Video summary

Zoom vs Prime: A Closer Look

Main summary

Key takeaways

Educational

Main ideas / lessons conveyed

  • The video is about choosing between zoom and prime lenses for documentary filmmaking—especially when you’re starting out.

Primes vs. zooms: what they do well

  • Prime lenses

    • Each lens covers one focal length (and historically, primes dominated photography).
    • Strength: often best image quality, because design effort focuses on one focal length.
    • Cost/value: can be very cheap—including used old glass on eBay or inexpensive new options.
    • Low-light: typically better due to wider maximum apertures (e.g., f/1.4 or even f/1.2).

  • Zoom lenses

    • Cover multiple focal lengths in one lens.
    • Strength: versatility—one lens can cover wide, medium, and close framing without swapping lenses.
    • Documentary advantage: helps you stay ready during run-and-gun shooting, capturing moments as they happen.

Key trade-off

  • Zoom lenses usually have higher minimum f-stops (meaning they gather less light) than primes.
    • Example: a mid-range zoom around f/4 vs a prime around f/1.4–f/1.2 can force a large ISO increase to match exposure.
  • A higher f-stop also affects depth of field (bokeh).
    • The host frames this as a creative choice, not a dealbreaker.

Speaker’s stance (the conclusion)

  • For documentary filmmakers—especially beginners—the host’s “clear winner” is zooms.
    • The reasoning is driven more by practical shooting realities than theoretical image-quality arguments.
  • He acknowledges some people will disagree, particularly those who believe primes help develop a better “eye.”

Documentary-specific reasons for choosing zooms

  • Real-life events aren’t controllable like actor performances.
    • If you miss a powerful moment, you can’t easily redo it.
  • Changing lenses interrupts natural storytelling.
    • Swapping primes mid-scene can make footage feel less natural.
  • Zooms enable a variety of shots while staying on one lens.
    • You can shift from wide to tighter framing within the same scene.
  • Weight and logistics favor zooms.
    • A prime “set” that covers many focal lengths means carrying multiple lenses (heavy).
    • Many documentary shoots require everything to fit in one backpack, often without a camera assistant.

Methodology / buying recommendations (detailed)

Basic differences (conceptual)

  • Primes

    • One focal length per lens
    • Designed for maximum quality at that focal length
    • Often cheaper (especially used)
    • Typically better low-light due to a wider maximum aperture

  • Zooms

    • Multiple focal lengths per lens
    • Often less bright (higher minimum aperture)
    • Offer convenience and range without lens swaps

What to buy first (recommended order by the host)

  1. Start with a zoom (first purchase)

    • If on a crop sensor and budget-friendly:
      • Sigma 18–35 and Sigma 50–100
      • Rationale: f/1.8 minimum aperture (close to prime brightness) and good build/manual focus.
    • If full frame:
      • 24–105 or 24–70
      • Choose between:
        • Extra range vs extra stop of light
      • Notes:
        • 24–105 models are often stabilized
        • If using Canon, an alternative is 17–55 (highlighted as used in documentary work that was Oscar-nominated)
        • A 70–200 (especially used, and some f/4 versions) is also recommended

  2. Add at least one “fast prime” early (for low light + interviews)

    • Suggested options: 35mm or 50mm (or 24mm)
    • Use cases: low-light situations and sit-down interviews

  3. Then add a telephoto zoom if budget allows

    • Suggested: a cheap 70–200, often best bought used

  4. Long-term approach

    • Once you’re covered for most “normal situations,” upgrade slowly over time as more jobs come in.
    • Gradually add more primes.

Additional context: what real-world teams often do

  • For high-end budget productions (e.g., Netflix / National Geographic), teams may roll out with:
    • Expensive zooms (example: Fuji cinema zooms)
    • Prime sets (example: Airy Master primes)
  • The host emphasizes this is the “dream scenario,” usually unrealistic for indie documentary filmmakers.

Personal experience referenced

  • The host says he:
    • Spent time shopping for expensive Leica prime lenses, questioning whether it actually makes sense for his documentary needs.
    • Previously shot as a photojournalist using only a 35mm prime for over two years and felt it improved his “eye.”
    • Now believes that for filming documentaries—especially run-and-gun—zooms are more practical.

Speakers / sources featured

  • Speaker: Luke Forsyth (documentary cinematographer and filmmaker; host of the video)

  • Sources/brands/lens models mentioned (not “featured speakers”):

    • eBay (used equipment shopping)
    • Amazon (new lenses)
    • Nikon (example of an old stills lens)
    • Sigma (18–35, 50–100, Sigma Art lenses)
    • Canon (24–105; 17–55 mentioned)
    • Sony (24–105 mentioned)
    • Fuji (Fuji MK cinema zooms; referenced “Fuji Cabrio” / cinema zoom example)
    • Fuji FX9 / super 35mm sensor option
    • Airy Master primes (example of high-end prime sets)
    • Netflix, National Geographic (examples of high-end documentary productions)
    • Oscar nomination (mentioned regarding “documentary cartel land” shot mostly on a 17–55 lens)

Original video