streets.
    I personally feel 35mm is more intimate in wides like 85mm in teles. Sometimes, I use 28mm too.

    Of-course, Paris may need 24mm at-least to cover Eiffel.
    OM-1n: Do I need to own a Leica?
    Rolleicord Va: Humble.
    Holga 120GFN: Amazingly simple yet it produces outstanding negatives to print.

  5. #35
    blansky's Avatar
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    I think one lens is a great exercise. It forces you to see differently.

    If you have a comfort level with a certain lens you should make a habit of taking only something else.

    If you like wides, then take only a telephoto.

    It can force a scenic photographer to start to see tighter closeup and visa versa.

    When I did darkroom work and had say, a 20x24 set up, I would make a test prints with just 8x10 to get the exposure and would have just a tight shot of the face. And I thought, hmmm that 's pretty cool.

    It taught me to start to shoot tightly on the face occasionally, which is something I never did before.

    It can elevate you work a lot because your first thought is often to take a rather mundane shot of things, and close cropping can open a whole new world of interesting work.
    I couldn't think of anything witty to say so I left this blank.

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