A change (of lens) is as good as a rest: How a 35mm saved me from my photography slump

In a development that has shocked absolutely no one in the photographic community, it turns out that an old proverb has quietly evolved for the modern age.

“A change is as good as a rest” is all well and good for civilians, but for photographers? It’s missing the crucial detail: the change must involve a new lens. Preferably a Leica. Ideally purchased in December, when the days are short, morale is shorter and your creativity is somewhere under a blanket whispering, “Wake me up in April!”

Every winter, the same thing happens. The temperatures drop, the light disappears before you’ve even finished your lunch, and suddenly the idea of leaving the house with a camera feels like signing up for an endurance sport.

Most photographers I know (myself included) enter this quiet, reluctant hibernation – a sort of creative slowdown that feels equal parts guilty and necessary. And I’ve always championed the idea that taking a break from shooting can be a genuinely healthy thing. A rest. A recharge. A step back to reset your eye.

But this Christmas, I discovered something far more effective than rest. Something scientifically calibrated, in the loosest sense, to reignite enthusiasm, reawaken dormant creativity, and get you out of the house again, even if the wind could cut you in half. And that something is, of course, a new lens.

Enter the Leica 35mm Summarit f/2.5: a compact, unassuming little gem that has done more for my photography mood than any amount of mulled wine, peppermint bark or cosy evenings watching YouTube gear reviews. This lens didn’t just nudge me out of my winter slump; it practically grabbed me by the collar and said, right, enough. We’re going shooting.

And I’ll be honest: this wasn’t my first attempt at reigniting the spark. I initially bought the Leica 28mm f/2.8 Elmarit-M V3, a wonderful lens in its own right. Optically beautiful, characterful, the kind of glass many people swear by.

But when paired with my beloved 50mm, the two focal lengths just didn’t feel right together. It was like introducing two friends and immediately realizing they have nothing to talk about. I admired the 28mm, but I didn’t love it. Not in the way you need to love a lens you plan to use as your “wide”.

So, like any reasonable, budget-conscious, disciplined photographer… I bought another lens.

The 35mm Summarit wasn’t just a purchase – it was a revelation. The moment it clicked onto my camera, I realized this was the focal length I’d been missing without ever acknowledging it. A comfortable step wider than my preferred 50mm, without straying into the disorienting territory of a true wide-angle.

It felt natural. It felt intuitive. It felt, dare I say, effortless – exactly what you want in winter when effort is already in short supply.

And even though I’ve only taken a handful of Christmas and holiday snaps with it so far – twinkling lights, festive family moments, the usual seasonal clichés – I already know that this lens is going to be a permanent fixture in my kit.

It disappears into the camera in the best way, enabling me to shoot instinctively, without hesitating, without overthinking. The 35mm focal length is a storyteller’s dream, perfect for capturing the rhythm of everyday life – the kind of scenes that are easy to ignore until suddenly they’re framed beautifully through a Summarit.

Honestly, if 35mm is good enough for Matt Stuart, it’s definitely good enough for me. And if a man who has made a career out of the 35mm’s quirky, energetic charm swears by it, then who am I to argue? I’m simply following in excellent footsteps - and feeling happily re-inspired because of it.

So, if you find yourself feeling unmotivated and curled up indoors while your camera gathers dust, don’t worry. A break is a good thing. A rest is healthy. But a new lens? Well, that might be the seasonal miracle you’ve been waiting for. Because sometimes, a lens truly is as good as a rest.