small flower, today in the orchard of Murcia.

Many thanks Frank, David and John,

If I wanted to build a two lens kit with the APO 28mm f/2.0 would the APO 50mm f/2.0 or 50mm f/1.0 be a good match?

The 50/1.0 Voigt is one of my all time favourite lenses, especially for environmetal portraits at f/1.0

Morgähn  Zf & Voigtländer 28mm f/2.0

That scene is beautiful.

Thank you!

Perspective is a function of the distance from the subject to the lens. On the 36x24mm format the classic portrait lenses are 85~90mm for 3/4 length, 100~105mm for head and shoulders and 135mm for a tight head shot. I prefer at least f/2.0 for 85mm and at least f/2.8 for 100~135mm to blur backgrounds if that is desired. This isn't set in stone. Personal preference can guide.

Yousuf Karsh, 1937-87, use 8x10" and maybe 11x14" cameras so given the lens selection and constraints of his camera bellows he used shorter working distance. A shorter working distance gives a more intimate look while while longer is more aloof. Anyway Karsh is my favorite portrait photographer.

If the lens gives pleasent backgrounds a 100~105mm f/2.8 macro lens can be a good choice. If the macro lens is too sharp there are in camera and post processing solution and one can easily make a Harrison & Harrison black dot knockoff by spraying a mist of flat black paint on the inside of a UV filter. This filter gives a bit of diffraction too soften the image a little when a lens is used to wide apertures. Such was used in movies in the '40s and '50s to disguise the age of a male lead.

I'm not a great portrait photographer. I'm too shy. I like to be the fly on the wall and shoot candids.

Best,

Dave

The 24 has an outstanding geometrical correction I have not seen in any other Wide Angle Nikkor so far AND it features a very high color fidelity over a huge range of lighting situation and complicated colors like purple, orange and certain greentones, all at the edge of the gamut ability of most recording media. Yet that is a very subjective evaluation mostly based on my extensive use with the D3, D500 and the D850 indoors and outdoors. The D600 is no reference point, because it has color gamut issues of its own.

The D850 is still my reference point in color fidelity when it comes to recording media. I am evaluating the Z9 now and will see if she matches the D850 in this respect ...

Yes I agree with the special qualities of the 24/1.4G Geometry,  colours and off course it's beautiful rendering and bokeh which looks like the 58G. Also the close focus of 25cm is a pré.