Why I Still Shoot Prime in a Zoom World

I wrote this piece a while back, and it keeps coming back to me — especially when I'm out on a workshop and someone pulls out a 24–200 and asks why I'm still walking around with a fixed lens.

The answer hasn't changed. Primes make you move. They make you think before you raise the camera. And that friction, that small resistance, is where composition actually happens.

In the article I go through the three focal lengths I keep returning to — the 28mm for immersive wide scenes, the 35mm as my honest everyday lens, and the 50mm, which taught me almost everything I know about light and subject relationship.

If you're on the fence about committing to a prime, or you've been curious about the differences between these three, it's worth a read.

👉

Which one is yours?