These are just my own observations as a student of photography. I am still learning every day. Some experienced photographers say similar things, and many will disagree. That is fine. I am sharing what has helped me see better.

I love the look of a fast prime as much as anyone. I also own a few of the usual suspects. Sony 50 mm f/1.2 GM, 135 mm f/1.8 GM, and 24 mm f/1.4 GM. Even though when I sold my sony camera, I kept these lenses to use on my Nikons with a megadap adapter. They are wonderful tools and they shine in portraits and in low light. But the more I shoot, the more I feel that the shallow depth of field look is overused and that you do not need very expensive fast primes to make strong photographs.

Why many landscapes sit at f/11 or smaller : Most landscape photographers want front to back clarity. They stop down to f/11, f/13, or smaller to hold detail across the frame, sometimes using a tripod to keep things steady. Ansel Adams shot at f/64 on his large format cameras (perhaps f/16 to f/22 equivalent on full frame). The scene matters more than the lens speed. Sharpness, composition, light, and patience do the heavy lifting.

Why street photographers live at smaller apertures: Street favors timing and clarity over creamy blur. Smaller apertures give you usable depth, faster focus, and room for small errors when things move. Zone focus is easier, and you can react without worrying that every tiny shift will throw the subject out of focus.

My reason for buying fast primes: Some of my choices were shaped by what I saw in magazines and sports coverage. Fast glass separated subjects from busy backgrounds. It was also an easy way to stand apart from mobile and amateur photos. In reality, if you look at my own work, very few images rely on that look. I am usually drawn to scenes where the background carries history and mood. I want the place to be present. Too much blur removes the very layer I care about.

A few rare occasions when I intentionally used a fast prime lens in the street to draw attention to the subject.

Viltrox 16mm f/1.8

Sony 24mm f/1.4

These lenses earn their place when light is scarce, when I want a gentle falloff in a portrait, or when a specific look suits the story. They focus fast, they are sharp and they can create a calm space around a face. Used with intent, they are excellent. Used by default, they can flatten the story for me.