Zooming is limiting you – if you want to learn photography, start with a prime lens (or lock your focal length)

Close-up of a Nikon AF-S NIKKOR 35mm f/1.8 DX lens, showcasing its design against a gradient red background
(Image credit: Future)

If you're serious about learning the visual language of photography, here's one simple piece of advice: start with a prime lens – or at least lock your zoom lens at one focal length. (For this, use a zoom lock mechanism or a low-cost DIY solution like a rubber band.)

Most entry-level cameras come bundled with a kit lens, which is usually a zoom. Zoom lenses are undeniably versatile, making it easy to frame a shot with a quick twist of the ring – but if you want to learn photography in a meaningful way, flexibility can actually get in your way.

So, prime optics with a fixed focal length are, in my opinion, much better for training your skills.

Why a prime will teach you far more, far faster

When you can't zoom, you have to move your feet. This limitation forces you to understand the physical relationship between the subject, background and composition.

You will become intentional about every frame – how you compose, where you stand and what elements you include or leave out. So, instead of relying on zoom to "fix" your shot, you're learning to see the shot – and you'll begin to understand photographic composition.

Here's a little exercise I've learned a lot from: spend 30 minutes photographing a single scene from multiple angles. Yes, 30 minutes with a fixed focal length is a long time for one subject – but you'll be surprised how many unique compositions you discover. This kind of creative limitation is what helps develop a photographer's eye.

Of course, this approach won't work for every genre. If you're into sports or wildlife photography, locking your focal length isn't always safe or practical. (Seriously, please don't wander onto a racetrack or into a bear's habitat in the name of art!) But for most styles – street, portrait, landscape, or travel photography – this method is not only safe but effective.

Here's a little overview of focal lengths and common subjects, so you can easily decide on the focal length you want to train your eye with.

Swipe to scroll horizontally
Focal lengths and common subjects

Focal length

Field of view

Subject

Full frame: 16-35mm

APS-C: 10-24mm

Micro Four Thirds: 8-18mm

Utra-wide (barrel distortion; straight lines can appear to bulge outwards)

Landscapes, cityscapes, travel, astrophotography

Full frame: 35mm

APS-C: 23mm

Micro Four Thirds:17mm

Wide (barrel distortion)

A classic option for street or travel photography

Full-frame: 50mm

APS-C: 33mm

Micro Four Thirds: 25mm

Natural (close to the human eye)

Also called 'nifty fifty', known for its natural feel, often used for portraits or street photography

Full-frame: 70-200mm

APS-C: 47-133mm

Micro Four Thirds: 35-100mm

Narrow (compressed perspective, brings subjects optically closer together)

Popular for portraits as it has a flattering effect on your subject. Also used to shoot events like weddings, as this focal length isolates subjects with a shallow depth of field

Full-frame: 200mm+

APS-C: 133mm+

Micro Four Thirds: 100mm+

Extremely narrow (compressed perspective)

Commonly used in action, sports and wildlife photography to isolate details and to get significantly closer details

Row 5 - Cell 0 Row 5 - Cell 1 Row 5 - Cell 2

Why rules are just starting points

When you're out and about, working on improving your photographer's eye, it's time to explore composition rules like the rule of thirds or the golden ratio. But don't let them confine your creativity.

Great photography is often found beyond the textbook – in odd angles, through foreground elements or from a unique perspective. So, don't let those concepts box you in.

You might like...

If you want to learn more about photography, be sure to check out our beginner-friendly tutorials and guides – designed to help you understand photography quickly and easily:

- What is a "fast lens"?
- What is a "workhorse lens"?
- How to find your perfect telephoto lens
- Avoiding overexposure using filters
- How to think in black and white
- When to use Noise Reduction

Kim Bunermann
Staff Writer

Kim is the Staff Writer on Digital Camera World, and formerly Technique Editor at Digital Photographer, focusing on the art and science of photography. With a Master’s degree in Photography and Media, she is driven to educate through an analytical approach, visually and technically. With her guides and tutorials, Kim seeks to uncover new facets of this time-honoured medium and foster a deeper understanding of its profound role in culture. Kim highlights topics that resonate with modern society, including women in photography and critical issues such as environmental conservation. She also discusses and reviews camera gear, giving you an overview to find the best fit for your photography journey. 

You must confirm your public display name before commenting

Please logout and then login again, you will then be prompted to enter your display name.