Why I’m Finally Committing to the Nifty 50

I Used to Avoid 50mm. That Changed.

For years, I had a couple of 50mm lenses sitting around. Both were vintage Minoltas, the 514 and a 528 macro. I’d mess with them here and there, mostly when I needed to shoot some product stuff at home. But truthfully, I never gave the 50mm focal length any real commitment. It just didn’t interest me at the time.

I leaned hard into zoom lenses. They made life easy. You get the flexibility, the reach, and honestly, less movement on your part. And with how sharp modern zooms have become, it stopped feeling like I was giving anything up by choosing them over primes. At least, that’s what I thought.

It All Started with a 35mm

Things started to shift last year. I picked up a 35mm equivalent for my Fuji X-T2 and gave it a proper run for a few months. Took it around the house. Took it out to the street. It surprised me. There’s something satisfying about having to move your feet to frame a shot. You’re closer to the subject, more engaged, and that presence shows in the photo.

I liked the experience. But when I started reviewing the images, I realized something felt off. I couldn’t put my finger on it right away, but it kept coming up. The compositions felt fine, but the balance didn’t sit right. Some frames had too much background. Some felt like they didn’t isolate the subject enough. I was getting good shots, but they weren’t hitting the way I wanted them to.

I’ve Always Loved 85mm... But Only Sometimes

On my Olympus, I use the 45mm, which gives me an 85mm equivalent. That lens delivers gorgeous portraits. The compression, the depth, the whole cinematic feel. I love what it can do when I’m aiming for that clean, dramatic look.

But I’ve never carried it everywhere. It’s great when I want that style. When I’m in the mood to shoot that way. But most of the time, it feels like too much. Too specific. Too polished for daily use.

That’s when I started wondering if something in between might hit the sweet spot.

That’s Where 50mm Comes In

So I grabbed a 50mm for my Olympus. That camera goes with me everywhere because it’s small and light and fits my day-to-day. I can take it to dinner or out with the family without it getting in the way.

Right away, I noticed something different. The 50mm gave me the balance I’d been missing. My subject stood out just enough, and I still got a feel for the background. It made everything feel natural. There was context, but the subject didn’t get lost in it.

Shots of my daughter, my wife, random stuff around the house—it all looked better. More grounded. More focused. I didn’t have to force anything.

The Mikey 55mm f/1.8 for Sony Was the Game Changer

When my wife asked what I wanted for Christmas, I knew exactly what to say. The Mikey 55mm f/1.8 was at the top of my list. That’s the lens I’m using for this video right now, actually.

I’ve been shooting with it on my Sony A7 IV and I’m blown away by how sharp and clean it is. It gives off a really polished feel without being too perfect. I’m not one of those folks who needs everything at f/1.2 or f/1.4. I like seeing both eyes in focus. Shooting at f/1.8 gives me just enough depth to separate the subject while keeping things grounded.

This lens has been doing serious work. For the price, it might be the best deal I’ve made in a while.

A Prime Lens Forces You to Slow Down

When I shoot with a zoom, I’m often just firing off frames. Adjusting after the fact. With a prime like the 50mm, I have to think before pressing the shutter. I’m paying attention to how things are framed. Where my subject sits. What the background’s doing.

It makes the whole process feel more deliberate. I find myself making stronger choices. The results look better because the intention was there from the start.

Studio Sessions With a 50mm? Surprisingly Good

I started using the 50mm in the studio too. Normally I’m reaching for the Tamron 70–180 and standing way back in another room. But the 50 forced me to get closer. And I’m glad it did.

The portraits came out feeling more honest. More connected. Less distant and posed. There’s something about being right there with your subject that brings out a different kind of energy. I want to explore that more.

Leaving Zooms Behind (At Least for Now)

Over the past few months, I’ve been almost exclusively shooting with 50mm lenses when I’m not in the studio. It’s been refreshing.

I still respect what zooms offer. I still appreciate what an 85mm can do when I’m chasing a certain look. But the 50mm has earned its place. It gives me the control and flexibility I need without pushing me too far into one direction.

And while I still don’t fully understand that whole “the human eye sees like a 50mm” theory, I do get why people keep coming back to it. It’s simple. It just works.

I Might Be Late, But I’m Good With That

I’ve seen other photographers go through this cycle. Some start with a 50 and move on to zooms or wide angles. Others do the reverse. Eventually, a lot of them come back to where they started.

I’m not stressing about the timing. This is where I’m at in my journey now. And I’m enjoying it.

If You’re a 50mm Shooter, Hit Me Up

If you’ve been shooting 50 for a while and have tips, tricks, or exercises that helped you get better with it, I’d love to hear them. I’m still figuring things out and open to trying new ideas.

Thanks for spending your time here with me. I really appreciate it.

Connect With Me

Creative portfolio: ramontrotman.studioInstagram: @ramontrotmanBusiness inquiries: info@ramontrotman.studioGeneral contact: perspectiveramontrotman@gmail.com

Catch you in the next one. Peace.