We’re in the middle of a series on the lenses we love. We’re explaining all of the lenses we own, why we decided to purchase them, and how we use them on wedding days (and on portrait sessions). You can catch up on this series here:

Today, we’ll be talking about the fifth and final lens we purchased, the Canon 50mm 1.2L, and the reasons why we couldn’t shoot without it. If you’ve been following this series, then you know that the Canon 50mm 1.4  was the first professional lens we purchased and the one we still recommend for up-and-coming photographers. When we started our business, our goal was to reinvest all of our profits back into our business to pay cash for all of our gear before we ever paid ourselves. Thankfully, we were able to do that, but we had to be patient. We didn’t get this lens until eighteen months into our business, partly because of other expenses, and partly because we didn’t see the immediate need. However, once we actually acquired our 50mm 1.2L, it was a game changer because…

1. It’s Pure Butter.

We had a 50mm lens that we thought was performing just fine. But, as we got stronger as photographers, and things like nailing exposure and white balance in-camera, finding dreamy light, and posing couples all became second nature, the perfectionists in us started to rear their ugly heads, and we wanted a 50mm lens that could meet our high expectations. This one beats them every time. Unlike some lenses that can’t focus reliably at their widest aperture, this lens is solid at 1.2 (especially on the  5D Mark IIIs that we shoot with). The backgrounds become a buttery blur of soft goodness, and the subjects are tack sharp. For our style and taste, that’s the perfect combination. It’s also a great lens for…

2. Interacting with Clients.

On wedding days, Amy takes the lead with posing clients. She has a strong competitive dance background that includes extensive ballet training, so she knows exactly how to direct and position subjects’ bodies in the most flattering way. She is a student of posing and spends time every single day dissecting posing in other images, from fashion magazines to other wedding photographers we love, and analyzes what she loves, what she doesn’t and then decides how we can use that information to achieve great looks for our clients. Since we work with non-professional models almost every time we shoot, it’s important to be close enough to direct them through posing and encourage them like a coach. This lens’s depth of field is so shallow that Amy can be close enough to be an encourager, and still get those beautiful backgrounds as if she was farther away. Plus, this one is by far…

3. Amy’s Favorite Lens.

If Amy had to shoot a wedding with just one lens, this would be the one. Like we’ve said about 50mm lenses, they see the world similar to the naked eye. All we have to do is move to get the shot we want. From the getting ready room to portraits to the reception, this lens can do it all. (The ceremony gets tricky with this lens, but it could get it done if this was all we had.) Even though this lens comes with a price tag four times greater than the 50mm 1.4, we think it delivers ten times the quality, from the color to the focus, and the depth to the glass, it’s a beautiful lens. When we need a lens for everyday life, too, this is the one we take with us.

So, if you’re a photographer who’s ready to take the next step in your portraits or weddings, this just might be what you’re looking for. Next week, we’ll tackle how we keep our lenses clean and safe. We hope you’ll join us! Have a great week and let’s make each other better!