I did splash out a lot on my new F 1.8 75mm lens, and it has certainly been worth the money,
giving me access to shots like these:
and these
But.
It is value for money, for a lot of money.
And in the end?
I love it. It’s beautiful, like a gourmet meal with all the trimmings, and it lets me achieve my belief that everything is beautiful, and everyone is beautiful, and you just need to look at it with the right eye.
But it seems that, inveterate blue-collar soul that I am, I prefer burgers and kebabs.
I still spend more time with the cheap F 1.7 20mm lens. One photographer at the recent event looked at it and went “at 20mm you’re not going to get much bokeh out of that.”
No. No I’m not.
(well, actually I can.)
But with the lens on I can go anywhere, and I can get right up and personal to you
and while the 75mm can be a beautiful lens, I have lost quite a few shots because I am too close. The 20mm is never a wrong lens
The pictures aren’t always the smoothest, but it doesn’t matter.
I am capturing images in time, single flashes of moments, here now and gone forever in a flash.
And bokeh is not everything. Bokeh is not magic.
So, as I expected, the lens that sees the most use is my Lumix 20mm. It’s battered and there are flecks of gold paint in the focus ring from my Kyo Kusanagi gloves, and the ring itself grinds and scratches a little because of an incident where it fell about one and a half metres onto a dance floor, and the whole setup of near-pancake on OMD Micro 4 3 looks exactly like what it is:
An amateur’s tool, wielded by an amateur.
But wielded well.
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