Many photographers believe that switching to a fixed lens camera will instantly transform their work and make them better shooters. The appeal of compact, elegant cameras like the Fuji X100VI, Leica M, or Ricoh GR creates expectations of creative freedom and artistic rebirth. However, photographer Justin Mott argues in a recent video that this mindset is fundamentally flawed, comparing it to buying professional golf clubs and expecting to drive the ball 300 yards straight down the fairway.

Mott delivers a blunt reality check to photographers who blame their equipment for creative limitations. He explains that fixed lens cameras have a strange psychological pull, leading photographers to trade their bulky setups for something small and beautiful while imagining instant improvement. When the initial excitement fades and the results don't match expectations, many discover their photos still look ordinary and lack the magic they admired in other photographers' work.

The core issue, according to Mott, lies in photographers' previous reliance on optical advantages provided by zoom lenses. A 70-200mm f/2.8 lens offers instant compression, creamy background blur, and built-in drama that makes almost any subject look professional. Friends and viewers often praised these photos not because of deep storytelling or composition, but because the lens produced a look they associated with high quality photography.

Fixed focal lengths of 28mm, 35mm, or 50mm expose photographers' true skills by removing the ability to hide behind optics. Mott describes the fixed lens as an "honest teacher" that forces photographers to think critically and earn each photograph rather than simply collect images. Without the ability to zoom with their wrist, photographers must physically move toward subjects, sometimes uncomfortably close, and start evaluating entire scenes rather than just individual shots.

To illustrate this point, Mott shares his experience shooting a full year of New York Times assignments using only a fixed 35mm lens. While initially difficult, this constraint made him a sharper photographer who learned to anticipate light, compose deliberately, and tell stories through patience rather than convenience. The limitation forced him to develop essential skills that carry over to all aspects of photography.

Mott recommends a specific exercise to build these crucial skills: spend one to two hours each week documenting a person close to you in their natural environment. Treat each session like creating a small story, moving around to learn optimal positioning and develop visual awareness. This consistent repetition teaches the kind of intentional seeing that makes fixed lenses feel like extensions of natural vision rather than limitations.

The fundamental challenge is that most photographers change their equipment while maintaining the same habits and expectations. They treat fixed lenses like zoom lenses and expect the camera to compensate for their approach. However, fixed lens cameras demand patience and intentionality, pushing photographers to see before shooting and compose rather than crop in post-production.

While this process can be frustrating, Mott emphasizes that discomfort drives growth. The shift in mindset required for fixed lens photography ultimately makes photographers more thoughtful and skilled, regardless of what equipment they use in the future. The key is understanding that the camera isn't the problem – developing fundamental photographic vision and skills is what creates compelling images.