I did this dusk shot in June of a passing coal train with the coal dust blowing across the field. This was with the 1.4 on a 5D Mark III.
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I found another 50mm f/1.4 that I'm very interested with. Has anybody have experience with the Zeiss 50mm f/1.4 lens?
Do you recommend it? How the image quality?
Is the Manual focus only Lens really make a big difference?
Just curious if it's worth the extra cost over the sigma or canon.
I see your point. It is clear. I guess I just wasn't thinking that way when I read the original question. I was thinking about working with a landscape or architecture photographer and me telling him I'm going to shoot at f/2 because that's the sharpest aperture for the lens, and then him taking my camera and lens away from me. I can agree that at a fixed focal length, and consistent, fixed focal plane, a lens can be sharper at f/2 vs. f/8, or what have you. I also interpreted as, ok, what aperture will make most of my scene sharpest? I guess there are several ways to think about and measure sharpness. I suppose if you picked a finite point in the landscape scene, let's say your focal point you chose, and shot at f/4 and then f/11, sure the whole scene would be in focus at f/11, but perhaps that point you focused on is sharper at f/4, than f/11.
Aye, the artistic needs should certainly outweigh achieving maximum sharpness. When it comes to landscapes, I'd pick f/11 on any normal lens, or I'd use a tilt/shift lens and use tilt to maximize focus to infinity at a more ideal aperture like f/4 or f/5.6. For architecture, its roughly the same deal...not much in the way of very fine detail in architecture, and you could probably stop down to your hearts content if you wanted to. For portraiture, if you need to get your full subject within DOF, f/8 is certainly going to do a better job making your entire subject sharp vs. f/4. Even if it limits the amount of fine detail that can be resolved, using a wider aperture would be antithetical to your primary goals.
If money isn't an issue I think speedlights are the hands down winner. You can always put a couple of them together and use them as one light. This way get the portability of the speedlight, ettl, maunal control, all from the camera, and the power of the studio lights. But this type of set up might mean your kids aren't going to college.
LOL! +1, totally a windshield.As this problem is solved I have another riddle: how to avoid such phenomenons?
Warsaw by marekjoz, on Flickr
Shot @F4, 24mm, ISO 3200, 1/30s.
Hint: it's guessable by looking at the picture
Don't shoot through a windshield.