A $1,000 gap between a 35mm f/1.4and the 35mm f/2.8 sounds dramatic until you look closely at what that extra aperture actually changes. If you shoot people, events, or fast-moving scenes in fading light, this choice affects sharpness, noise, and how much control you really have when conditions get difficult.
Coming to you from The Bergreens, this grounded video walks through the real difference between f/1.4 and f/2.8 without leaning on hype. Bergreen focuses on two outcomes that show up immediately in real photos: background separation and low-light flexibility. Two full stops of light is not an abstract number here, because it translates directly into shutter speed options when motion enters the frame. The video makes it clear that lens speed is not about bragging rights, but about how often you can avoid pushing ISO or sacrificing sharpness. That framing matters if you’re trying to build a kit that works consistently instead of one that looks impressive on paper.
The discussion around bokeh is refreshingly honest. Bergreen shows side-by-side portraits and asks a question most people avoid asking themselves: can you really see the difference without being told where to look? The answer is yes, but not always in a way that changes how an image feels to someone outside your own circle. For many situations, f/2.8 already delivers enough subject separation, especially when you manage distance and background intelligently. The video also hints at something useful but uncomfortable: chasing maximum blur can distract you from composition, light direction, and timing.
Low light is where the tradeoff becomes less theoretical. Bergreen explains how f/1.4 gives you room to keep shutter speeds high enough to freeze motion when people move unpredictably. This shows up clearly in event work, weddings, and night shooting where stabilization and slower shutters stop being reliable. There’s also a brief story about photographing extremely fast action that illustrates how narrow the margin becomes when you rely on f/2.8 in dark conditions. At the same time, the video avoids the trap of saying faster is always better, instead pointing out that many focal lengths simply aren’t used in low light often enough to justify the extra cost.
The video also tees up alternatives that help you avoid buying your way out of every problem. Bergreen touches on using a tripod when motion isn’t a factor, adding a reflector or flash when light quality matters more than lens speed, and experimenting with small video lights for controlled scenes. Check out the video above for the full rundown.