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I'm not a gear buff. 

I've worked with so many different cameras, lenses, and formats that I have come to think of cameras and lenses as a tool, like a frying pan is to a chef.

But there are exceptions, of course.

When I shot these images in the Lake District, the atmosphere almost begged for being treated with a unique lens as it adds a certain timelessness.

I shot the first image (Tania Aresti) with my usual go-to lens for outdoor work, a Sony G-master 24-70mm f. 2.8. It sharp, perform well, but it's almost too good. Too sharp. Too perfect.

I shot the other two images (Eowyn Luna & Tania) in the same place. But I used a Lomo Petzval 85mm with a shift/tilt adapter. The adapter allows me to fiddle a little extra with focus and perspective. 

It's not that sharp, it has artifacts, bokeh is outrageous, but it's ever so gorgeous, and I love the image quality especially for something timeless like this. This kind of image is the exception where the equipment adds something special that you can't easily do in post-production.

What do you think can lenses be too good?

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Guillermo

I suppose it all depends on the objective, as you said about retouching. For a beauty portrait to show a perfect makeup and skin, of course, grab the sharpest lens you have around, and then in post use that to create perfect skin, makeup, and lighting. But for your images that you want a very good separation of model and background? Of course a not so sharp lens is required. This reminds me of some photographers that put cloth in front of the lens to blurry the subject and give atmosphere. This two last images appear like a photo taken in the last 1800 or a analog photo with was washed too much on the development process and the results are perfect.

thomasholmphoto

Separation has little to do with the lens Guillermo; if anything, you can create better (sharper) separation with a newer lens. Separation is more about composition, lighting and editing. But thanks.