Why You Probably Don't Need All Those Lenses

Many photographers are likely choosing and buying lenses based on outdated advice. The typical recommendations tend to push you toward a variety of lenses you might hardly ever use.

Coming to you from Scott Choucino with Tin House Studio, this insightful video challenges the heavily-marketed lens buying approach. Choucino points out the traditional "starter pack" photographers often get—the popular 24-70mm, followed by a nifty 50mm prime for that pleasing blurry background, then maybe a wide angle option like the 16-35mm, and eventually the classic 70-200mm telephoto zoom. Before long, many photographers end up with mountains of glass—20mm, 28mm, 35mm, 50mm, 85mm, and maybe even a macro lens—primarily so they're covered for every imaginary scenario they might encounter. But here's the rub: Choucino reveals just how impractical this thinking really is.

What's crucial here, as Choucino highlights, is that most professionals don't use all these lenses daily or even regularly. They typically lean heavily on two or three focal lengths that suit their established style—be it portraits, weddings, or studio product photography. Choucino himself shares he previously owned numerous lenses, yet he barely used most of them. For weddings, he mainly shot with 35mm and 85mm primes, reserving zooms like the 16-35mm and 70-200mm only for specific parts. In studio, he predominantly uses a 90mm medium-format lens and occasionally a wider 65mm—but not necessarily to capture more of a scene; rather, specifically to add distortion intentionally.

What does this mean for you? Choucino makes a simple but crucial point: lens choice doesn't have to be complicated, despite relentless marketing suggesting otherwise. Instead of buying lenses based purely on the ranges and types offered by manufacturers, he proposes narrowing your decision-making to simpler terms—do you need distortion in your shot or not? If you shoot environmental portraits, perhaps you'll stick mainly with one wider focal length; if you prefer tighter portraits, convince yourself to settle primarily on one telephoto prime. Ask yourself realistically if you actually need the full spectrum of 16mm to 200mm frequently—or whether it's marketing rather than practicality driving your purchases. Don't confuse options for necessities.

Limiting your choices, Choucino argues, isn't restrictive—it actually frees your creativity. By opting out of constantly deciding which focal length to pick among an array of zoom options or multiple prime lenses, you can concentrate instead on your shot's true emotional elements and composition. After all, when using a zoom from 16mm to 35mm, can you confidently say one exact focal length feels "right"? Or is it more practical to simplify to either wide or normal and just make the image work?

Photographers spend too much money and mental effort collecting lenses they rarely need. Choucino's experience—streamlining from owning around ten lenses down to essentially two essential focal lengths—is compelling advice you'll likely benefit from considering carefully. Check out the video above for the full rundown from Choucino.