You talk about focal lengths all the time, but what do you actually use when you’re on a real trip with limited space in your bag? This breakdown of 28mm, 24-70mm, 16-35mm, and 85mm choices shows what happens when theory meets crowds, wind, and shifting light.
Coming to you from The Bergreens, this helpful video walks through a Caribbean trip using the Canon RF 28mm f/2.8 STM pancake lens, a Canon RF 24-70mm f/2.8L IS USM, a 16-35mm wide angle zoom, and an Canon RF 85mm f/2 Macro IS STM. Bergreen starts with a simple beach chair framed at 28mm, not because it’s exotic, but because it solved a problem. The beach was packed. The goal was quiet. By isolating the chair, matching its color to the water, and adding only a shadow for a human element, the frame says “calm” without showing the chaos just outside the crop. Notice what’s missing. No clutter, no horizon distractions, no extra narrative you didn’t ask for.
Then the 24-70mm at 24mm shifts the mood completely. Bergreen shoots into the sunrise at f/20 to pull a sunstar and turns her son into a silhouette on rugged rocks. Underexposing preserves the sky and strips detail from the figure. You’re not looking at a portrait. You’re seeing shape and gesture. The strong foreground rock, the crashing waves, the boy climbing without being the obvious subject. It almost didn’t happen. The light changed, the scene felt flat at first, and then everything aligned for a moment. You see how quickly intent can pivot once you’re paying attention.
The planned palm tree shot tells a different story. The original trees were gone after a hurricane. The replacement required hiking and compromise. Again at 24mm on the 24-70mm, the lines in the scene guide your eye across the frame while the waves break off to the side instead of cutting through the people. It’s not perfect. The trunk intersects the waterline more than intended. The slope of the beach limits how low you can go. You adapt. That tension between storyboard and reality is where most travel images live.
Then comes one of the more interesting decisions: slowing down. With the 28mm pancake at 1.3 seconds, the palm fronds and water blur just enough to turn a static sunset into something that feels like wind and salt air. That shift didn’t happen instantly. It came from asking, “How do I make this better?” and changing one variable. Meanwhile, the 85mm goes in a completely different direction. At 1 second, f/11, ISO 100, Bergreen pans through a color gradient in the sky. No clear subject. Just motion and tone. You wouldn’t plan that shot if the 85mm wasn’t already mounted.
Longer focal lengths show up again at 70mm for a father and daughter walking tide pools. Shoot that wide and it becomes about location. Tighten it and it becomes about connection. Compression simplifies the story without saying a word. The same compression strengthens layered palm trees fading into mist.
Underwater adds another constraint. They rely on classic composition: foreground, middle ground, background, light from above. Hold your breath. Previsualize. The over-under shot pushes it further at f/3.5, accepting background blur and embracing the chaos of moving waves. It takes repetition to get the split just right.
There’s more in the comparison between their styles, especially how differently they react to the same sunset and the same lenses. Check out the video above for the full rundown..
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