I just caught myself at it again while taking pictures: I was standing in front of a subject with a 24–70mm and actually had every option. And somehow that was exactly the problem. I set it to 35mm, look for my position, step forward a little, back again, and at the same time wonder whether I shouldn’t just go to 70mm for a detail. In the end, though, I stay at 35mm and would rather get closer. Not because I couldn’t use the 70mm, but because I want exactly this 35mm look.
Focal length is part of the picture
As a business photographer in particular, I keep noticing that, for me, a focal length doesn’t simply mean bringing a subject closer. 35, 50, 70 or 85mm all look different. The perspective changes, the surroundings look different, and people, too, can look completely different depending on distance and focal length. If, for example, I photograph a vehicle and want to show it as naturally and with as little distortion as possible, I’d rather work at 50 or 70mm and step back a bit. For a business portrait, on the other hand, I can deliberately get closer to a person with a 35mm and get a completely different, more dynamic effect. For me, that’s not a technical side issue but part of the composition.
Fewer options give me more freedom
That’s exactly why I often feel more creative with prime lenses. If I have a 35 on the camera, I don’t have to wonder whether 28, 42 or 57mm might be even better. I have 35mm and work with it. I move, look for my position and concentrate on the subject, the light and the person in front of my camera. With the 24–70, on the other hand, I constantly have the option of changing the decision again. Technically, of course, that’s incredibly practical – especially in business photography, when situations change quickly. Why the zoom still made it into my bag, I’ve written down here. For me personally, though, it sometimes also means too many options.
I want to know my look
For my next outdoor shoot, I’ll probably head out with two prime lenses again – for example 35 and 85mm, or 24 and 50mm. I’ll take the 70–200mm along for a few special shots, maybe also for some wildlife, and the 16mm stays for the really wide perspectives. Most of the time, I don’t need more than that. Because by now I know pretty well what my lenses can do and how their respective looks work. And that’s exactly what gives me confidence on a business shoot: I don’t want to constantly think about which focal length would theoretically still be possible. I want to concentrate on the picture. On the person, the situation, the light and the story the photo is supposed to tell.
So maybe less choice really is more sometimes. Not because zoom lenses are worse – but because I personally work more creatively with a deliberate limitation.
Business portraits with a signature
If you want portraits that don’t look like a standard backdrop: process and prices are on the business photography page. I photograph in Dresden, Bautzen, Kamenz and throughout Saxony.