i use leica and from where my experience lies, there is still nothing out there which beats the 50mm f2 summicron or the 50mm f1.4 summilux lenses. in 35mm you have the 35mm f2 asph summicron and the 35mm f1.4 asph summilux, both stunning lenses.
the 105 1.4 nikon, being a G lens lacks the manual aperture ring - a big disappointment. also a 105mm lens at 1.4 has about zero depth of field, so pretty useless for portraits. a 105mm lens at 5.6 for instance has a depth of field from the tip of the nose to the eye of the subject matter, in portraiture. the only advantage over the 105mm f2 d nikkor lens will be the amount of light coming through the viewfinder, and also it lacks the d lens' optical control.

and of course, no one has mentioned the leitz 0.95 or 1.1 noctilux in 50 mm. if you want something with great resolving power and a silly maximum aperture, neither canon or nikon comes close.

for anything to come close to the 90mm f2 summicron is an exercise in futility. it must be remembered that rangefinder cameras produce superior images to dslr devices as the rear element of the lens lies much closer to the film plane, or sensor of the digital leica bodies. that is the joy of using leica, either for film or digital imaging.

other than marketing, i do not see any reason why anyone would want to purchase the nikon 105 f1.4, and i say that as i also have used nikon since 1959. it looks like an exercise in one upsmanship in regard to the canon lens system. of course, it won't stop folks from purchasing on of these.

having said all of that, in 58mm focal length, the minolta md rokkor 58mm f1:1.2 still pretty much flogs anything else out there. and the 100mm f2 af rokkor is legendary along with the 35mm af 1.4 rokkor. both camon and nikon have worked 25 years to catch up with these lenses. no better glass in the world for slr or dslr devices.

There are lots of ways to approach this; you could buy some cheap Chinese flashes (Yongnou) and radio triggers. There is some chance the flash will fail early; getting fixed by shipping to China will take time and money so just buy an extra (i.e. buy 4 flashes if you want 3). Or pick up older name brand flashes (I like the Nikon SB-80DX) and radio triggers. These won't be TTL but that's not an issue in studio. If you go that route, I recommend Cactus V6 triggers; they allow up to 4 independent groups with remote power adjustment...very convenient when setting up.

You should get a flash meter to set flash power. The Sekonic meters are good but expensive; I recommend the Polaris meter if cost is a real issue.

You should have a good white balance target, and use it after you have set the power levels on your flashes. White balance can shift with flash power.

I recommend you get brolly umbrellas (like Photek softligher, these come with a diffusion cover) and/or rectangular and strip soft boxes, and grids to control light spill. This will let you work closer to a background. You need something large (e.g. 60" umbrella) for full body shots; smaller will work for head/torso shots.

Since this is for studio, I really do suggest you consider getting strobes with modeling lights rather than flashes. The modeling lights let you see what you will be getting without chimping. Look around for some used Alien Bees; these can be pretty inexpensive.

And get a boom for mounting a flash / strobe as hair/rim light.

And you can get large panel reflectors (or make some from foam core board).

I don't know of an article but here are my thoughts.
The original 'normal' lens for 35mm cameras was the 50mm. In general, wide angle was considered anything much 'shorter" than 50mm such as 35mm, 28mm etc.
Telephoto was considered anything much 'longer' than 50mm such as 85mm, 105mm, etc. Here is the definition of fisheye from Wikipedia, I think the term was originally applied to lenses capable of 180 degree coverage. 1:1 refers to a lens capable to producing a 'life sized' image on the sensor or film.
Macro is supposed to be 1:1 or greater but is frequently used to indicate a lens that is capable of closer than normal focus (what ever that means).
A lens description like "70-300mm F/4.5-5.6 Di LD Macro" are pretty meaningless in my opinion. "Angle of coverage" describes the angle range that a lens can image. That is the angle of the full image circle produced by the lens. It does not take into consideration the sensor size which is part of what defines 'angle of view', i.e. a FF lens has a much greater angle of coverage than the angle of view of that lens mounted on a crop sensor camera.
All of this is clouded by the whole 'crop sensor' verses FF thing.
As I said, normal, wide angle and telephoto as I defined it above is based on old 35mm cameras.
Hope this helps more that it confuses.

The benefit of prime lenses is that you can get larger apertures for less money than you can with zoom lenses. This is advantageous where you want a short depth of field as in portrait photography. In landscape photography, you want a large depth of field where you stop down to f11 or f16. Less expensive Wide angle lenses or zoom lenses can be used for landscape photography. In most cases, the wider the angles are better for landscapes so a full frame camera is preferred for this type of shooting.

An 85mm will give you more compression as it will be equivalent approximately to a 125mm . The 50mm will be approximately equivalent to a 75mm , which is slightly wide for portraits .
The best portrait lenses in general fall between 85 and 105mm .
Test shots will allow you to see what pleases your eye .
Personally I'd go with the 85mm as this will give you an equivalency of about 125mm which to my eye is more flattering as it tends to compress rather than exaggerate features .
Good luck !

Nikon actually made more than two 80-200 lenses. The last in the series of 80-200 was produced with a motor. AFS model. The lens was a good lens, but shortly after release Nikon came out with its 70-200 vr (1) lens. It was an immediate success and shortly after stopped producing the 80-200 afs. However they kept producing the lens just prior to the 80-200afs. They had too many problems with the motor on the afs model. I was told now that you can't even get the motor replaced since parts are out of inventory. The earlier model is still being sold. It is a work horse and as sharp as the 70-200 vr2. I still have it and get as good if not better shots from it as my wife with the 70-200 vr2 she uses. For the listed reasons, I haven't move up to a newer mid range lens. Hope this helps some.