My Photography Journey: From Nikon D7000 Beginner to Leica Minimalist
Back in the dark ages, it was common to buy actual books on a subject of photography as YouTube was still sort of in its infancy. You could find information on the web but it was still really limited. Today we are literally bombarded with a constant stream of information that is dizzying.
Introduction (Keep your opening, add this after the first image):
When I started on my photo knowledge journey, I went by all the usual things associated with doing a self-taught skillset.
Back in the dark ages, it was common to buy actual books on a subject of photography as YouTube was still sort of in its infancy. You could find information on the web but it was still really limited. Today we are literally bombarded with a constant stream of information that is dizzying.
The author on the streets of Chattanooga taking photos with his Nikon D7000 camera.
Starting My Photography Journey with the Nikon D7000
I chose my camera based on information from one of the OGs of the photography space on the web… Ken Rockwell. Now hear me out before you throw your computer across the room.
It is no secret that Ken has a love affair with Nikon and it shows through on his site. So many well worded reviews to choose from made starting my journey with photography a Nikon based one. It is cemented so well that I have never even tried to shoot Canon on my own volition. Nikon should be giving Ken royalties to be honest about it. His reviews are fair (from what I can tell) and well worded and very technical. He has other brands on his site these days too, but back in the day, it was a wealth of Nikon information. For more of my photography philosophy and techniques, browse through my photography blog archive.
When I did jump in, it was with a D7000 DSLR. This was the most technologically advanced of the DX format models at the time. The camera included things such as the focus motor for the older screw drive focus lenses as well as sporting several other features not available on the lesser models of the period. I loved that camera and shot on it for several years while learning the rudiments of the craft.
Looking back, the Nikon D7000 was an excellent choice for a beginner. The DX sensor gave me reach for wildlife and sports, the built-in focus motor meant I could use affordable older lenses, and the 16-megapixel sensor was more than enough for learning composition and exposure. If you're considering a used D7000 today, it's still a capable camera for learning photography fundamentals.
Learning the Rules (And Eventually Breaking Them)
During this period I learned all the cliche things about shooting "better" photos and some of those old rules still linger today in my composition techniques. Fortunately I have since learned that some things are not actually set in stone and you can bend and even break the rules if done right and the images will be great anyway.
My vintage lens collection - living proof that GAS recovery is an ongoing journey!
Back then I took the idea of mounting one lens and using it for a period of time. Sometimes these periods of time could be quite long. I remember mounting the 35mm f1.8 and leaving it on the camera for months at one point. This is probably why I have gravitated back to that field of view today. Once you use a certain focal length a while, you will get comfortable with what that lens can do for you and you know what to expect. It is like asking an old friend for advice… you just know it is going to be good.
This "one lens" approach taught me more about photography than any gear upgrade ever could. By limiting my options, I learned to see in 35mm. I learned to move my feet instead of twisting a zoom ring. I started anticipating shots instead of reacting to them. This was my first step toward minimalism, though I didn't realize it at the time.
Early street photography from my Nikon D7000 learning phase - exploring light and composition
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The Gear Acquisition Syndrome Phase
At some point I bought a big fast aperture zoom (the 70-200mm if memory serves me) and thought I was in hog heaven. Well, if you dont need a big expensive zoom lens, then why did you buy one? G.A.S. Is the usual culprit here and I am guilty of having this disorder of photography. I am recovering at this point though and at some point I simply stopped buying the latest camera because it was better than the last one or what ever. I still to this day cant seem to stop buying vintage lenses though so I am a work in progress… lol.
Every photographer goes through the GAS phase. We convince ourselves that the next lens, the next camera body, or the next upgrade will unlock our creative potential. The truth? It rarely does. That 70-200mm f/2.8 was an incredible lens, but I found myself leaving it at home more often than not because of the weight and bulk.
I have since figured out that with my photography, I dont need zoom lenses very often at all. I have figured out that I can have more fun with a nice prime lens and not worry too much about missing some special photo or some such. I have learned to just let some photos go and be more in the moment instead. You dont always have to get every single photo possible.
Prime Lenses vs Zoom Lenses: What I Learned
Prime lenses changed everything for me. Here's what I discovered:
Lighter kit = more shooting: A 35mm prime weighs a fraction of a 70-200mm zoom
Better low-light performance: Fast primes (f/1.8, f/1.4) let me shoot in conditions where zooms struggled
Creative limitations = creative growth: Fixed focal lengths forced me to think differently
Better image quality: Even affordable primes often outperform expensive zooms
The 35mm focal length became my signature. On DX format (Nikon D7000), this gave me roughly a 52mm equivalent field of view—perfect for street photography, environmental portraits, and everyday shooting. If you're looking for more on my current gear choices, check out my gear page.
Living Through the Viewfinder vs Living in the Moment
I went through this phase too. Living life through the camera viewfinder… this isn't really living but rather documenting and is not the same thing. This is why I now travel with a very light camera kit if I am going on a trip to do something other than photography for the primary focus of the trip. I feel it is more important to live in the moment than to worry incessantly on getting the best angle or exposure or whatever.
Early street photography from my Nikon D7000 learning phase - exploring light and composition
This realization was profound. I was so focused on capturing every moment that I wasn't actually experiencing the moments I was capturing. Family vacations became photo assignments. Dinners with friends became lighting challenges. I was missing the point entirely.
It is this last part that has taught me that I have evolved as a photographer. I no longer need to photograph everything possible and spend countless hours editing in lightroom to be happy. To be completely transparent about it, I only edit a very select few images in Lightroom these days just to get the "one" I want. I still shoot in raw plus jpeg to give me that choice but I rarely use the raw files.
My current approach: I shoot RAW+JPEG but use the JPEGs 95% of the time. The camera's built-in processing is usually good enough, and accepting that has freed me from spending hours at the computer. When I do edit, it's intentional—one or two photos from a day that really speak to me.
You can see this philosophy in action in my post about solo street photography with the Leica CL, where I discuss finding joy in the process rather than the pursuit of perfection.
My Photography Evolution: From Technical to Intentional
Looking back at your photography journey, have you progressed in a positive way?
For me, the answer is absolutely yes—but not in the way I expected. I haven't progressed by acquiring better gear or mastering more advanced techniques. I've progressed by:
Simplifying my kit - From a bag full of zooms to a single prime lens
Reducing post-processing - From hours in Lightroom to accepting JPEGs
Being more selective - From shooting hundreds of frames to choosing moments intentionally
Enjoying the process - From chasing the perfect shot to experiencing life with a camera in hand
My journey from the Nikon D7000 to my current Leica setup isn't about having better equipment—it's about understanding what I actually need and what brings me joy. The D7000 taught me the fundamentals. The prime lenses taught me to see. The GAS phase taught me what I don't need. And minimalism taught me what photography is really about.
You can see this philosophy in action in my post about solo street photography with the Leica CL , where I discuss finding joy in the process rather than the pursuit of perfection.
Frequently Asked Questions
Is the Nikon D7000 still good in 2024?
Yes, the Nikon D7000 is still an excellent camera for learning photography. While it lacks modern features like 4K video or advanced autofocus, its 16-megapixel sensor, built-in focus motor, and solid build quality make it perfect for beginners. You can find used D7000 bodies for under $300, making it an incredible value for learning the craft.
Should beginner photographers use prime lenses or zoom lenses?
I recommend starting with a prime lens, specifically a 35mm or 50mm. While zoom lenses offer versatility, prime lenses force you to move, think about composition, and really learn to see. They're also typically sharper, faster (better in low light), and more affordable than equivalent zoom lenses. Once you master a prime, you'll know if you actually need a zoom.
How do you overcome Gear Acquisition Syndrome (GAS)?
The best cure for GAS is to pick one camera and one lens and commit to using only that setup for 3-6 months. You'll quickly learn what you actually need versus what you think you need. I also recommend asking yourself: "Will this new gear let me take photos I literally cannot take with my current setup?" If the answer is no, don't buy it.
What focal length is best for street photography?
I prefer 35mm (on full frame) or 23mm on APS-C, which gives you a similar field of view. This focal length is wide enough to capture context but not so wide that it distorts subjects. The 50mm equivalent focal length is also popular and works beautifully—it's really about personal preference. Try both if you can. See examples in my street photography portfolio</a> to see how I use these focal lengths in practice.
Do you need to shoot RAW or is JPEG okay?
For most photography, especially if you're still learning, JPEG is perfectly fine. Modern cameras have excellent JPEG processing. I shoot RAW+JPEG and use the JPEGs 95% of the time. Only shoot RAW if you know you'll be doing significant post-processing or if you're shooting in challenging lighting conditions where you'll need maximum flexibility.
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What Should You Photograph? A Documentary Photographer's Philosophy
Ok, this is going to be a short and sweet kind of post. I normally make YouTube videos about things that involve lots of images playing past the viewer and just lay some music over it to more or less inspire the viewer to do what I say at the end…”Get your camera out and go take a picture with it”
Ok, this is going to be a short and sweet kind of post. I normally make YouTube videos about things that involve lots of images playing past the viewer and just lay some music over it to more or less inspire the viewer to do what I say at the end…”Get your camera out and go take a picture with it”
What Do You Really Like to Photograph?
A couple painting down by the Tennessee River in Chattanooga, using iPhone light as the sun sets. The light was just too good to pass up. This is what I mean by chasing interesting light!
Never before has this been a truer statement than today. But we need to ask ourselves an important question…what do we like to shoot?
With world events being what they are and how the physical world around us is changing constantly as time goes on, I am not ready to just let it pass me by without documenting some of it as I go. Armed with this knowledge, I look for two things to photograph, things that will be gone soon or interesting light. That is what drew me to the photo above of the couple painting down by the river by iPhone light. The light was just too good to pass up.
Documentary Photography vs. Art Photography
Look, I need to be honest about something. I'm not trying to make art. I'm trying to make a record. There's a difference, and it took me a long time to be okay with that difference!
Art photography is about creating something beautiful or meaningful that didn't exist before. It's intentional, it's creative, it's about YOUR vision and YOUR interpretation. And that's great! The world needs art photographers.
Documentary photography is different. It's about capturing what IS, not what could be. It's about preservation, about creating a historical record, about showing things that will be gone tomorrow or next week or next year. When I photograph a building that's about to be demolished, I'm not trying to make it beautiful (though sometimes it is). I'm trying to make sure someone, somewhere, sometime in the future can see what it looked like before it disappeared.
Think about old photos from the 1800s or early 1900s. We don't look at those and judge them as "good photography" or "bad photography." We look at them as historical documents. They show us what streets looked like, what people wore, how buildings were constructed. That's what I'm doing, just with better cameras!
The Kinley hotel construction series below? That's not art. That's documentation. But in 50 years, someone researching Chattanooga's development will be glad those photos exist. The ADAMS sign preservation story? Someone doing historical research will use those images. That's the value of documentary photography, and it's a value I'm proud to contribute to my community.
You see, I am not what I would call an artist. I don’t think my photography is that noteworthy. Once I am gone, maybe someone will find these hard drives and then will think they are filled with the coolest photos and video the world has ever seen, just not today. That being said, I do think that I am a decent documentary photographer and that as time goes on I get better with it.
Things I normally photograph will be buildings that are gone now, that I could tell somehow that were probably headed for the wrecking ball or like the series below where I photo-documented the construction of the Kinley hotel and how there is a Coca-cola sign that is now hidden from view between the buildings because of the hotel. For me this is the sort of thing that is simply fascinating for some reason.
The Two Things I Photograph (And Why)
After years of shooting and trying different subjects and styles, I've boiled down what I actually photograph to TWO core things:
1. Things that will be gone soon This includes buildings scheduled for demolition, businesses that are closing, signs that are coming down, and landscapes that are about to change. The world changes fast, especially in cities. If I don't photograph it now, nobody will, and it'll just be gone forever!
The Kinley hotel construction? I knew that Coca-Cola sign would be hidden forever once the hotel went up. So I documented it. The old buildings on Rossville Avenue? Many of them won't be here in 10 years. I'm making sure we have a record of what they looked like.
2. Interesting light Sometimes the light is just too good to pass up. That couple painting by the river using iPhone light? The light was perfect. The sunset reflecting on the river with street lights spilling across the water? Had to stop and capture it. Night scenes with lit marquees and neon signs? Yeah, that's interesting light right there!
Here's the thing: these two categories overlap more than you'd think. Interesting light often happens during times of change. Dawn, dusk, construction lights at night, the golden hour before a storm. Light and change go together in photography!
How to find YOUR two things: Ask yourself: what do I keep photographing over and over? Not what you WANT to photograph or what you think you SHOULD photograph. What do you ACTUALLY photograph when you just go out with your camera for fun?
Look through your last 100 photos. What patterns do you see? For me, it was always buildings and light. For you, it might be people's faces, or textures, or motion, or something I'd never think of. The point is to be honest about what actually draws your attention in the field!
Documenting Chattanooga's Changing Landscape
The Coca-Cola sign that was visible downtown before the Kinley hotel construction. Once the hotel went up, this sign was hidden forever between buildings. This is exactly why I photograph things that will be gone soon!
The Kinley Hotel Construction Series: A Photography Case Study
The Kinley hotel coming out of the ground. I documented this entire construction project knowing it would change the downtown Chattanooga skyline permanently.
Mid-construction on the Kinley. The building taking shape and starting to hide the Coca-Cola sign that was behind it.
The Kinley with its distinctive blue exterior starting to appear. Each stage of construction tells part of the story of how Chattanooga is changing.
Later stage construction showing the ADAMS building sign across the street. Notice how the sign appears in these later photos once I thought to cross the street for a wider angle. That sign has its own story!
The ADAMS Sign: Hidden History Preserved
As an added bonus in these photos there is also another piece of history that undergoes a change as well. If you will notice that the sign on the corner for the ADAMS building appears in the last 4 photos where I thought to go across the street and get the image. This sign survives into the renovation and it is restored and back in place at the end. The ADAMS building no longer exists but the sign somehow survives into the current day…
The ADAMS building sign in its original weathered condition. The ADAMS building itself no longer exists, but somehow this sign survived into the renovation.
Chattanooga is going through massive change right now, and has been for the past 10-15 years. The downtown area is being redeveloped, new hotels are going up, old buildings are being renovated or torn down, and the whole character of certain neighborhoods is shifting.
This makes it perfect for documentary photography! There's always something changing, always some building in transition, always some piece of history that's about to disappear or transform.
The Kinley hotel construction is just one example. That entire block looked completely different five years ago. The Coca-Cola sign that's now hidden between buildings? That was a prominent downtown landmark for decades. Now you can only see it from certain angles, and soon it'll probably be gone entirely when the building it's painted on gets renovated or demolished.
The ADAMS building sign surviving the renovation? That's actually unusual! Most old signs don't make it through development. The fact that someone cared enough to preserve and restore that sign says something about Chattanooga's relationship with its history. That story is worth documenting!
Other Chattanooga locations I've documented that are now gone or changed: the old Terminal Station before its renovation, several restaurants and businesses that closed during COVID, vintage signage that's been removed or painted over, and entire blocks that look nothing like they did five years ago.
If you live in any city or town that's growing or changing, you have the same opportunity. Start photographing what's there NOW, because it won't be there forever. Future historians and your community will thank you!
The same ADAMS sign after restoration. They actually cared enough to preserve and restore it! This is unusual. Most old signs don't survive development.
Chasing Light: Night Photography in Small Towns
Another aspect of my photography is more artistic where I will shoot at night to capture interesting light in different areas of the city, where ever that might be. I have began to look for movie marques in the town square of small towns and get them lit up at night.
The Marietta Square Theatre at night in August 2023. I've started looking for movie marquees in small town squares and photographing them lit up at night. There's something special about these historic theaters!
But the real thing I have started to do it just take photos. Things that happen around me like the photo here of the smoke from local wildfires because it hasn’t rained in something like 2 or 3 months at this point.
Smoke from local wildfires during a 2-3 month drought. Sometimes documentary photography is just capturing what's happening around you, even if it's not pretty. This is what November 2023 looked like in our region.
These next two photos were not taken on the same night, but were captured about 1/4 mile of each other. One is the river front and I just liked the way the light fell that night on the water as well as the light spill from the street lights across the river and the color of the sunset all just came together for a great photo. The next one is simply a photo of a couple of buildings on Market and 5th street. The signage and the lights just made for a cool photo to me so I stopped for a second and grabbed a few images of it at varying exposure levels so I could get the lit signs to expose properly as well as the rest of the stuff. It is just a cool photo to me.
Night Photography Settings and Approach"
Since a lot of what I shoot involves low light and night photography, let me give you the practical details of how I actually do this.
Camera Settings: For night photography like the movie marquee shot, I'm typically shooting at ISO 400-800, aperture around f/2.8 to f/4, and shutter speeds ranging from 1/30 second to several seconds depending on the scene. The key is having a camera with good high ISO performance (my Leica SL2 handles this well) and either using a tripod or bracing against something solid.
For the river reflection shot, I used a longer exposure (probably 2-3 seconds) to smooth out the water and capture the light trails. This means a tripod is basically required unless you want blur!
Equipment: You don't need fancy gear for night photography, but you do need:
A camera that can handle high ISO without too much noise (or just be willing to make really long exposures to make up for it)
A fast lens (f/2.8 or wider is ideal)
A tripod or something to brace against
Patience to let your eyes adjust and find the light
I shoot with the Leica SL2 and various vintage lenses, often wide open or close to it. The in-body stabilization helps for handheld shots at slower shutter speeds.
Finding the Light: The best night photography happens during blue hour (the 20-30 minutes after sunset before it's fully dark). You get ambient light from the sky plus artificial lights from buildings and streets. This creates depth and color that pure darkness doesn't give you.
Also, look for lit signage! Movie marquees, neon signs, storefronts with their lights on. These create natural focal points and add color to night scenes.
The riverfront at sunset with street lights reflecting across the water. Sometimes all the light just comes together. The sunset color, the street light spill, the reflections. This is why I chase the light!
Buildings on Market and 5th Street in Chattanooga. The lit signage and building lights just made for a cool photo that night. I stopped and grabbed a few images at varying exposure levels to get everything exposed properly.
If you have not figured it out yet, I want you to start taking a long hard look at what it is that you enjoy photographing. i mean REALLY boil it down to the simplest components. For me it was the two things I just mentioned, for you it might be saturated colors or people waving at you or blur in your photo. The point is, don’t just generalize your answer, the only person you hurt in this event is yourself if you are not 100% truthful.
If you like to watch videos too, here is the video I did on the same subject.
Your Style Will Evolve (And That's Good)
Here's something important I want you to understand: your photography style WILL change over time, and that's not just okay, it's actually good!
I started out obsessed with urban decay. Abandoned buildings, peeling paint, broken windows, industrial ruins. I thought that's what I wanted to photograph forever. And you know what? It was a good starting point! It got me out shooting, it taught me about light and composition, and it connected me with other photographers who liked the same aesthetic.
But over time, I realized urban decay wasn't the root of what I liked. It was just a symptom of something deeper: I was drawn to things that were disappearing, to the passage of time, to change and transformation. Urban decay just made that visible in an obvious way!
Once I understood that pattern, my photography opened up. Now I photograph construction (the opposite of decay!), historic signs being preserved, changing skylines, and light at different times of day. All of these connect to that same root interest in time and change.
The lesson: Start with what attracts you right now, but stay open to discovering the deeper pattern underneath. Don't lock yourself into "I'm an urban decay photographer" or "I only shoot landscapes" or whatever. Let your interests evolve!
Ask yourself every six months: what am I actually photographing these days? What patterns do I see? What keeps drawing my attention? Your answers might surprise you, and that's when the most interesting growth happens.
For you, it might not be about time and change at all. Maybe you'll discover you're really interested in human connection, or geometric patterns, or the way weather affects a scene. The point is to keep asking the question and being honest about the answer!
So ask yourself what it is that you like and then go out and make photos of that AND don’t let yourself fall into the trap of not being able to change this with time. I started out wanting to shoot urban decay only, but it turned out that was not the root of what I like to shoot, but it led me to it. Anyway, with that said, get your camera out and go take a picture with it!
If you're struggling to figure out what YOU actually like to photograph, here are some questions that helped me:
1. What photos do you KEEP coming back to look at? Not the ones you think you should like, but the ones you actually open and view again. Those reveal something about your real interests.
2. What do you photograph when nobody's watching or judging? Forget Instagram, forget what's popular, forget what other photographers are doing. What do YOU photograph just because you want to?
3. What makes you stop and say "I need to capture this"? Pay attention to that impulse! What triggers it? Light? A specific subject? A moment in time? That's your style trying to tell you something.
4. What do you get excited to show people? When you're showing photos to friends or family, which ones do you genuinely want them to see? Not the "best" technically, but the ones you're proud of or excited about?
5. If you could only photograph ONE thing for the rest of your life, what would it be? This is a hard question, but it forces you to identify what really matters to you in photography.
For me, the answers kept pointing to documentation, preservation, and light. Your answers will point somewhere else, and that's your path forward!
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Leica M11 Digital Rangefinder Camera
Nikon AF-S FX NIKKOR 105mm f/1.4E ED Lens
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Nikon 50mm f1.8 S Lens for Z mount
Frequently Asked Questions About Finding Your Photography Style
How do I find my photography style?
Start by being brutally honest about what you actually photograph, not what you think you should photograph. Look through your last 100 photos and identify patterns. What subjects keep appearing? What situations make you stop and take photos? For me, it was always buildings that were changing or disappearing, plus interesting light conditions. Your patterns will be different! The key is honest self-reflection, not copying what popular photographers are doing. Your style is already there in your work. You just need to identify it and lean into it intentionally.
What is documentary photography?
Documentary photography is about creating a historical record, not about creating art (though it can be both!). When I photograph a building before it's demolished or document a construction project, I'm preserving something for the future. Documentary photography captures what IS, not what you wish it was or what you imagine it could be. Think about old photographs from the 1800s. We value those not as art but as historical documents. That's documentary photography. It serves your community by preserving visual history that will matter to future generations.
What should I photograph as a beginner?
Photograph whatever genuinely interests you right now, even if it seems boring or obvious. Don't worry about finding your "style" immediately. Just shoot! I started photographing urban decay because that's what looked cool to me at the time. Years later, I realized the deeper pattern (things disappearing, interesting light), but I couldn't have discovered that without first spending time shooting what initially attracted me. Start with what interests you, shoot a LOT, and let your patterns emerge naturally over time.
How do you photograph at night without a tripod?
You need a camera with good high ISO performance and the fastest lens you can get (f/2.8 or wider is ideal). I typically shoot at ISO 400-800 for night photography, sometimes higher if needed. Use a wide aperture (f/2.8 or f/4) to let in more light, and brace yourself against something solid like a wall or pole. The Leica SL2's in-body stabilization helps me handhold at slower shutter speeds than I could with other cameras. That said, a tripod is still better for really dark scenes or long exposures! Don't be afraid to carry a small travel tripod.
Can your photography style change over time?
Yes, and it should! My photography style has evolved significantly. I started obsessed with urban decay, then realized I was really interested in things that were disappearing or transforming. That deeper understanding opened up new subjects: construction photography, historic sign preservation, changing skylines. Don't lock yourself into one style forever. Every six months, ask yourself: what am I actually photographing these days? What patterns do I see? Let your style evolve as you grow and learn more about what really interests you.
What makes Chattanooga good for documentary photography?
Chattanooga is going through massive urban development right now. New hotels, renovated buildings, changing neighborhoods, businesses closing and opening. This constant change makes it perfect for documentary photography! There's always something disappearing or transforming. The Kinley hotel covering the old Coca-Cola sign, the ADAMS sign surviving a building renovation, old businesses on Rossville Avenue. These changes are worth documenting because future generations will want to see what Chattanooga looked like during this transformation period. Your town probably has similar changes happening!
How do I know if I'm a documentary photographer or an art photographer?
Ask yourself: when you take a photo, are you trying to capture what's really there, or are you trying to create something new? Documentary photography is about preservation and record-keeping. Art photography is about personal vision and creative expression. Many photographers do both! I'm primarily documentary focused because I care more about preserving history than making beautiful images (though sometimes they're both). There's no wrong answer here. It's just about understanding your own motivations and leaning into what actually drives you to pick up a camera.
What camera do I need for documentary photography?
Any camera works for documentary photography! Documentary is about subject and intention, not gear. That said, certain features help: good low light performance (for night photography), ability to shoot in challenging conditions, and reliability. I use a Leica SL2 with vintage lenses, but I've done documentary photography with everything from DSLRs to smartphones. The best camera for documentary photography is the one you'll actually carry with you when the moment happens. Don't let gear be an excuse for not starting!