Table of Contents
Introduction
A crucial choice is quickly imposed on people wishing to embark on street photography: the choice of lens. This choice must be made carefully because it will determine how you will approach your subjects and your environment and your way of using your equipment, your posture in the street. Indeed, photographing with a huge lens is not the same as photographing with a compact. Shooting with a telephoto lens is not the same as shooting with a wide-angle.
For beginners looking for their first lens, or for those who admire great photographers, two references seem to stand out when it comes to choosing the best lens for street photography: the 35mm lens vs the 50mm. If this duel often appears, it is because these two focal lengths have been the favorites of the big names in street photography and documentary photography: Henri Cartier Bresson, Robert Capa, Bill Cunningham, Robert Doisneau … etc.
These two focal lengths are at the same time very close but have important singularities, which makes the choice complex when we do not have the possibility of having both on hand to get a precise idea. Therefore, this article aims to clarify the peculiarities of these two focal lengths so that you can choose the focal length that suits you the most.
As a reminder, prime lenses have advantages, in the context of street photography, which is no longer to be proven: compactness, quality of manufacture, optical quality, better aperture … etc. They also allow us to free ourselves from the perpetual choice of focal length when we are in the field, and therefore to be more connected with our environment.
The 35mm (23mm on APS-C sensor) is considered a wide-angle, while the 50mm (33mm on APS-C sensor) is considered a standard angle. So which focal length is right for you?
Tips for choosing the best prime lens (price, performance, options)
I have a very unique technique for choosing my photo equipment. I first make a list of my 5 essential needs before considering the acquisition of a new product. In terms of street photography, the priority things in a lens, for my use are, from the most to the least important: the optical quality, the maximum aperture, the compactness, the speed of the autofocus, and the weather sealing. Therefore, each of these criteria has a more or less important value that I note out of 100: 30 for the optical quality, 20 for the maximum aperture, 20 for the compactness, 20 for the price, 10 for the weather sealing. I then create a comparison table:
In this example, you will see that I want to acquire a 50mm lens (about 35mm on aps-c) for Fujifilm X mount, so I compare the references that I was able to try in-store or for which I could see reviews. I added the fuji 18-55mm so you can have a point of comparison with a zoom lens. According to my criteria, I add up the score for each objective to see which one gets the best result. In this example the Fujifilm 35mm f2 is the best, the Viltrox and the 7Artisans are good more affordable alternatives.
You can use this technique again, for your preferred focal length and your mount, by adding the most important criteria for you: presence or not of autofocus, speed of the autofocus, autofocus noise, presence of an aperture ring, filter size … etc.
However, one point remains to be clarified: do you need a 35mm or a 50mm?
The advantages of 50mm for the street photography
The 50mm is the perfect standard focal length, it is the champion in all categories. It is customary to call it the “ninety-fifty”, any photographer should acquire a 50mm equivalent: often compact, inexpensive, of irreproachable optical quality. The margin of error seems very small. If it is considered standard, it is because you can use it in almost all situations: street portrait, candid photo, architecture … etc. Some consider the 50mm as a standard lens pulling towards the wide-angle. If you’re short on space, take a few steps back and you can frame wider.
This lens does not distort the image: curves and perspectives are true to what you see. Even better, this focal length allows you to isolate a subject. When you get a little closer, open your 50mm to the maximum (f2 or beyond if possible) to obtain a background blur called “bokeh” which will allow you to put your different layers into perspective, to bring out your main subject as if it were in 3D.
It is ideal for portraits or for any actions that take place in a “busy” environment. For shy photographers, the 50mm allows a magnification that is more obvious than having a wider focal length: the few steps that will separate you from your subject will allow you to be less intrusive and therefore feel more comfortable with the intimate space that people need to have around them. You will be more discreet, it is an advantage during this sanitary period when it is essential to respect the social distinction, and it will be felt in the way you photograph people.
The advantages of 35mm for the street photography
If you want 35mm photography. The 35mm is considered a wide-angle lens. I would say that it is aimed at people a little more advanced in their practice of photography. Even if it is a wide-angle, the 35mm does not give significant distortions in the image as you might find with a 24mm for example. It makes it easier to include the surroundings of the subjects you want to photograph or shoot multiple subjects simultaneously.
This is both an advantage because you can build more complex photographs, and a disadvantage because the balance of the image will be more difficult to acquire. You will have to be very careful with distracting elements to exclude them from the frame. This focal length is more suited to the layering technique: compared to the 50mm, you have to close the aperture (from F5.6) to have a great depth of field. It is not a question here of isolating a subject but of putting it in perspective with its environment. This technique requires having already trained your eye to compose the image.
Getting closer to the subject will allow you to also highlight it while widening the image, and thus give more air to the composition. If you want to emphasize your subject, you will have to force yourself to approach it. This focal length can be very formative for those who want to relate to the people they are photographing.
It is a singular approach that can happen after a certain time of photographic practice. Getting closer is making wonderful encounters, it is also giving a more immersive dimension to your photo and giving the future viewer the possibility of feeling “as if he was there”.
In enclosed spaces where it is very difficult to move the walls to step back and frame wider, you will be happy to have a 35mm lens. Finally, and this argument is strong, it is much easier to do zone focusing with the 35mm than with the 50mm: set your aperture to F/8, your focus manually to 4m, and you will have your sharp photo between 1m80 to infinity. Some like to use this technique to stay 100% concentrating on the composition and forget about the focus. The conjunction of the wider focal length with a very wide focusing area allows for better “on the fly” or “hip shooting” photos. 35mm photography will make you surprise!
Comparative summary: which one is better, for which use?
50mm focal length (33mm APS-C):
Pros:
• Cheaper
• Compactness / maximum opening ratio
• Versatility
• Distance from subject / Bokeh ratio
• No distortion
• Less intrusive
Cons:
• Difficult to shoot in closed places
• Less interesting to use Zone Focusing
• More difficult to make a more elaborate composition
Best for:
- The street photographer who is just starting out and looking for a versatile focal length to start practicing. Or the street photographer who is especially interested in street portraits and who wants to highlight the subjects.
35mm focal length (23mm Aps-C):
Pros:
• Indoor / outdoor use
• Easier to include the environment
• More immersive
• Creation of complex composition (layering)
• Develop your eye
• Easier for Zone Focusing
Cons:
• More “daring” focal length
• Less interesting distance/bokeh ratio
• Often more expensive
Best for:
• The more experienced street photographer who plans to deepen his practice, to make his compositions more complex, to include elements of the environment for storytelling. The photographer who is more comfortable getting in touch with his subjects or the one who is more likely to take photos indoors.
Buying advice: The 6 best lenses for street photography
Fujifilm (Aps-C):
XF 35mm F2 :
Focal Length: 35mm (35mm Equivalent Focal Length: 53mm)
Maximum Aperture: f/2
Minimum Aperture: f/16
Lens Mount: FUJIFILM X
Format Compatibility: APS-C
The angle of View : 44.2°
Minimum Focus Distance: 1.15′ / 35 cm
Maximum Magnification: 0.14x
Optical Design: 9 Elements in 6 Groups
Diaphragm Blades: 9, Rounded
Focus Type: Autofocus
Image Stabilization: None
Filter Size: 43 mm (Front)
Dimensions (ø x L): 2.36 x 1.81″ / 60 x 45.9 mm
Weight : 6 oz / 170 g
Price: 400 dollars
The XF 35mm f/2 lens covers a standard perspective, with an angle of view equivalent to 53mm in 35mm format. This makes it suitable for portraits, still life, and street photography.
The fast f/2 maximum aperture can be used for creating images with a shallow depth-of-field and working in low-light conditions. This lens is also compact enough to be suitable for travel photography.
Compact and very affordable, the XF 35mm f/2 is an excellent choice for street photography lens and also versatile enough to be used for travels.
XF 23mm F2 :
Focal Length: 23mm (35mm Equivalent Focal Length: 35mm)
Maximum Aperture: f/2
Minimum Aperture: f/16
Lens Mount: FUJIFILM X
Format Compatibility: APS-C
Angle of View : 63.4°
Minimum Focus Distance: 8.66″ / 22 cm
Maximum Magnification: 0.13x
Optical Design: 10 Elements in 6 Groups
Diaphragm Blades: 9, Rounded
Focus Type: Autofocus
Image Stabilization: None
Filter Size: 43 mm (Front)
Dimensions (ø x L): 2.36 x 2.04″ / 60 x 51.9 mm
Weight: 6.35 oz / 180 g
Price: 450 dollars
The XF 23mm f/2 is a weather-sealed lens, has a compact, lightweight design, and supports high-speed autofocusing, enabling users to take pictures spontaneously and making it ideal for snapshots and general picture-taking. It’s also compact enough for travel photography.
Sony (Full Frame):
FE 50mm F1.8
Focal Length: 50mm
Maximum Aperture: f/1.8
Minimum Aperture: f/22
Lens Mount: Sony E
Format Compatibility: Full-Frame
The angle of View: 47°
Minimum Focus Distance : 1.48′ / 45 cm
Maximum Magnification: 0.14x
Optical Design: 6 Elements in 5 Groups
Diaphragm Blades: 7, Rounded
Focus Type: Autofocus
Image Stabilization: None
Filter Size: 49 mm (Front)
Dimensions (ø x L): 2.7 x 2.34″ / 68.6 x 59.5 mm
Weight: 6.56 oz/186 g
Price: 250 dollars
The Sony FE 50mm F/1.8 is an affordable standard prime lens for Alpha mirrorless cameras. It delivers standard coverage on full-frame bodies making it an ideal walk-around lens. Meanwhile, the bright F/1.8 focal ratio lets you shoot more easily in low light while also delivering shallow depth-of-field effects. Sony has a lot of 50mm alternatives but none come anywhere near the low price of the FE 50mm f1.8, making it a no-brainer for Alpha owners starting in prime lenses.
FE 35mm F2.8
Focal Length: 35mm
Maximum Aperture: f/2.8
Minimum Aperture: f/22
Lens Mount: Sony E
Format Compatibility : Full-Frame
Angle of View : 62°
Minimum Focus Distance : 13.78″ / 35 cm
Maximum Magnification: 0.12x
Optical Design: 7 Elements in 5 Groups
Diaphragm Blades: 7, Rounded
Focus Type: Autofocus
Image Stabilization: None
Filter Size: 40.5 mm (via Hood) 49 mm (Front)
Dimensions (ø x L): 2.42 x 1.44″ / 61.47 x 36.58 mm
Weight : 4.23 oz / 120 g
Price: 600 dollars
The Sony FE 35mm f2.8 is a wide-angle prime lens for Alpha mirrorless cameras. Launched with the original A7 full-frame bodies, it remains a popular choice for anyone wanting the most compact general-purpose lens for the system. It’s pretty sharp, it has very good contrast and its autofocus is quiet, fast, and reliable. If your priority is small and light I can certainly recommend this lens. Mounted on an A7c body, it makes for a very compact and discreet combination.
Canon (Full Frame):
RF 50mm F1.8
Focal Length: 50mm
Maximum Aperture: f/1.8
Minimum Aperture: f/22
Lens Mount: Canon RF
Format Compatibility: Full-Frame
The angle of View: 46°
Minimum Focus Distance: 11.8″ / 30 cm
Maximum Magnification: 0.25x
Diaphragm Blades: 7, Rounded
Focus Type: Autofocus
Image Stabilization: No
Filter Size: 43 mm (Front)
Dimensions (ø x L): 2.7 x 1.6″ / 69 x 40 mm
Weight: 5.6 oz/160 g
Price: 200 dollars
The Canon RF 50mm F/1.8 is a low-cost standard lens for the EOS R mirrorless system which provides an affordable entry into the world of prime lenses, low-light photography, and shallow depth-of-field effects. If you’re looking for a compact, fun, and flexible prime lens with great potential for blurring effects, you won’t find a cheaper option in the native line-up.
RF 35mm F1.8
Focal Length: 35mm
Maximum Aperture: f/1.8
Minimum Aperture: f/22
Lens Mount: Canon RF
Format Compatibility: Full-Frame
The angle of View: 63°
Minimum Focus Distance: 6.69″ / 17 cm
Maximum Magnification: 0.5x
Macro Reproduction Ratio: 1:2
Optical Design: 11 Elements in 9 Groups
Diaphragm Blades: 9, Rounded
Focus Type: Autofocus
Image Stabilization: Yes
Filter Size: 52 mm (Front)
Dimensions (ø x L): 2.93 x 2.47″ / 74.4 x 62.8 mm
Weight :10.76 oz / 305 g
Price: 500 dollars
The Canon RF 35mm F/1.8 is a mild wide-angle prime lens for the EOS R full-frame mirrorless system and remains the smallest, lightest, and more affordable model in the native catalog to date. Like other 35mm lenses, it’s an ideal general-purpose option, flexible enough for the street, landscape, architecture…etc. The brighter F/1.8 focal ratio allows you to achieve shallower depth-of-field effects and maintain lower ISOs or faster shutters in dim conditions. it’s a no-brainer in the RF system.
