Why Expensive Gear Won’t Make You a Better Photographer

Many photographers believe that upgrading their gear is essential for capturing great shots, but this notion may be more limiting than helpful. The obsession with the latest cameras and lenses often overshadows what actually makes an image successful.

Coming to you from Scott Choucino of Tin House Studio, this insightful video argues against the idea that you need cutting-edge gear to create exceptional images. Choucino explains that he often works with a Canon 5D Mark I, an older model with limited ISO and autofocus capabilities. Yet, he consistently captures professional-quality work, even under challenging conditions. He notes that historical photographers managed to shoot in difficult settings with far less technology. For instance, Annie Leibovitz’s portraits from the ‘90s were shot with manual-focus film cameras. She used her understanding of light and composition to create compelling images without needing the latest tools.

Another example Choucino shares is William Eggleston, known for his vivid color work, often shot with Kodachrome 64 film on a Leica. His iconic images were produced with a simple setup, relying on his eye for composition and color rather than on high-tech features. Eggleston’s photos, bursting with detail and tonal richness, exemplify how powerful imagery doesn’t require advanced dynamic range or high-resolution sensors. Choucino explains that Eggleston’s work demonstrates the importance of subject matter and composition over technical specifications, suggesting that it’s the photographer’s vision, not the camera, that makes a photograph memorable.

While today’s cameras may make certain aspects easier, a skilled photographer can still capture stunning shots on older models by waiting for the right moment and knowing their gear well. He suggests that the value of modern advancements, like higher frame rates and faster autofocus, is often overstated. These features may make capturing images simpler but don’t inherently produce better results.

Finally, Choucino argues that the enjoyment of using your gear can be a more compelling reason to invest in it than technical specs. He shares his love for his “daily squeeze” film camera—a mechanical 35mm that requires manual settings and lacks conveniences like autofocus or digital displays. For him, the process of using this camera makes photography more enjoyable and engaging. While newer gear can be exciting, it’s essential to remember that creative skill and understanding matter more than the equipment’s age or cost. Check out the video above for the full rundown from Choucino.

Alex Cooke's picture

Alex Cooke is a Cleveland-based portrait, events, and landscape photographer. He holds an M.S. in Applied Mathematics and a doctorate in Music Composition. He is also an avid equestrian.

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8 Comments

Lies. Lies. Lies. New gear every day!

Spoken like a true addict.

I could go back to doing event work with my old 4MP Canon EOS-1D and relying more on flash. My clients would still be happy (as they always were), and I'd still be a better photographer than I was then.

I do upgrade my cameras every few years, but I've been doing this for so long now that there's no excitement in it. A new camera comes in, gets unboxed, menus set up, then it goes in the cabinet or a bag and it's just another one of several cameras I'm using. Feels new for about 5 minutes. Sometimes I have a "Ooh, that's nice!" moment when using a new camera at an event, but that happens even with older, less "special" cameras (like an a7C) that I've recently acquired.

It's incredible these articles and videos are still being released. But it doesn't help that camera manufacturers releases a new camera every year. It's almost like they want us to buy it..

Buying new gear is a good thing because the guilt of spending money can force you into going out and shooting more to justify the money you’ve spent.

I had to shoot weddings, the beauty shots and the ceremony on a Hasselblad with 3 magazines and max 10 rolls of 120 film, so 120 shots max for the whole day. a minimum of 40 of them had to be good.
NO autofocus, NO Auto exposure Separate incident light meter. Think before you press the shutter.
Same at the Le Mans 24 hour race, 20 rolls of 35 mm Kodachrome 64. Nikkor 400/3.5 Autofocus dit not exist

Sure, but that also mandates a much more controlled, posed approach. Lots of clients these days appreciate a more spontaneous, candid, documentary approach. I shot film as an amateur for 10 years before going pro with a Canon EOS-1Ds. Freed from film costs and logistics, I've really enjoyed this way of shooting corporate and private events.