One year, one lens, one camera. It’s an idea that most photographers flirt with at some point in time. For some, the limitation is just too much, and for others like myself that practically shoot only one focal length, how is it really? Obviously we are talking about prime lenses, zoom lenses have a place, I am not a prime-or-nothing hardliner, and prime vs zoom is the topic of its own discussion.

I guess that the immediate question is: why? Unfortunately for you, there is no immediate answer that will shed light in a way that advances one’s understanding fully. As with many decisions in my life right now, it is the culmination of many others that have led to this. As someone who is actively working in fungible projects, the stakes are as high as they ever were. So, heres to the first elephant in the room, if I mainly shoot one focal length anyway, what good is this challenge? And there is a simple and complex answer to this. The simple answer is that I shoot 50mm, and for this I am targeting 35mm. The complex answer? Stick around, we will get to that shortly. In essence, I have a few questions to pose. Yes, questions. I’m not here to give answers, only the next year will give those. I am merely here to ask, is this worth it? What do I gain? And more importantly for you the reader, what would you gain by doing so too? I’ve spent a lot of time finding what gear works for me, then I spent the last two years away from that gear to bring everyone in-depth field reviews. At first it was an interesting experience, back to experimenting with different looks, different operation. Then after a while longer it became a flex, being able to create images with lenses cheaper than my ND filter… being able to pull “my look” from anything, and lens, any focal length. I don’t think people really understood how difficult that is, after a while a review just becomes another gallery sample. But flex it was, and a challenge that I saw through to unanimous victory.

This, of course, led to the widespread appreciation of cheaper lenses. The output was superb, so the lens must be superb, no? Yet other reviewers were unable to showcase much of what used under anything but test charts and mediocre imagery. The fact that my reviews were inseparable from my documentary field-work had the adverse effect intended. The demonstration’s were always so that those starting out, those budgeting for real projects, could see what could be done with less. What this led to personally, regardless of result, was a shooting style that was adaptive rather than proactive. I worked to the tools, a small hammer I hit harder, a bigger one got a gentle tap. I felt as if I was no longer participating in making an image, rather translating an image to fit as desired. I know, I know, this is the exact thing most photographers actively aim to do. That thought is not lost on me, but neither am I beholden to it. I’ve proven that I can make images with a manual focus budget prime, that stands besides lenses ten-times their cost, simply by putting them where most wouldn’t, can’t, or more realistically in places reserved for lenses with better reputation. I proved that they can hold up, and proven that I don’t need expensive optics to hide behind. What I am looking for now is something radically different. What I am looking for is what is left when the bottleneck is completely removed, when the only thing between the image and myself is the fraction of a second it takes to close the shutter. I have what is arguably the most well rounded stills camera of our age, the Sony A7RV. There are many good bodies, that’s not up for debate. Nor is the fact that the A7RV is one of them. In essence, what I am trying to say is with this camera I will run put of road before I hit its top speed. We can safely attest that the body is no longer the weakest link, not something possible with my time at Fujifilm.

Onto the second, and most important, link. What do I put in front of the lighting fast 60mp sensor of the Sony that will not bottleneck it? My first choice would have been the ZEISS Otus, but then comes my next reason for this project. I don’t want to be the photographer that is defined by his relationship with a manufacturer. ZEISS and I, I and ZEISS. Thats two names carved into an oak tree in a little love-heart. It’s also two names signed at the bottom of a divorce. I want to see what I am without ZEISS. Without that legacy. If I were to look at it from a few other angles, the Otus is still manual focus, and the Batis generally/2.0 or slower. Both could be constituted as bottlenecks. Here is where I diverge from script; my friend Andrew (a proficient photographer in his own right) recently purchased the 90mm f/2.0 Leica APO. A lens that many would argue is the best in the world, with a few countering that the Otus exists. It was only after his sharing of some images that I realised the handicap that I placed on myself, I was running the straight in fourth gear and wondering why I was on the redline. Headroom they call it in the music world, though originally that was a photographic term. So sure now you are all probably able to guess what 35mm I have, but I want to talk about why 35mm first, and why not 50mm? Well first of all I may be a hypocrite in the coming months as I want to do it with a 35mm, but know I can do it with the 50mm. Which one it is eventually done with only time will tell.

Out of all the standard focal lengths 35mm is (and by far) my least favourite. I also despise what most do with a 35mm lens, regarding the majority of images made with one to be snapshot territory. Its strength lies in its weakness. To most, it is the focal length that offers a natural, almost opportunistic, field of view. What you see is generally what you get. No need to pre-empt compression or distortion, or how near or far one must be to photograph what is in the minds eye. It makes photographers lazy, and it makes their images boring. A 50mm lens has optical qualities, you begin to see compression, it’s long enough that one needs to pre-compose. 85mm even more-so, a beautiful optic and almost a cheat code for getting beautiful images. 28mm is another favourite of mine, as this is the lens that shines being shot close, without too much distortion that filling the frame is optimal. I’ve been listening to more and more country music recently, and even some of my biggest inspirations such as Brent Hinds (before his recent passing) begun to adopt a “naked” approach that comes with the genre. Even Nirvana, world famous generations after the event for Live & Unplugged. I began to think, what would my imagery be like if I unplugged my metaphorical pedalboard? Removed all the layers of distortion and tuned back up to E-standard? What would be left then? And I realised that the only lens this challenge makes sense with is the one I dislike most, the acoustic guitar in a room full of Les Pauls. I bought the 35mm f/1.4 Sony G Master. The lens that I cannot say hinders me, cannot say hinders my camera. And a focal length that demands the utmost from its user. Will I use this for a year? I’m not sure. But I’m excited to use it. All I can say is that for a time, I’ve decided to stop making images in the traditional sense. I won’t be beholden to what is on the front of my camera, no “this needs a telephoto” or “this needs a wide” the aim is to make an image, and the best one I can at that. And that is where the challenge lies…

If you were to adopt such a practise, be it a month, three months, or a year, what would you get from this? The answer lies in what lens you choose…

All images: © David Roberts | Sony α7RV | Sony FE 1.4/35 G Master | Adobe Lightroom

Legal & Ethical Disclosure

Archive Record: Shot during Thung Sri Mueang (annual fair) in Udon Thani, Thailand, December 2025.

Technical Basis: Presented in the pedagogical context of showcasing the Sony FE 1.4/35 G Master lens.

Operational Standards: The camera was not concealed; imagery was made in public spaces and not contested at the time of capture. No portrayal was knowingly in false light.

Non-Commercial Status: This article is not monetised. All equipment was acquired independently. This article does not constitute promotion or affiliation with Sony, Alpha, or G Master.

PDPA Compliance: If any person depicted objects to usage, the image will be removed uncontested as per Thailand's PDPA. Requests may be submitted via the Contact page.