Fix on Prime!

 Zoom lenses have obviously dominated the traditional photographic gear market for several years if not now decades but with the smartphone overwhelming popularity, the prime optics are coming back in an interesting fashion way. It has been transposed with some new iconic camera models such as the Fujifilm X100 or the Leica Q series (and many other offers). 

 The benefices of selecting a prime (fix focal length) lens are multiple. More compact package, less weight, larger maximum aperture for better discriminate the main subject from the foreground/background (bokeh), easier way to focus with the simpler lens construction are amount the most renowned advantages compare to the bulkier zoom optics. They are also much more discrete to operate in context and are less intimidated in front of your subject. And the prime lens can be versatile as long you agree to move yourself (physically) to get different points of views.

Prime lens have also limitations as they offer a fixed perspective that depend on their own fix focal length. It has the basic consequence to be obligated on specific contexts and diverse needs to change with other more appropriated lenses like the wide-angle or the telephoto ones. That is strongly illustrated by the use of different lenses on the more sophisticated smartphone models of today. With traditional cameras it induce the necessity of interchange different prime lenses or to simple use more than only one camera body as it was the rule during the analog-film photographic era.

Many good photographers of yesterday as today will kept their photo gear to a minimum of one lens/one camera only combination. It is inherent to their own signature technique and their iconic results simply reflect their master of the medium. And keep in mind that even one camera with one lens can be a very expensive outfit. For them it is not a real compromise as they are able to get an optimum in terms of creativity and output quality with these diminutive photo equipment.

With the compact image sensor formats such as APS-C and Micro Four Third (M4/3), the selection of products is very diversified and the manufacturers like Fujifilm, Olympus/OM System and Panasonic have been very prolific over times without speaking of some more exotic third-party ones. 

A "standard" lens for a "normal" photographer. Is it possible to be so definitive in regard what would be a basic optic for everyone? No, for sure, and mainly because we don't cherish necessarily the same visual approach for our surrounding universe. And because photography is, like other media or arts, a very subjective manner that can sustain a lot of different interpretations from the technique used to the final composition of the image we want to expose and to share. The choice of a particular lens plays a major role in this individual quest. 

We can categorize the prime lenses into some "elastic" segments like wide angle, normal or standard and telephoto ones. We can add specialized optics for macro, astronomical, medical, etc. The list is long and imperfect in view of the continual introductions of new optics over time.

 A Normal View. Many lenses has been designed to replicate the perspective and the proportion similar to what we usually see with our own naked eyes. Some models of those optics have a wider angle of view nor others have a more cropped composition. To take the example of the M4/3 image sensor format, focal lengths like the 15, 17, 20, 25, 30, 42.5 and 45mm could easily fall in that category. These lenses are easy to pre-visualize and to apprehend for the final recorded picture. They are physically compact and they have a good maximum aperture except may be for the very tiny ones (pancake type). They are also the cheapest available except for the F1.2 to F1.4 models. You can get from them a better deep of field control that help to discriminate the main subject from its contextual surrounding. Many classic photographers use to work with them most of time and get outstanding pictures. For others, these "normal" lenses have been a good starting point to emulate to a different category of optics.

 Reach your subject. Cropping and compression are ones of the most interesting features of the (long) telephoto lenses. Longer focal lengths of 60, 75, 90mm and more (m4/3 format examples here) are part of this category of optics. They are larger and longer in size by definition and often have a smaller maximum aperture except for the most expensive ones. They discriminate further the main subject from its context. Portrait, sport, animal, architectural details even macro photo among many others are examples of the type of photo assignments given to the telephotos. And they are not discrete and accordingly a lot more intimidating. Using the very long telephoto will ask special care from the photographer especially for its handling (stabilization) and exposure (shutter/speed selections) techniques. Focusing can be critical since the deep of field of telephoto appears to be narrowed (in fact it is the image compression that produce this effect). For all these reasons telephoto lenses are more difficult to master that it seems at first. 

 Entering the context. With wide angle (of view) optics the photographer will be incited to physically be nearer from its subject and its context. These lenses ( 12mm or smaller focal lengths in M4/3 format) are mean to be used in close range photographic situations as for panoramic purposes (that include astronomical tasks). They are not as popular as their telephoto counterparts partly because they are more difficult to master and to apprehend (visualize). Their big advantage on assignation is their smaller size and their better maximum aperture (F2.8 or larger). The wide angle optics are often associated with an apparent strong deep of field, a direct consequence of the decompression effect of these lenses. Because of that, hyperfocal setting will help the photograph to maintain a larger focusing margin that is appreciated in spontaneous photography like in travel or urban situations. You have also to consider that wide angle are subject to linear convergences if the lens is tilted from its ideal horizontal position. This effect can be as creative like as distractive. Street photographers often fully appreciate the complete potential of the wide angle optics. 

 Small is better. Macro photography is oriented to the discoverer a small universe that is rich in details and interpretations.  Macro lenses are specialized in part because only few of them are selling compare the other categories such as telephotos or wide angles. The macro optics use the be called "flat field" lenses oppose to the "curvy field" of all the others. We don't know for sure if the todays macro are still characterized by this specific factor but most of them have at least an higher definition with often a more precise color reddition. Focusing is very critical in close range of your subject and deep of field is strictly limited (almost not). Because of these constraints, the macro lenses are typically slower to operate and don't have a very large maximum aperture (F2.8-3.5). The focal length of these specialized lenses are ranging from 30mm, 45mm, 60mm to 90mm ( M4/3 format). The macro lenses with longer focal length (45, 60, 90mm)  will leave a little more space between the optic and the subject preventing that way less light interference. The shorters one can be used as "normal" lenses and the the longer ones as "portrait" optics.

 Oddy ones. That is leaving with the very specialized lenses such as fisheyes, medical purpose optics like the dental ones, super long telephotos, etc. All these represent some sort of niche photography and their functionality is reflecting their special use. Communally they are not very versatile photographic tools. A preliminary rental for a first try on may a more reasonable way to start your experiment of them. 

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Using a prime lens will ask you a different commitment physically, technically and creatively on your part. In other words, they are fine photographic tools with further exigences but the final results may often plus value the additional effort.  Among their avantages, they simplify certains choices, facilitate your approach (no more zooming), give you better exposure and focusing latitude and they less intrusive. On the back side they limit your focal length versatility and oblige you to be more pro-active. It is up to you to become or not of their adepts. 

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(First illustration) The Superlative Olympus M.Zuiko ED 75mm F1.8, the first real pro optic from Olympus before the official introduction of their designated Pro line of lenses.

(Second illustration) A classic Olympus OM-D E-M5 II / M.Zuiko 45mm F1.8 camera body/lens combination picture example.

(Third illustration) Micro Four Third format at its best with a light body/lens package, a fast optic and an outstanding output image definition (Panasonic Lumix GX85/G 42.5mm F1.7 Power OIS).

(Fourth illustration) The "cannot resist" Olympus M.Zuiko ED 75mm F1.8

(Fifth illustration) A "in between wide-normal" lens like the Lumix G 20mm F1.7 II give you both a contextual and a detailed picture.

(Sixth illustration) A piece of Macro with the Olympus M.Zuiko ED 60mm F2.8

Photos Daniel M: Olympus OM-D E-M1 II / M.Zuiko ED 12-40mm F2.8; Olympus OM-D E-M5 II/ M.Zuiko 45mm F1.8; Panasonic Lumix G85 / G Vario 12-60mm F3.5-5.6 Power OIS; Olympus OM-D E-M5 II / M.Zuiko ED 75mm F1.8; Panasonic Lumix GX7 / G 20mm F1,7 II; Olympus OM-D E-M5 II / M.Zuiko ED 60mm F2.8 Macro

Choose your lens first! ... then look for the camera body

The Lens Factor

For must of us it is a commun and general tendency to select first a camera model and then combine an optic to it. After all it is the camera body that will register your picture and no picture mean no photography! Let say that is a bit similar to human nature with no possible image memory without a brain to sustain it. But think about the essential role that have to play your eyes during that process. Without them no image at all (except your own virtual in mind imagery of course...)

So the lens role is equally important in photography. And often the most neglect one when a lot of people buy a new camera. Many camera manufacturers have comprehend the idea and usually propose a combo kit lens with good optical performances but cheap overall construction. It is also intended that the kit lens will be used more lightly than intensively and will be certainly replaced by one or another with a more quality optic if the photographer get more dedicated in his or her practice of the medium.

The different ILC camera systems will offer you a complete line-up of lenses. Some optics are more oriented to a general purpose use. Others are really specialized tools. The manufacturers will often produce a professional alternative of lenses that are designed for more intense use in adverse conditions. Moreover these "pro" optics are bigger units equipped with larger focusing and zooming rings, smoother mechanism, constant and larger maximum aperture for most of the models but these are also heavier devices to bring with you and operate.

Are you looking for focal fixed length or variable (zoom) ones? The price to pay for the zoom ones is usually a more modest maximum aperture and may be a variable one which can be annoying if you want to to keep constant your basic exposure parameters such as the shutter speed, the aperture or the ISO sensibility. The zoom (focal length) range is another factor to consider. All-in-one zoom models are addressing to photographs that like to work with a minimum photo equipment and a maximum of flexibility. The short zooms can be basic trans-standards optics or specialized ones like did trans-wide-angle or long telephoto models. The maximum optical quality will be obtained with the "pro" series and will be comparable to focal fixed (prime) lenses.

The focal fixed (prime) lenses are the most compact ones with larger maximum aperture compare to the zoom lenses. Because of their fixed angle of view they will ask from the user to be more available to mobility and anticipation of your subject. Many prime lenses will give you superior results and will force you to pay more attention to your picture composition. You have also a better control of your deep of field (DoF) that will help you to discriminate easier your foreground and background from the main subject. Furthermore some prime lenses are really specialized tool to produce macro photography or corrected linear architectural pictures from the ground level or giving you an hyper wide angle view (fisheye) for example. These complex lenses are really dedicated tools and offer far less flexibility than more "normal" counterparts. Lens manufacturers have started to add in their line up some focal fixed "pro" lenses with very exotic maximum aperture like F1.2  but those units are fairly expensive ones.

Give them a try!
So selecting a lens that will suit your need and taste can be a perilous exercice of pick so try and ... repeat again if necessary. The possibility to borrow them or to rent them or at least try them at the store or at manufacturer (store) clinics can help you. The other factor to consider is what will be the best camera combination to choose for the type of lens and the style of pictures you want to realize. Again trying the equipment will give an edge before buying the thing.

It is amazing to think that most of the personal involvement of people for the purchase of a photo device is directed to camera body specs and features in forgetting the crucial aspect of the optic in photography. Sometime it's better to use a lens that correspond to your vision and will suit your photographic needs instead of having the most powerful camera body.

P.s. Lens Factor
If you intend to equip yourself with 2-3 or more different lenses chance you may adopt a complete lens system. The good way of doing it is to stay with the same manufacturer and the same lens model series. In doing so you are assuring yourself to have a fully comparable design, construction, optical results and future compatibility with the camera upgrades.