Street photography has always sparked debate about which focal length is “best.” The truth, as I’ve found over years of walking city pavements and narrow alleyways with a camera in hand, is that there is no universal answer.
It depends as much on who you are as a photographer as it does on the pictures you want to create. For me, two focal lengths have become indispensable: the classic 50mm and, more recently, the wider 28mm. Each has its quirks, and each alters not only how my images look, but how I move, observe, and interact with the world.
Above: Gil Kreslavsky's YouTube video got me thinking about what is the sweetspot for street photography
The 50mm has always felt like home. It gives me a little distance from my subject, enough space to capture moments without intruding, yet still close enough to feel intimate. On the street, that balance matters. It means I can shoot naturally, keeping my subjects at ease while creating images that feel unforced.
The perspective is honest, close to how we see with the human eye, and it allows for clean, uncluttered compositions. Many shy photographers gravitate toward it for exactly this reason: it lets you be present without being confrontational.
Lately, though, I’ve been reaching more for a 28mm. This lens pulls you right into the scene. You can’t hide at a distance – you have to get involved, to step into the energy of the street. It’s harder to master, yes, and it demands quick thinking and careful composition, but it rewards you with layers, storytelling, and an immediacy that longer lenses can’t replicate.
Even outside the city, I’ve found the 28mm wonderful for candid family moments, where its ability to capture both subject and environment makes the photographs feel more alive.
Of course, there’s the middle ground: 35mm. The YouTuber whose video sparked (see above) this reflection describes it as the sweet spot between 28 and 50, and I agree. It has enough width to capture the environment, enough reach to frame tighter portraits, and it doesn’t distort or overwhelm.
For many, it’s the logical starting point for street photography – less punishing than a 28mm, but still more versatile than a 50mm. It offers a balance, and balance is often what a beginner needs when first learning to read and fill a frame.
Listening to his breakdown of the three focal lengths, I realized how much lens choice shapes not just the photographs we take but the way we shoot. A 28mm photographer has to wrestle with complexity, organising the chaos of streets into something coherent. A 35mm shooter learns the art of balance. A 50mm devotee often focuses on intimacy and emotion, drawing attention to individuals rather than the swirl around them. These aren’t hard and fast rules, but rather patterns that reveal how our tools influence our style.
In the end, the best lens is the one that suits your temperament. Are you comfortable pushing into people’s personal space? Then a 28mm may be for you. Do you prefer to observe from a respectful distance, capturing honest slices of life without intrusion? The 50mm will never let you down. Or perhaps you’re looking for a flexible compromise - the 35mm provides just that, with enough versatility to grow into whichever direction you want to take.
What I’ve learned is that mastering one focal length - really committing to it - teaches more than endlessly switching. You start to see the world in its frame, instinctively knowing how to compose before lifting the camera.
For me, I keep returning to 50mm, but the 28mm now sits alongside it, each changing how I shoot, how I interact, and how I tell stories. Street photography, after all, is not about the lens itself, but about how it shapes our vision.
Check out our guide to the best cameras for street photography
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