It happens almost every single day, sometimes a few times a day. I get an email that goes something like this:
“Mark, I need some help! I recently got a new camera. The kit lens is ok, but I’d really like to get a better lens – which one should I buy? I’ve done hours of research but just can’t decide. I only have enough money to buy one lens and I’m afraid I’ll get the wrong one. Please help!”
Does this sound like you? If so, have no fear, I’m here for you.
The Truth
Let’s get one thing settled before we even begin. Someone has to tell you, so it might as well be me. Take a seat if you must.
There is no perfect lens.
There will always be a sharper, faster focusing, lighter, better lens. You’re going to find one with better bokeh, less distortion, higher contrast than the one you just purchased. Trust me, it’s going to happen.
Free yourself from the fear of buying the wrong lens. Embrace buying a good lens that you’ll love for years to come. Trust me on this one – it works.
One Lens to Rule Them All
My apologies to Tolkien fans, but unless Sauron was secretly making lenses alongside his rings, there is no single lens to “rule them all.” It just doesn’t exist.
Think of your lenses less like a “one to rule them all” and more like an army of specialists. You have a specialty, so one will be used more than others. But you’ll never have just “one perfect” lens.
Let Me Tell You About My Dad
I grew up in rural Montana surrounded by tools. My dad was a carpenter, gardener, mechanic, electrician, and ham radio enthusiast.
We had a shed for the gardening tools; picks, hoes, spades, rakes, and even small tractor. We had a woodshop filled with things that little boys love; a table saw, radial arm saw, lathes, chisels, hand planes, hammers, and drills.
There was a section of tools just for the cars; jacks, socket sets, oil filter wrenches, a timing gun, tap and die sets. There were specialized tools like drum brake adjustment tools. I haven’t even mentioned the “ham shack” filled with soldering irons, needle nosed pliers, wire cutters, voltage tester, and other gadgets.
These were not just tools that were laying around to be looked at, we used these tools, a lot. I was hammering shingles on a roof before I knew my multiplication tables. My brother and I were using chainsaws (unsupervised) before we realized that girls were interesting.
My dad taught us about the tools, what each one did, and most importantly, did not do. We were shown how to take care of the tools and keep them organized. My dad had several toolboxes, each one specific to a certain type of work; a woodworking toolbox, a toolbox for fixing the cars, a small electrician’s toolbox, and one to keep with the tractor.
One day my dad told me was time for me to get my own tools. We went to the shop and built a small wooden toolbox. I was so proud when my dad presented me with my first tool; a hammer. For a long time that single hammer was all I had. I borrowed other tools when I needed them, but over the years my toolbox filled up and I could tackle all sorts of tasks.
Your Toolbox
Think of your first big lens purchase as that proverbial hammer. It’s the tool that will work for most situations. Then, over the years, you’ll add more lenses for specific tasks. You may have a lens for scenic photos, one for portraits, a lens for low light events, and one just for creamy bokeh. But to start – you just need one tool, there will be time for the tool shed later.
Free yourself from the expectation that you have to buy the perfect lens. Buy a great lens, and then rent or borrow if you need something for a specific job. Over time, fill your toolbox. It took me about 17 years to get all of my lenses, there’s no rush.
Let me show you how this looks.
My Travel Photography Toolbox
- 35mm f/2– this lens is the “most situations” lens. I have it on my camera 80% of the time. In fact, I use this lens so much that I made a video about why I think it’s the “perfect” travel lens.
- 50mm f/1.4– this is the lens I use in low light and for most portraits. It’s also my creamy bokeh lens.
- 21mm f/3.4 – my wide angle lens for street and landscape photography. I use this lens when I want everything in focus. It’s almost the opposite of my 50mm lens.
- 135mm f/3.4 – a longer lens for portraits, wildlife, and landscape photography. I use this for distant vistas and close-up headshots.
Notice that those are all prime lenses, they don’t zoom at all. That’s because these lenses are very small and made for travel. When I’m in the studio I use a different toolbox altogether.
To give you a better understanding of what each lens can do, and how I use them, I’ve created four galleries of some of my favorite images. Take a look and see which gallery most closely aligns with the type of photography you do most. Then start with a similar lens.
35mm f/2
50mm f/1.4
21mm f/3.4
135mm f/3.4
My Studio Photography Toolbox
- 70-200 f/2.8 – this is my “most situations” lens. I use it for headshots, full-length shots, and everything in between. It’s on my studio camera 80% of the time.
- 24-70 f/2.8 – When I need something a bit wider for close up work. I use this for environmental portraits or when I want a bit of distortion. It’s also a great scenic photography lens.
- 85mm f/1.2 – The “magic lens” for extremely shallow depth of field. A super expensive lens I use 5% of the time.
Your First Lens
I know what you’re thinking, “This is all great, but I still have to choose that first lens, and I still don’t know what to buy!” I said I’m here for you, and I meant it. The first thing you should do is decide what you’re going to shoot most of the time. Once you know that, you can buy with confidence.
Here are my lens suggestions. I’m keeping it to focal lengths and apertures and leaving brand names and model numbers out of the equation. Manufacturers are constantly updating models and specifications, but these general guidelines should last years.
Scenic Photography
My Choice: 16-35mm f/4
Wide angle lenses are perfect for most scenic photography. Buy a lens that’s 35mm or wider. One of my favorite scenic lenses is the 16-35mm f/4 zoom lens. Canon and Nikon both have a great version of this lens and most manufacturers have something similar.
Most scenic photography is shot a hyperfocal distance, so you don’t need to worry about getting a lens with a large aperture. I know a lot of photographers who shoot great portraits with a f/5.6 kit lens.
Portraits
My Choice: 70-200mm f/2.8
Most portraits are shot at 70mm or longer. A 70-200mm lens will give you great compression, the flexibility to zoom in and out for composition and put some distance between you and your subject to make the comfortable. The wide 2.8 aperture is perfect for shallow depth of field. This lens can also work as a sports and wildlife lens.
Travel Photography
My Choice: 24-70mm f/2.8
It’s the “do everything” lens. It’s wide enough for scenic photos and long enough for portraits. With a wide 2.8 aperture, you’ll also be able to shoot in low light. The lens is not very heavy which makes it easy to carry for long periods of time.
Sports and Wildlife
My Choices: 200-500mm (Nikon, Sigma, Tamron), 100-400mm (Canon).
Second Choice: 300mm prime
If you’re only going to be shooting things at a distance (like lions and tigers or outfielders) get a long 300mm prime lens. But most of us aren’t doing that, we need some flexibility.
Newer super telephoto zoom lenses like the Nikon 200-500mm and Canon 100-400 are great “do everything” lenses. I shot with a Nikon 200-500mm in Africa and loved it. Sigma and Tamron also make versions of this lens. They are much less expensive than the long primes and a lot more flexible.
If you are also shooting portraits, weddings, and things of that sort I suggest you buy a 70-200mm f/2.8 and a teleconverter (extender). You can put the teleconverter on your lens and double the focal length; essentially getting a 140-400mm lens. The downside is that you usually lose one or two stops of light.
Exceptions to the Rules
These are just suggestions, of course. There are many people who are using long lenses for scenic photography and wide lenses for portrait photography. It’s up to you! Look at as many photos as possible, look at the lenses that were used and let that influence your decision. But in the end, just choose one and stick with it. Which brings me to my last suggestion…
Learn Your Lens
No matter what lens you buy, you’ll have to spend some time to get to know it. Don’t give up on the lens after a single day of use. After a few months of practice your “do everything” lens will become second nature to you. You’ll know how far away to stand from your subject, what you can expect from the angle of view, and how much light you’ll need for a handheld shot.
Gavin Hoey and I had a blast with our prime lens challenge a couple of years ago. We both discovered we could do a lot more with a single lens than expected. Once you get that new lens, don’t second guess your decision. Stop shopping and start shooting. There will be plenty of time to add to the toolbox in the future.
