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Anonymous
>>196764 Street shooters tend to pick one lens, the serious ones (as opposed to the hobbyists with too much money who own a leopard skin ala carte M7 with a WATE as one of ten lenses) almost never wider than 28mm, e.g. Garry Winogrand used one 28mm lens pretty much his whole career. 35mm, a moderate wide, seems to be the most common. Normals are popular too, obviously with 50mm being the most common since others were rare. (This is all for 35mm film. It'd be like 20, 24, 28, and 35 for crop, obviously.)
The classic PJ workhorse lens is a 20-35 zoom or something like that, but I'm pretty sure most of them know better than to use it at 20mm all the time.
Honestly, in a lot of cases, ultrawides are a crutch that doesn't work too well. People use them to make the photographs look more instantly interesting, but only some really good people can boil down a complex street scene at 16mm equivalent into a cohesive, organic, meaningful composition. IMO, the only things ultrawides are actually really good for are some landscapes, architecture and, surprisingly, portraits on the more moderate ones. (E.g. 20mm, 24mm, etc.)
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