The 50mm lens is photography’s true constant player. A focal length so fundamental it is often called the "standard." Its enduring practicality is rooted in its perspective. It renders the world with a field of view that closely mimics the human eye, offering an honesty and lack of distortion that few other lenses can match. This transparency makes it the ideal tool for the photojournalist, the portraitist, and the street photographer, allowing the viewer to feel present in the scene without the distraction of extreme wide angle exaggeration or telephoto compression. Don't get me wrong. I like wide angle as well and really love the 90 focal length. But, the 50 is still my first love. For this short article, I've gathered a wide collection of images I captured over many years, all of which have one thing in common. The 50mm focal length.
Hopefully, you will see how the simple optical formulas of the older lenses often yield lower contrast and a signature, sometimes swirly, bokeh, lending the images a beautiful, nostalgic glow. You heard the old saying, Leica glow. Well, it goes beyond just Leica. The samples I present should show the nostalgic classic look the old legends render to the new standard from modern design that show corner to corner sharpness, virtually no aberrations, and extreme clarity, a level of detail unthinkable decades ago.
The collection of images presented here span many years, some dating back to the 80's. They are more than just a gallery, it is a visual illustration showing how engineering advancements have redefined flawless while the core utility of the 50mm remains untouched. By viewing the images presented below, I hope you will gain a deeper appreciation for both the dreamy imperfections of a vintage Nikon 50mm F1.2 AIS and the clinical precision of modern design like the Zeiss Otus which although modern in every aspect, retains a bit of a nostalgic classic look to it's rendering.
Ultimately, the 50mm lens continues to be the my most versatile lens, proving that whether your goal is mood, realism, or pure documentation, this standard focal length remains the perfect lens for the job.
Achieving different styles with the 50mm perspective❌
This was captured with the Voigtlander 50mm F2 Apo Lanthar, I believe it really conveys the compressed, almost claustrophobic charm of a hidden Italian alleyway.
The 50mm focal length prevents the walls from unnaturally bowing in, offering a realistic, unexaggerated perspective that makes the narrow passage feel exactly as tight as it is in real life.
This image represents just one of the many reasons why the 50 is my favorite focal length.
Click to view photo details and comments
This was captured with the Voigtlander 50mm F2 Apo Lanthar, I believe it really conveys the compressed, almost claustrophobic charm of a hidden Italian alleyway.
The 50mm focal length prevents the walls from unnaturally bowing in, offering a realistic, unexaggerated perspective that makes the narrow passage feel exactly as tight as it is in real life.
This image represents just one of the many reasons why the 50 is my favorite focal length.
Achieving different styles with the 50mm perspective❌
Another captured with the Voigtlander 50mm F2 Apo Lanthar. It was pretty much glued to my Nikon ZF which has become my favorite camera to travel with.
In this Florentine alley. The 50 focal length renders the busy bulletin board with a natural perspective, making the dense layering of posters feel authentic to the eye. The lens is utilized here for its ability to isolate the subject through focus rather than distortion. In my opinion, this is what a 50 excels at. The passerby moving through the foreground is captured with intentional motion blur, contrasting sharply with the static, richly textured wall.
Click to view photo details and comments
Another captured with the Voigtlander 50mm F2 Apo Lanthar. It was pretty much glued to my Nikon ZF which has become my favorite camera to travel with.
In this Florentine alley. The 50 focal length renders the busy bulletin board with a natural perspective, making the dense layering of posters feel authentic to the eye. The lens is utilized here for its ability to isolate the subject through focus rather than distortion. In my opinion, this is what a 50 excels at. The passerby moving through the foreground is captured with intentional motion blur, contrasting sharply with the static, richly textured wall.
Achieving different styles with the 50mm perspective❌
Again, another Voigtlander APO Lanthar shot. That is my wife in the image, I titled it "The Pickpocket" Although this was just an innocent shot with no mal intention, it does look like an attempt at pickpocketing. I believe the field of view from the 50 places the viewer into the heart of the action, utilizing its natural perspective to create a sense of direct witness as if something was really going down.
Click to view photo details and comments
Again, another Voigtlander APO Lanthar shot. That is my wife in the image, I titled it "The Pickpocket" Although this was just an innocent shot with no mal intention, it does look like an attempt at pickpocketing. I believe the field of view from the 50 places the viewer into the heart of the action, utilizing its natural perspective to create a sense of direct witness as if something was really going down.
Achieving different styles with the 50mm perspective❌
This shot from the London Underground's Victoria station is another testament to the resolving power of the Voigtander 50mm f/2 APO Lanthar.
The 50 anchors the viewer directly on the platform, lending the scene an observational feel that cuts through the distractions.
The Lanthars's defining clarity ensures that every element, from the stark white wall tiles and the circular 'Victoria' logo to the textures of the two seated figures, is rendered with exceptional detail.
Click to view photo details and comments
This shot from the London Underground's Victoria station is another testament to the resolving power of the Voigtander 50mm f/2 APO Lanthar.
The 50 anchors the viewer directly on the platform, lending the scene an observational feel that cuts through the distractions.
The Lanthars's defining clarity ensures that every element, from the stark white wall tiles and the circular 'Victoria' logo to the textures of the two seated figures, is rendered with exceptional detail.
Achieving different styles with the 50mm perspective❌
Moving on to an older lens, the Nikon 50mm F1.2 AIS.
This snapshot of a friend's family gathering, captured with the classic Nikon F3 and the Nikon 50mm F1.2 AIS, beautifully illustrates the charm of a vintage fast prime.
While the image won't have the razor sharp, clinically perfect resolution of a modern, highly corrected lens, a slight softness or glow is often present, especially wide open. Thus, the general rendering is classic. In this case, The 50's perspective remains natural and familiar, but the lens signature adds character.
Another advantage shooting film is we do not judge a photograph by pixel peeping. Well, at least I don't.
Click to view photo details and comments
Moving on to an older lens, the Nikon 50mm F1.2 AIS.
This snapshot of a friend's family gathering, captured with the classic Nikon F3 and the Nikon 50mm F1.2 AIS, beautifully illustrates the charm of a vintage fast prime.
While the image won't have the razor sharp, clinically perfect resolution of a modern, highly corrected lens, a slight softness or glow is often present, especially wide open. Thus, the general rendering is classic. In this case, The 50's perspective remains natural and familiar, but the lens signature adds character.
Another advantage shooting film is we do not judge a photograph by pixel peeping. Well, at least I don't.
Achieving different styles with the 50mm perspective❌
Another classic lens is the Leica 50mm Summilux. This portrait, captured with my Leica MP which I sadly no longer have.
In this case, the field of view brings us close to the subject, but the lens's wide aperture capability is what is at play here, creating the shallow depth of field. The subject’s expression and the gesture of her hand are tack sharp while the background instantly dissolves into large, soft, luminous spheres of bokeh.
Click to view photo details and comments
Another classic lens is the Leica 50mm Summilux. This portrait, captured with my Leica MP which I sadly no longer have.
In this case, the field of view brings us close to the subject, but the lens's wide aperture capability is what is at play here, creating the shallow depth of field. The subject’s expression and the gesture of her hand are tack sharp while the background instantly dissolves into large, soft, luminous spheres of bokeh.
Achieving different styles with the 50mm perspective❌
This image, captured with a Leica Monochrom and a 50mm Summilux lens, profoundly underscores the power of both black and white photography and the normal focal length in documentary style work. As mentione earlier, the 50, revered for its ability to render scenes with a perspective akin to the human eye, allows for an authentic portrayal of the young teenager's situation without any distorting wide angle exaggeration or telephoto compression . This perspective ensures that the details, the intertwined legs, the bare, worn feet, the single shoe, and the bracelet are presented with an honesty that draws the viewer into the immediate reality of their existence on the streets of Portland that speaks volumes about the harsh realities of life on the street.
Comments
Click to view photo details and comments
This image, captured with a Leica Monochrom and a 50mm Summilux lens, profoundly underscores the power of both black and white photography and the normal focal length in documentary style work. As mentione earlier, the 50, revered for its ability to render scenes with a perspective akin to the human eye, allows for an authentic portrayal of the young teenager's situation without any distorting wide angle exaggeration or telephoto compression . This perspective ensures that the details, the intertwined legs, the bare, worn feet, the single shoe, and the bracelet are presented with an honesty that draws the viewer into the immediate reality of their existence on the streets of Portland that speaks volumes about the harsh realities of life on the street.
Achieving different styles with the 50mm perspective❌
Back to a more modern lens, this was taken with the 50 Apo Lanthar from Voigtlander. I really think this shot in black and white really works here. It plunges the viewer into the quiet intimacy of an Italian restaurant interior and one lonely diner.
The 50 and its ability to mimic how we naturally see, renders the long narrow room with an undistorted, sense of depth, drawing the eye straight down the communal table. I truly believe this authentic perspective is key and only the 50 can achieve this. It keeps the focus tight on the solitary woman sitting with her back to the camera, illuminated by the low-hanging chandeliers. The 50 perfectly frames the woman in her moment of solitude, contrasting her presence against the empty, waiting chairs.
Click to view photo details and comments
Back to a more modern lens, this was taken with the 50 Apo Lanthar from Voigtlander. I really think this shot in black and white really works here. It plunges the viewer into the quiet intimacy of an Italian restaurant interior and one lonely diner.
The 50 and its ability to mimic how we naturally see, renders the long narrow room with an undistorted, sense of depth, drawing the eye straight down the communal table. I truly believe this authentic perspective is key and only the 50 can achieve this. It keeps the focus tight on the solitary woman sitting with her back to the camera, illuminated by the low-hanging chandeliers. The 50 perfectly frames the woman in her moment of solitude, contrasting her presence against the empty, waiting chairs.
Achieving different styles with the 50mm perspective❌
This time a more modern SLR, the Nikon F6 paired with the Nikon 50mm F1.2 AIS.
The dramatic effect of this carnival image is entirely created by the intentional motion blur, which transforms a moment of simple fun into a dynamic rush of movement.
By using a relatively slow shutter speed, I captured the subjects and the foreground of the ride in a visually powerful streak. This blur effectively conveys the feeling of high speed exhilaration. The girl's hair flies to the left and the edges of the ride seat are rendered as indistinct shapes, creating a sense of powerful momentum. In contrast, the face of the girl on the right, caught in a moment of genuine laughter, is comparatively sharper.
Click to view photo details and comments
This time a more modern SLR, the Nikon F6 paired with the Nikon 50mm F1.2 AIS.
The dramatic effect of this carnival image is entirely created by the intentional motion blur, which transforms a moment of simple fun into a dynamic rush of movement.
By using a relatively slow shutter speed, I captured the subjects and the foreground of the ride in a visually powerful streak. This blur effectively conveys the feeling of high speed exhilaration. The girl's hair flies to the left and the edges of the ride seat are rendered as indistinct shapes, creating a sense of powerful momentum. In contrast, the face of the girl on the right, caught in a moment of genuine laughter, is comparatively sharper.
Achieving different styles with the 50mm perspective❌
Going back to the 80's when I shot this in Paris using a Nikon F2 and the 50mm F1.4 AIS, beautifully exemplifies the vintage Nikon aesthetic of the 1980s when there was no such thing as pixel peeping.
The lens offers a beautiful, rich tonality that works perfectly here with the film stock of the era contributing to a slightly desaturated or subtly warm color palette.
A side note about the 1.4 AIS. When shot wide open (or near to it), the 50mm 1.4 AIS lens is known to exhibit a slight "dreamy" or "glow" effect due to spherical aberration, which smooths transitions and can give a softer, less clinical look compared to modern lenses. This contributes to the lens's famous character.
Click to view photo details and comments
Going back to the 80's when I shot this in Paris using a Nikon F2 and the 50mm F1.4 AIS, beautifully exemplifies the vintage Nikon aesthetic of the 1980s when there was no such thing as pixel peeping.
The lens offers a beautiful, rich tonality that works perfectly here with the film stock of the era contributing to a slightly desaturated or subtly warm color palette.
A side note about the 1.4 AIS. When shot wide open (or near to it), the 50mm 1.4 AIS lens is known to exhibit a slight "dreamy" or "glow" effect due to spherical aberration, which smooths transitions and can give a softer, less clinical look compared to modern lenses. This contributes to the lens's famous character.
Achieving different styles with the 50mm perspective❌
A slightly different approach to using a 50 is shown here. This image was formatted to the ultra wide X Pan ratio.
Shot with an M11 and APO Lanthar which is known for its critical edge to edge sharpness really helps when the entire frame is the center of attention. The ultra wide format forces the one's eye to traverse the frame, emphasizing the horizontal sweep of the platform and the separation between the foreground subjects and the environment.
I really like the cinematic feeling rendered from the X Pan formatting. The placement of the subjects on the left uses negative space to draw attention to the leading lines of the platform on the right
Click to view photo details and comments
A slightly different approach to using a 50 is shown here. This image was formatted to the ultra wide X Pan ratio.
Shot with an M11 and APO Lanthar which is known for its critical edge to edge sharpness really helps when the entire frame is the center of attention. The ultra wide format forces the one's eye to traverse the frame, emphasizing the horizontal sweep of the platform and the separation between the foreground subjects and the environment.
I really like the cinematic feeling rendered from the X Pan formatting. The placement of the subjects on the left uses negative space to draw attention to the leading lines of the platform on the right
Achieving different styles with the 50mm perspective❌
Jumping ahead to a more modern lens for a DSLR, unlike the X Pan format previously shown, This is a panoramic landscape stiched together from multiple shots. The sheer detail and the vibrant color bands of the Painted Hills in Oregon are beautifully captured with an older Nikon D700 camera and Zeiss 50mm f2 Macro Planar.
The wide format emphasizes the vastness and horizontal lines of the landscape. The foreground, mid ground, and background all appear sharp a result of shooting this at F5.6 which maximize the depth of field across the entire scene.
Click to view photo details and comments
Jumping ahead to a more modern lens for a DSLR, unlike the X Pan format previously shown, This is a panoramic landscape stiched together from multiple shots. The sheer detail and the vibrant color bands of the Painted Hills in Oregon are beautifully captured with an older Nikon D700 camera and Zeiss 50mm f2 Macro Planar.
The wide format emphasizes the vastness and horizontal lines of the landscape. The foreground, mid ground, and background all appear sharp a result of shooting this at F5.6 which maximize the depth of field across the entire scene.
Achieving different styles with the 50mm perspective❌
What about the fast 50's? This image, captured with the Voigtländer 50mm F1.0 Nokton, stands as a clear exemple of a modern, ultra fast lens that beautifully balances extreme speed with high optical fidelity. Shot wide open, the lens creates a stunningly rapid transition from focus to blur. The bokeh is not merely soft; it is rich and three dimensional much like that from a Zeiss lens, seamlessly melting the distracting background elements, the pier structure and distant figures into a creamy wash that entirely isolates the subject.
Yet, this dramatic background separation comes without sacrificing detail where it matters most. Despite operating at the maximum aperture of f1, the lens maintains a remarkable degree of sharpness and contrast on the subject's face. The texture of the my friend's s sweater, the fine lines around his eyes, and the crisp edges of the wine bottle and glass are all rendered with clarity. This ability to pull sharp detail out of the shallowest plane of focus while simultaneously dissolving the background is the defining characteristic of this lens, elevating a simple moment of pouring a drink into a compelling, high contrast portrait.
A clear example of modern optical design at its best.
Click to view photo details and comments
What about the fast 50's? This image, captured with the Voigtländer 50mm F1.0 Nokton, stands as a clear exemple of a modern, ultra fast lens that beautifully balances extreme speed with high optical fidelity. Shot wide open, the lens creates a stunningly rapid transition from focus to blur. The bokeh is not merely soft; it is rich and three dimensional much like that from a Zeiss lens, seamlessly melting the distracting background elements, the pier structure and distant figures into a creamy wash that entirely isolates the subject.
Yet, this dramatic background separation comes without sacrificing detail where it matters most. Despite operating at the maximum aperture of f1, the lens maintains a remarkable degree of sharpness and contrast on the subject's face. The texture of the my friend's s sweater, the fine lines around his eyes, and the crisp edges of the wine bottle and glass are all rendered with clarity. This ability to pull sharp detail out of the shallowest plane of focus while simultaneously dissolving the background is the defining characteristic of this lens, elevating a simple moment of pouring a drink into a compelling, high contrast portrait.
A clear example of modern optical design at its best.
Achieving different styles with the 50mm perspective❌
This second image, captured at f/2, presents a stark, yet equally effective, contrast to the previous portrait shot wide open at f1.
The most immediate difference is the shift in the depth of field. Where the f1 shot created a razor thin plane of focus that instantly dissolved the background into a creamy abstraction, the f/2 aperture has significantly deepened the focus. The background elements, the layers of driftwood and the scattered crowd on the beach are no longer a wash but are now recognizable, providing essential context to the scene. This depth anchors the subjects, a girl climbing and a man sitting, in a specific, busy environment, transforming the image from a portrait into an environmental scene.
Despite the increase in depth of field, the f2 aperture on a high quality 50mm lens still offers excellent subject separation. The girl and the man remain distinctly detached from the background, their edges crisp against the softer, yet detailed, logs behind them. This stopping down to f2 on a fast lens often represents the sweet spot; it increases the critical plane of sharpness, ensuring both main subjects are in clear focus, while retaining enough selective focus to guide our eye. In my opinion, It is the perfect, if not, near perfect aperture for photojournalistic work.
Click to view photo details and comments
This second image, captured at f/2, presents a stark, yet equally effective, contrast to the previous portrait shot wide open at f1.
The most immediate difference is the shift in the depth of field. Where the f1 shot created a razor thin plane of focus that instantly dissolved the background into a creamy abstraction, the f/2 aperture has significantly deepened the focus. The background elements, the layers of driftwood and the scattered crowd on the beach are no longer a wash but are now recognizable, providing essential context to the scene. This depth anchors the subjects, a girl climbing and a man sitting, in a specific, busy environment, transforming the image from a portrait into an environmental scene.
Despite the increase in depth of field, the f2 aperture on a high quality 50mm lens still offers excellent subject separation. The girl and the man remain distinctly detached from the background, their edges crisp against the softer, yet detailed, logs behind them. This stopping down to f2 on a fast lens often represents the sweet spot; it increases the critical plane of sharpness, ensuring both main subjects are in clear focus, while retaining enough selective focus to guide our eye. In my opinion, It is the perfect, if not, near perfect aperture for photojournalistic work.
Achieving different styles with the 50mm perspective❌
Two peas in a pod Without being disrespectful, the similarities are uncanny.
The pairing of the Nikon Zf and the Zeiss Otus ML 50mm f/1.4 Z-mount is a pure declaration of photographic intent. It's a refusal to compromise on the purity of the image, embracing the discipline of manual focus for an aesthetic reward that few lenses can match.
While the Otus is celebrated for its legendary performance wide open at f/1.4 delivering creamy bokeh and sharp, yet slightly dream like, center frame detail, the decision to stop down to f/4 is where the lens sheds any pretense of character and asserts its absolute, unyielding dominance in technical perfection.
At f/4, the lens reaches a state of surgical, edge to edge sharpness. The qualities of its apochromatic design, which already minimize chromatic aberrations and color fringing even wide open, are now hyper realized. The image ceases to be a mere photograph and becomes a high fidelity optical capture. Details are rendered with outstanding finesse and an exceptional micro contrast that gives the photograph a distinctive, almost tactile "3D pop," commonly referred t as that Zeiss 3D pop separating the subject cleanly from the background.
Coupled with the Zf, the experience is deliberately analog. The lens's all metal construction and the long, 260° focus throw make the act of achieving precise focus on the Zf's viewfinder a deeply satisfying, deliberate dance. The Zf's in-body image stabilization works in concert with the lens's electronic communication to ensure that even the finest details are now resolved perfectly at f/4.
The result is an image where the light transitions are smooth, the colors are true to life, and every texture, from the main subject to the furthest corner of the frame, is resolved with a clarity that approaches the vaunted "Medium Format Look". The choice of f/4 sacrifices the maximum subject isolation of f/1.4, but in return, it grants the photographer the full power of one of the finest 50mm lenses ever created.
Click to view photo details and comments
Two peas in a pod Without being disrespectful, the similarities are uncanny.
The pairing of the Nikon Zf and the Zeiss Otus ML 50mm f/1.4 Z-mount is a pure declaration of photographic intent. It's a refusal to compromise on the purity of the image, embracing the discipline of manual focus for an aesthetic reward that few lenses can match.
While the Otus is celebrated for its legendary performance wide open at f/1.4 delivering creamy bokeh and sharp, yet slightly dream like, center frame detail, the decision to stop down to f/4 is where the lens sheds any pretense of character and asserts its absolute, unyielding dominance in technical perfection.
At f/4, the lens reaches a state of surgical, edge to edge sharpness. The qualities of its apochromatic design, which already minimize chromatic aberrations and color fringing even wide open, are now hyper realized. The image ceases to be a mere photograph and becomes a high fidelity optical capture. Details are rendered with outstanding finesse and an exceptional micro contrast that gives the photograph a distinctive, almost tactile "3D pop," commonly referred t as that Zeiss 3D pop separating the subject cleanly from the background.
Coupled with the Zf, the experience is deliberately analog. The lens's all metal construction and the long, 260° focus throw make the act of achieving precise focus on the Zf's viewfinder a deeply satisfying, deliberate dance. The Zf's in-body image stabilization works in concert with the lens's electronic communication to ensure that even the finest details are now resolved perfectly at f/4.
The result is an image where the light transitions are smooth, the colors are true to life, and every texture, from the main subject to the furthest corner of the frame, is resolved with a clarity that approaches the vaunted "Medium Format Look". The choice of f/4 sacrifices the maximum subject isolation of f/1.4, but in return, it grants the photographer the full power of one of the finest 50mm lenses ever created.
Achieving different styles with the 50mm perspective❌
Here is a follow up to the previous Otus shot at F4.
For this sample, we are wide open at f1.4 and still using a Nikon ZF.
The ultra wide aperture creates an extremely shallow depth of field, which is evident in how the subject's face and eyes are rendered razor sharp while the background is rapidly thrown into a smooth blur. This isolation is a signature of high quality, fast prime lenses and effectively directs the viewer's attention solely to the subject.
The Otus line is designed to be nearly apochromatic, meaning it controls chromatic aberrations exceptionally well. Even wide open at f/1.4, which is a point where most lenses struggle, the central sharpness on the subject's face is remarkable, resolving fine detail in her glasses and hair with incredible sharpness and strong micro contrast.
Click to view photo details and comments
Here is a follow up to the previous Otus shot at F4.
For this sample, we are wide open at f1.4 and still using a Nikon ZF.
The ultra wide aperture creates an extremely shallow depth of field, which is evident in how the subject's face and eyes are rendered razor sharp while the background is rapidly thrown into a smooth blur. This isolation is a signature of high quality, fast prime lenses and effectively directs the viewer's attention solely to the subject.
The Otus line is designed to be nearly apochromatic, meaning it controls chromatic aberrations exceptionally well. Even wide open at f/1.4, which is a point where most lenses struggle, the central sharpness on the subject's face is remarkable, resolving fine detail in her glasses and hair with incredible sharpness and strong micro contrast.
Achieving different styles with the 50mm perspective❌
The bokeh in this street scene, clearly captured at a very wide aperture like f/1.4, is the defining element that elevates the quality and rendering of the Otus above all others. The extremely shallow depth of field ensures the bicycle, particularly the handlebars and helmet, are pin sharp and dramatically isolated from the background, which falls away into a beautiful, abstract blur. The distant elements, such as the houses and the bright yellow sign, are rendered as soft washes of color, creating a dreamy, ethereal backdrop. Notably, the white and orange construction barrier on the right side dissolves into large, clean, vertical bands of light and color that are completely devoid of harsh edges or distracting shapes, lending a creamy quality to the blur that effectively highlights the texture and detail of the in focus subject.
There is no question that the Otus is my favorite 50 so far. Although it doesn't offer the f1.0 of the Nokton, its rendering is sublime. My 2nd favorite would be the Voigtland Nokton.
Click to view photo details and comments
The bokeh in this street scene, clearly captured at a very wide aperture like f/1.4, is the defining element that elevates the quality and rendering of the Otus above all others. The extremely shallow depth of field ensures the bicycle, particularly the handlebars and helmet, are pin sharp and dramatically isolated from the background, which falls away into a beautiful, abstract blur. The distant elements, such as the houses and the bright yellow sign, are rendered as soft washes of color, creating a dreamy, ethereal backdrop. Notably, the white and orange construction barrier on the right side dissolves into large, clean, vertical bands of light and color that are completely devoid of harsh edges or distracting shapes, lending a creamy quality to the blur that effectively highlights the texture and detail of the in focus subject.
There is no question that the Otus is my favorite 50 so far. Although it doesn't offer the f1.0 of the Nokton, its rendering is sublime. My 2nd favorite would be the Voigtland Nokton.
Achieving different styles with the 50mm perspective❌
The 50mm focal length is fundamental to the balanced success of this image, effectively framing the interaction at the table. In this case, this was taken with a Zeiss 50mm F2 Loxia.
Again, the 50's natural field of view allowed me to capture the central group, the two men and the woman in a relationship, making the viewer feel intimately present without the scene feeling artificially wide or cramped .
Crucially, the 50mm is narrow enough to isolate the immediate action from the window reflections and background activity, yet wide enough to include the framing elements of the window panes and the seated figure on the right, ensuring the composition is horizontally balanced and anchored by the main subjects. Simply put, the 50's works magic just about anywhere you use it.
Comments
Click to view photo details and comments
The 50mm focal length is fundamental to the balanced success of this image, effectively framing the interaction at the table. In this case, this was taken with a Zeiss 50mm F2 Loxia.
Again, the 50's natural field of view allowed me to capture the central group, the two men and the woman in a relationship, making the viewer feel intimately present without the scene feeling artificially wide or cramped .
Crucially, the 50mm is narrow enough to isolate the immediate action from the window reflections and background activity, yet wide enough to include the framing elements of the window panes and the seated figure on the right, ensuring the composition is horizontally balanced and anchored by the main subjects. Simply put, the 50's works magic just about anywhere you use it.
Achieving different styles with the 50mm perspective❌
Moving on to a more affordable lens, this was taken with a Nikon 50mm F1.8 G lens. The clear advantage here is auto focus when dealing with fast moving or unpredictable subject behaviour.
Click to view photo details and comments
Moving on to a more affordable lens, this was taken with a Nikon 50mm F1.8 G lens. The clear advantage here is auto focus when dealing with fast moving or unpredictable subject behaviour.
Achieving different styles with the 50mm perspective❌
This photograph of the three young individuals in Portland, captured with a Leica M8 and a 50 Summilux, offers a compelling demonstration of how a classic focal length, even when influenced by a crop factor, can still deliver impactful and well framed results.
The Leica M8, with its applies a 1.33x crop factor to a full-frame lens, effectively turning the 50 Lux into an equivalent of approximately a 66mm lens in terms of field of view. This tighter perspective, while reducing the typical "normal" feel of a 50mm, actually works to the image's advantage here, creating a more intimate, almost portrait like framing of the group.
Click to view photo details and comments
This photograph of the three young individuals in Portland, captured with a Leica M8 and a 50 Summilux, offers a compelling demonstration of how a classic focal length, even when influenced by a crop factor, can still deliver impactful and well framed results.
The Leica M8, with its applies a 1.33x crop factor to a full-frame lens, effectively turning the 50 Lux into an equivalent of approximately a 66mm lens in terms of field of view. This tighter perspective, while reducing the typical "normal" feel of a 50mm, actually works to the image's advantage here, creating a more intimate, almost portrait like framing of the group.
Achieving different styles with the 50mm perspective❌
On a more personal note, this tender black and white portrait, captured with a Leica 50mm Summilux on my MP, perfectly embodies the intimate quality those tools are famous for.
The Summilux renders my mother and son with a naturalness, free from distortion, drawing us right into their shared moment.
These legendary Leica lenses, especially the 50mm, beautifully isolate them against the softer background, letting every nuance of my mother's gentle expression and son's curious gaze shine through.
It's a classic example of how this particular lens and camera combination, with its incredible ability to handle light and subtle tonal gradations, elevates a simple family scene into a timeless and deeply personal image.
Not to mention, this was shot on film. It's simply just hard to beat.
Click to view photo details and comments
On a more personal note, this tender black and white portrait, captured with a Leica 50mm Summilux on my MP, perfectly embodies the intimate quality those tools are famous for.
The Summilux renders my mother and son with a naturalness, free from distortion, drawing us right into their shared moment.
These legendary Leica lenses, especially the 50mm, beautifully isolate them against the softer background, letting every nuance of my mother's gentle expression and son's curious gaze shine through.
It's a classic example of how this particular lens and camera combination, with its incredible ability to handle light and subtle tonal gradations, elevates a simple family scene into a timeless and deeply personal image.
Not to mention, this was shot on film. It's simply just hard to beat.
Achieving different styles with the 50mm perspective❌
Another one of my kids back in the days of living in Phoenix. The two of them resting in bed ( I think they were watching Sponge Bob ) captured with the summilux again.
This one makes me feel like a silent observer in the room.
Again, the wide aperture capability of the Summilux really isolates the two of them within the blankets and pillows, emphasizing their expressive faces.
Click to view photo details and comments
Another one of my kids back in the days of living in Phoenix. The two of them resting in bed ( I think they were watching Sponge Bob ) captured with the summilux again.
This one makes me feel like a silent observer in the room.
Again, the wide aperture capability of the Summilux really isolates the two of them within the blankets and pillows, emphasizing their expressive faces.
Achieving different styles with the 50mm perspective❌
The 50mm lens is photography’s true constant player. A focal length so fundamental it is often called the "standard." Its enduring practicality is rooted in its perspective. It renders the world with a field of view that closely mimics the human eye, offering an honesty and lack of distortion that few other lenses can match. This transparency makes it the ideal tool for the photojournalist, the portraitist, and the street photographer, allowing the viewer to feel present in the scene without the distraction of extreme wide angle exaggeration or telephoto compression. Don't get me wrong. I like wide angle as well and really love the 90 focal length. But, the 50 is still my first love. For this short article, I've gathered a wide collection of images I captured over many years, all of which have one thing in common. The 50mm focal length.
Hopefully, you will see how the simple optical formulas of the older lenses often yield lower contrast and a signature, sometimes swirly, bokeh, lending the images a beautiful, nostalgic glow. You heard the old saying, Leica glow. Well, it goes beyond just Leica. The samples I present should show the nostalgic classic look the old legends render to the new standard from modern design that show corner to corner sharpness, virtually no aberrations, and extreme clarity, a level of detail unthinkable decades ago.
The collection of images presented here span many years, some dating back to the 80's. They are more than just a gallery, it is a visual illustration showing how engineering advancements have redefined flawless while the core utility of the 50mm remains untouched. By viewing the images presented below, I hope you will gain a deeper appreciation for both the dreamy imperfections of a vintage Nikon 50mm F1.2 AIS and the clinical precision of modern design like the Zeiss Otus which although modern in every aspect, retains a bit of a nostalgic classic look to it's rendering.
Ultimately, the 50mm lens continues to be the my most versatile lens, proving that whether your goal is mood, realism, or pure documentation, this standard focal length remains the perfect lens for the job.
This was captured with the Voigtlander 50mm F2 Apo Lanthar, I believe it really conveys the compressed, almost claustrophobic charm of a hidden Italian alleyway.
The 50mm focal length prevents the walls from unnaturally bowing in, offering a realistic, unexaggerated perspective that makes the narrow passage feel exactly as tight as it is in real life.
This image represents just one of the many reasons why the 50 is my favorite focal length.
Another captured with the Voigtlander 50mm F2 Apo Lanthar. It was pretty much glued to my Nikon ZF which has become my favorite camera to travel with.
In this Florentine alley. The 50 focal length renders the busy bulletin board with a natural perspective, making the dense layering of posters feel authentic to the eye. The lens is utilized here for its ability to isolate the subject through focus rather than distortion. In my opinion, this is what a 50 excels at. The passerby moving through the foreground is captured with intentional motion blur, contrasting sharply with the static, richly textured wall.
Again, another Voigtlander APO Lanthar shot. That is my wife in the image, I titled it "The Pickpocket" Although this was just an innocent shot with no mal intention, it does look like an attempt at pickpocketing. I believe the field of view from the 50 places the viewer into the heart of the action, utilizing its natural perspective to create a sense of direct witness as if something was really going down.
This shot from the London Underground's Victoria station is another testament to the resolving power of the Voigtander 50mm f/2 APO Lanthar.
The 50 anchors the viewer directly on the platform, lending the scene an observational feel that cuts through the distractions.
The Lanthars's defining clarity ensures that every element, from the stark white wall tiles and the circular 'Victoria' logo to the textures of the two seated figures, is rendered with exceptional detail.
Moving on to an older lens, the Nikon 50mm F1.2 AIS.
This snapshot of a friend's family gathering, captured with the classic Nikon F3 and the Nikon 50mm F1.2 AIS, beautifully illustrates the charm of a vintage fast prime.
While the image won't have the razor sharp, clinically perfect resolution of a modern, highly corrected lens, a slight softness or glow is often present, especially wide open. Thus, the general rendering is classic. In this case, The 50's perspective remains natural and familiar, but the lens signature adds character.
Another advantage shooting film is we do not judge a photograph by pixel peeping. Well, at least I don't.
Another classic lens is the Leica 50mm Summilux. This portrait, captured with my Leica MP which I sadly no longer have.
In this case, the field of view brings us close to the subject, but the lens's wide aperture capability is what is at play here, creating the shallow depth of field. The subject’s expression and the gesture of her hand are tack sharp while the background instantly dissolves into large, soft, luminous spheres of bokeh.
This image, captured with a Leica Monochrom and a 50mm Summilux lens, profoundly underscores the power of both black and white photography and the normal focal length in documentary style work. As mentione earlier, the 50, revered for its ability to render scenes with a perspective akin to the human eye, allows for an authentic portrayal of the young teenager's situation without any distorting wide angle exaggeration or telephoto compression . This perspective ensures that the details, the intertwined legs, the bare, worn feet, the single shoe, and the bracelet are presented with an honesty that draws the viewer into the immediate reality of their existence on the streets of Portland that speaks volumes about the harsh realities of life on the street.
Back to a more modern lens, this was taken with the 50 Apo Lanthar from Voigtlander. I really think this shot in black and white really works here. It plunges the viewer into the quiet intimacy of an Italian restaurant interior and one lonely diner.
The 50 and its ability to mimic how we naturally see, renders the long narrow room with an undistorted, sense of depth, drawing the eye straight down the communal table. I truly believe this authentic perspective is key and only the 50 can achieve this. It keeps the focus tight on the solitary woman sitting with her back to the camera, illuminated by the low-hanging chandeliers. The 50 perfectly frames the woman in her moment of solitude, contrasting her presence against the empty, waiting chairs.
This time a more modern SLR, the Nikon F6 paired with the Nikon 50mm F1.2 AIS.
The dramatic effect of this carnival image is entirely created by the intentional motion blur, which transforms a moment of simple fun into a dynamic rush of movement.
By using a relatively slow shutter speed, I captured the subjects and the foreground of the ride in a visually powerful streak. This blur effectively conveys the feeling of high speed exhilaration. The girl's hair flies to the left and the edges of the ride seat are rendered as indistinct shapes, creating a sense of powerful momentum. In contrast, the face of the girl on the right, caught in a moment of genuine laughter, is comparatively sharper.
Going back to the 80's when I shot this in Paris using a Nikon F2 and the 50mm F1.4 AIS, beautifully exemplifies the vintage Nikon aesthetic of the 1980s when there was no such thing as pixel peeping.
The lens offers a beautiful, rich tonality that works perfectly here with the film stock of the era contributing to a slightly desaturated or subtly warm color palette.
A side note about the 1.4 AIS. When shot wide open (or near to it), the 50mm 1.4 AIS lens is known to exhibit a slight "dreamy" or "glow" effect due to spherical aberration, which smooths transitions and can give a softer, less clinical look compared to modern lenses. This contributes to the lens's famous character.
A slightly different approach to using a 50 is shown here. This image was formatted to the ultra wide X Pan ratio.
Shot with an M11 and APO Lanthar which is known for its critical edge to edge sharpness really helps when the entire frame is the center of attention. The ultra wide format forces the one's eye to traverse the frame, emphasizing the horizontal sweep of the platform and the separation between the foreground subjects and the environment.
I really like the cinematic feeling rendered from the X Pan formatting. The placement of the subjects on the left uses negative space to draw attention to the leading lines of the platform on the right
Jumping ahead to a more modern lens for a DSLR, unlike the X Pan format previously shown, This is a panoramic landscape stiched together from multiple shots. The sheer detail and the vibrant color bands of the Painted Hills in Oregon are beautifully captured with an older Nikon D700 camera and Zeiss 50mm f2 Macro Planar.
The wide format emphasizes the vastness and horizontal lines of the landscape. The foreground, mid ground, and background all appear sharp a result of shooting this at F5.6 which maximize the depth of field across the entire scene.
What about the fast 50's? This image, captured with the Voigtländer 50mm F1.0 Nokton, stands as a clear exemple of a modern, ultra fast lens that beautifully balances extreme speed with high optical fidelity. Shot wide open, the lens creates a stunningly rapid transition from focus to blur. The bokeh is not merely soft; it is rich and three dimensional much like that from a Zeiss lens, seamlessly melting the distracting background elements, the pier structure and distant figures into a creamy wash that entirely isolates the subject.
Yet, this dramatic background separation comes without sacrificing detail where it matters most. Despite operating at the maximum aperture of f1, the lens maintains a remarkable degree of sharpness and contrast on the subject's face. The texture of the my friend's s sweater, the fine lines around his eyes, and the crisp edges of the wine bottle and glass are all rendered with clarity. This ability to pull sharp detail out of the shallowest plane of focus while simultaneously dissolving the background is the defining characteristic of this lens, elevating a simple moment of pouring a drink into a compelling, high contrast portrait.
A clear example of modern optical design at its best.
This second image, captured at f/2, presents a stark, yet equally effective, contrast to the previous portrait shot wide open at f1.
The most immediate difference is the shift in the depth of field. Where the f1 shot created a razor thin plane of focus that instantly dissolved the background into a creamy abstraction, the f/2 aperture has significantly deepened the focus. The background elements, the layers of driftwood and the scattered crowd on the beach are no longer a wash but are now recognizable, providing essential context to the scene. This depth anchors the subjects, a girl climbing and a man sitting, in a specific, busy environment, transforming the image from a portrait into an environmental scene.
Despite the increase in depth of field, the f2 aperture on a high quality 50mm lens still offers excellent subject separation. The girl and the man remain distinctly detached from the background, their edges crisp against the softer, yet detailed, logs behind them. This stopping down to f2 on a fast lens often represents the sweet spot; it increases the critical plane of sharpness, ensuring both main subjects are in clear focus, while retaining enough selective focus to guide our eye. In my opinion, It is the perfect, if not, near perfect aperture for photojournalistic work.
One more with the 50 Nokton before moving on. Not as sharp as the others but a good example of separation between focus planes.
Two peas in a pod
Without being disrespectful, the similarities are uncanny.
The pairing of the Nikon Zf and the Zeiss Otus ML 50mm f/1.4 Z-mount is a pure declaration of photographic intent. It's a refusal to compromise on the purity of the image, embracing the discipline of manual focus for an aesthetic reward that few lenses can match.
While the Otus is celebrated for its legendary performance wide open at f/1.4 delivering creamy bokeh and sharp, yet slightly dream like, center frame detail, the decision to stop down to f/4 is where the lens sheds any pretense of character and asserts its absolute, unyielding dominance in technical perfection.
At f/4, the lens reaches a state of surgical, edge to edge sharpness. The qualities of its apochromatic design, which already minimize chromatic aberrations and color fringing even wide open, are now hyper realized. The image ceases to be a mere photograph and becomes a high fidelity optical capture. Details are rendered with outstanding finesse and an exceptional micro contrast that gives the photograph a distinctive, almost tactile "3D pop," commonly referred t as that Zeiss 3D pop separating the subject cleanly from the background.
Coupled with the Zf, the experience is deliberately analog. The lens's all metal construction and the long, 260° focus throw make the act of achieving precise focus on the Zf's viewfinder a deeply satisfying, deliberate dance. The Zf's in-body image stabilization works in concert with the lens's electronic communication to ensure that even the finest details are now resolved perfectly at f/4.
The result is an image where the light transitions are smooth, the colors are true to life, and every texture, from the main subject to the furthest corner of the frame, is resolved with a clarity that approaches the vaunted "Medium Format Look". The choice of f/4 sacrifices the maximum subject isolation of f/1.4, but in return, it grants the photographer the full power of one of the finest 50mm lenses ever created.
Here is a follow up to the previous Otus shot at F4.
For this sample, we are wide open at f1.4 and still using a Nikon ZF.
The ultra wide aperture creates an extremely shallow depth of field, which is evident in how the subject's face and eyes are rendered razor sharp while the background is rapidly thrown into a smooth blur. This isolation is a signature of high quality, fast prime lenses and effectively directs the viewer's attention solely to the subject.
The Otus line is designed to be nearly apochromatic, meaning it controls chromatic aberrations exceptionally well. Even wide open at f/1.4, which is a point where most lenses struggle, the central sharpness on the subject's face is remarkable, resolving fine detail in her glasses and hair with incredible sharpness and strong micro contrast.
Similar to the Girl with Pink hair, The rendering by the Otus is once again clearly visible in this portrait taken in SW Portland on a late afternoon.
The bokeh in this street scene, clearly captured at a very wide aperture like f/1.4, is the defining element that elevates the quality and rendering of the Otus above all others. The extremely shallow depth of field ensures the bicycle, particularly the handlebars and helmet, are pin sharp and dramatically isolated from the background, which falls away into a beautiful, abstract blur. The distant elements, such as the houses and the bright yellow sign, are rendered as soft washes of color, creating a dreamy, ethereal backdrop. Notably, the white and orange construction barrier on the right side dissolves into large, clean, vertical bands of light and color that are completely devoid of harsh edges or distracting shapes, lending a creamy quality to the blur that effectively highlights the texture and detail of the in focus subject.
There is no question that the Otus is my favorite 50 so far. Although it doesn't offer the f1.0 of the Nokton, its rendering is sublime. My 2nd favorite would be the Voigtland Nokton.
The 50mm focal length is fundamental to the balanced success of this image, effectively framing the interaction at the table. In this case, this was taken with a Zeiss 50mm F2 Loxia.
Again, the 50's natural field of view allowed me to capture the central group, the two men and the woman in a relationship, making the viewer feel intimately present without the scene feeling artificially wide or cramped .
Crucially, the 50mm is narrow enough to isolate the immediate action from the window reflections and background activity, yet wide enough to include the framing elements of the window panes and the seated figure on the right, ensuring the composition is horizontally balanced and anchored by the main subjects. Simply put, the 50's works magic just about anywhere you use it.
Moving on to a more affordable lens, this was taken with a Nikon 50mm F1.8 G lens. The clear advantage here is auto focus when dealing with fast moving or unpredictable subject behaviour.
This photograph of the three young individuals in Portland, captured with a Leica M8 and a 50 Summilux, offers a compelling demonstration of how a classic focal length, even when influenced by a crop factor, can still deliver impactful and well framed results.
The Leica M8, with its applies a 1.33x crop factor to a full-frame lens, effectively turning the 50 Lux into an equivalent of approximately a 66mm lens in terms of field of view. This tighter perspective, while reducing the typical "normal" feel of a 50mm, actually works to the image's advantage here, creating a more intimate, almost portrait like framing of the group.
On a more personal note, this tender black and white portrait, captured with a Leica 50mm Summilux on my MP, perfectly embodies the intimate quality those tools are famous for.
The Summilux renders my mother and son with a naturalness, free from distortion, drawing us right into their shared moment.
These legendary Leica lenses, especially the 50mm, beautifully isolate them against the softer background, letting every nuance of my mother's gentle expression and son's curious gaze shine through.
It's a classic example of how this particular lens and camera combination, with its incredible ability to handle light and subtle tonal gradations, elevates a simple family scene into a timeless and deeply personal image.
Not to mention, this was shot on film. It's simply just hard to beat.
Another one of my kids back in the days of living in Phoenix. The two of them resting in bed ( I think they were watching Sponge Bob ) captured with the summilux again.
This one makes me feel like a silent observer in the room.
Again, the wide aperture capability of the Summilux really isolates the two of them within the blankets and pillows, emphasizing their expressive faces.