I depends on your street photography style. For me a much longer lens is a must, the DA*50-135mm is my tool for this job - at full 135 stretch.
I can frame much better and compress the background which should be as much part of the picture as the subject in street photography.
Wide angles might be ok for shooting from the hip when you are in close and don't want the subject to know what you are doing.
I like using wide angles for in close portaits, but the subject must be in on the act for this.
From a practical point of view the longer lens gives you a head start if things turn nasty.
David

Me too John. -0.3 is my most used setting, along with aperture priority and centre weighted metering. I use this proceedure on both the K5 and K10 as I would rather under expose slightly to retain colour and not blow the highlghts.
Of coure there are some conditions when I vary this. For contre jour subjects I generally overexpose slightly.
I've done many stained glass window pictures recently and have gone as much as -2 full stops under exposure if its bright outside so that I don't blow the highlights.
David

Well done Geordie and thank you Karma for a subject which brought out some very good images and for giving us your expert comments.
David

Good idea, the eye really focuses on the headstone inscription, after wandering around the oof area.
David

Lovely light i-Berg. Big modern buildings make fine reflectors.
David

Aliengrove's winning entry in the weekly competition just completed is a perfect example of a graphic abstract.
David

A graphic abstract is my cup of tea.
David

Excellent, particlularly #3.
David

Detailed abstracts when they are done as well as this are far more satisfying than record shots of the whole vehicle. Excellent set.
David

I'll send you a PM Ken.
David