3 Lenses Only

A practical breakdown of how I use 35mm, 50mm, and 85mm in real-world assignments — and why the way you think about focal length matters more than the gear itself.

Today I want to walk you through how I personally use three focal lengths in my work: 35mm, 50mm, and 85mm. This has been my core setup for most of my career as a photojournalist and as a documentary and commercial photographer, and while I'm not here to tell you this is the "correct" way to do things, I do think there's value in understanding how working professionals actually think about their tools in real-world situations.

Photography isn't about memorizing what focal length is "best" for a certain genre. It's about understanding how a lens shapes your relationship to your subject, your environment, and ultimately your story. Every time you attach a lens, you should be able to answer a simple question: why am I using this lens for this shot or this scene? If you can't answer that, you're not really making a decision — you're just reacting.

I also don't carry all three lenses all the time. There's this idea that more gear equals better results, but in practice it usually just leads to hesitation and overthinking. Some days I'll carry all three, but more often I'll limit myself to one or two depending on the assignment. Limiting your options can actually make you more decisive, more creative, and more engaged with what's happening in front of you.

50mm: The Thoughtful Middle Ground

Let's start with the 50mm, because for me it's the least used of the three, but still incredibly important. A couple of years ago I picked up a Leica 50mm Summilux, and it quickly earned its place in my workflow. What I like about the 50mm is that it gives me a slightly tighter, more controlled perspective without completely disconnecting me from the environment. I especially like it for environmental portraits where I want a balance between the person and their surroundings.

There are days when I'm shooting for myself, or simply choosing to take a step back and observe more. The 50mm is perfect for that. It allows me to work with a bit more distance while still maintaining a sense of intimacy in the frame.

It's also about respecting the person in front of the camera. As photographers, we don't have the right to impose ourselves on people just because we want the shot. The 50mm gives me a way to respect that boundary while still making strong images — I can keep that space intact and still capture something that feels intimate, without forcing proximity that hasn't been earned or isn't welcome.

35mm: The Foundation

The 35mm is still my foundation. If I had to choose one lens to use for the rest of my career, this would be it without hesitation. It gives me the flexibility to shoot environmental portraits, travel work, and establishing images without introducing the kind of distortion that wider lenses can bring. When I'm working on a long-form documentary story and I've built trust with someone, the 35mm allows me to operate within their space in a way that feels natural and immersive.

That said, I don't think it's a forgiving lens. I often see photographers shooting with a 35mm or even wider, but not actually getting close. They're using the field of view as a safety net instead of as a tool for connection, and the result is work that feels distant and uninvolved. The frame sits in this awkward middle ground, neither intimate nor truly environmental. And instead of addressing that, many try to rely on visual tricks — like the overused "person walking through a shaft of light" — to give the image impact. But without intention or proximity, it still falls flat.

A 35mm demands that you move your feet, that you engage, and that you earn your position in the scene. When you approach it that way, it becomes one of the most powerful storytelling tools you can have.

85mm: The Problem-Solver

The 85mm, for me, is less about preference and more about problem-solving. This is the lens I reach for when the environment isn't working in my favor but I still need to deliver something strong for my client. In commercial and assignment work, you don't always get to choose your location, and more often than not, you're asked to make something compelling out of a place that simply isn't. The 85mm allows me to compress the scene, simplify the background, and isolate my subject in a way that feels clean and intentional.

I'm not someone who likes to rely on gear to solve creative problems, but I'm also realistic about the demands of professional work. An 85mm at a wide aperture, with that compression and subject separation, can get you out of some very tough situations. It's not about letting the lens do all the work, but about understanding when to use it as a tool to simplify and control.

The Philosophy Behind the Gear

I prefer prime lenses because they force me to commit to a perspective and engage more actively with my subject. But I'm not against using zooms when the situation calls for it — there are commercial shoots where speed and flexibility matter more than anything. The key is understanding why you're choosing a particular tool and how it influences the way you work, rather than just defaulting to what's popular or convenient.

I'd be curious to hear what your setup looks like and, more importantly, why you've chosen it.

Want to go deeper on technique and storytelling? Check out 1-on-1 coaching or the upcoming photography workshops.