Your First Camera Lens: Why It’s Like Buying a Good Frying Pan

This overview reflects widely shared professional practices as of May 2026; verify critical details against current official guidance where applicable.

Why Your First Lens Matters More Than Your Camera

When you buy your first camera, the lens that comes in the box—the “kit lens”—is often mediocre. It’s like the cheap non-stick frying pan that comes with a starter apartment: it works for a while, but soon the coating scratches, food sticks, and you wish you’d spent a little more on something durable. Your first lens is the single most important gear decision because the lens determines image quality, not the camera body. A $2000 camera with a bad lens will take worse photos than a $500 camera with a great lens. This guide will show you why a prime lens (fixed focal length) is like a good cast-iron skillet: it’s simple, reliable, and forces you to learn proper technique. We’ll cover the key specs—focal length and aperture—in plain terms, compare three beginner-friendly lenses, walk through a typical buying scenario, and warn you about common pitfalls. By the end, you’ll know exactly what to look for and why spending a bit more upfront saves frustration and money later.

The Kit Lens Problem: Like a Flimsy Pan

Most cameras come with an 18-55mm f/3.5-5.6 zoom lens. It’s versatile but slow (small maximum aperture) and optically soft. In low light, it struggles like a thin pan that can’t hold heat. You’ll get blurry indoor shots and frustrated. Many beginners blame the camera, but the lens is the culprit. Upgrading to a prime lens is like switching to cast iron: you lose zoom flexibility but gain sharpness, light-gathering ability, and creative control.

Why a Prime Lens Is Like Cast Iron

A prime lens has a fixed focal length (e.g., 50mm). It can’t zoom, so you move your feet to frame the shot. This forces you to think about composition, just as a cast-iron pan forces you to control heat and oil. The result: better photos and a deeper understanding of photography. Plus, prime lenses are usually cheaper and sharper than zooms. For most beginners, a 35mm or 50mm f/1.8 prime is the best first upgrade.

Key Specs Explained Simply

Two numbers matter: focal length (mm) and aperture (f-number). Focal length determines how much you see—like a pan’s diameter. A 35mm lens sees a wider scene (like a 12-inch pan), great for landscapes and group shots. A 50mm lens sees a narrower, more natural view (like a 10-inch pan), ideal for portraits and everyday use. Aperture controls light and depth of field: lower f-numbers (like f/1.8) let in more light and blur backgrounds, creating that professional look. Higher f-numbers (like f/8) keep everything sharp. A good lens has a wide aperture (f/1.8 or f/2) for flexibility.

Real-World Scenario: From Kit to Prime

Imagine you’re shooting a dinner party. With the kit lens at 18mm, f/3.5, you get sharp focus but grainy, dark photos because the camera bumps up ISO. Switching to a 50mm f/1.8, you use f/1.8, ISO 800, and get bright, sharp shots with a pleasing blur behind the guests. The difference is night and day. This is why your first lens investment matters more than a new camera body.

In short: invest in a good prime lens first. It’s the single upgrade that will improve your photography the most.

How a Lens Works: The Heat Control Analogy

Understanding how a lens works doesn’t require a physics degree. Think of it like controlling heat on a stove. Your camera’s sensor is the food; the lens is the pan and heat source combined. The aperture is like the burner dial: a wide aperture (small f-number) is high heat—it lets in lots of light quickly, but too much can burn the highlights (overexposure). A narrow aperture (large f-number) is low heat—it takes longer but gives even cooking (deep depth of field). The focal length is like the pan size: a short focal length (wide-angle) is a big pan that cooks a large area but with less detail; a long focal length (telephoto) is a small pan that concentrates heat on one spot. The lens elements are like the pan’s material: high-quality glass (like copper or cast iron) transfers light evenly with minimal distortion, while cheap plastic elements (like thin aluminum) cause hotspots and blur. Just as you wouldn’t cook a delicate sauce in a scratched non-stick pan, you shouldn’t shoot important photos with a kit lens. A good lens controls light precisely, giving you sharp, consistent results across the frame. This section explains three core mechanisms: aperture’s role in exposure and depth of field, focal length’s effect on perspective, and how lens coatings reduce flare (like seasoning a pan).

Aperture: The Burner Dial

Aperture is measured in f-stops: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, etc. Each stop halves or doubles the light. A lens with f/1.8 is “fast” because it lets you use faster shutter speeds in low light. It also creates shallow depth of field—a blurry background that makes subjects pop. For portraits, f/1.8 to f/2.8 is ideal. For landscapes, f/8 to f/11 keeps everything sharp. Your kit lens might only open to f/3.5 at the wide end and f/5.6 at the telephoto end, limiting low-light performance and creative blur. Upgrading to a prime with f/1.8 is like going from a weak electric coil to a powerful gas burner: you control the heat precisely.

Focal Length: The Pan Size

Focal length, measured in millimeters, determines the angle of view. A 35mm lens on a full-frame camera sees about 63 degrees horizontally—similar to human peripheral vision. A 50mm lens sees about 40 degrees—close to how we focus attention. On a crop-sensor camera (like most entry-level DSLRs), multiply by 1.5x (Nikon) or 1.6x (Canon): a 35mm becomes roughly 50mm equivalent, and 50mm becomes 80mm. This matters because a 50mm on crop is great for portraits, while 35mm on crop is a versatile walk-around lens. Choosing focal length is like picking a pan size: too wide and subjects are small, too long and you can’t fit everything in frame.

Lens Coatings and Build: The Seasoning

Good lenses have multi-coatings that reduce flare and ghosting (like a seasoned pan prevents sticking). They also have metal mounts and weather sealing (like a heavy-gauge pan that won’t warp). Cheap lenses use plastic mounts and uncoated elements, leading to washed-out colors and fragile builds. Investing in a lens with good coatings and solid build is like buying a pan that will last decades, not months. For example, a modern 50mm f/1.8 STM (Canon) or 50mm f/1.8D (Nikon) costs around $125-200 and offers excellent sharpness and contrast for the price.

In practice, a good lens gives you consistent, predictable results. You learn to “feel” the exposure and depth of field, just as a chef knows when the pan is hot enough. This intuition is the foundation of great photography.

Choosing Your First Lens: A Step-by-Step Process

Buying your first lens doesn’t have to be confusing. Follow this process: start with a prime lens around 35mm or 50mm (full-frame equivalent) with an aperture of f/1.8 or f/2. That’s your “all-purpose” lens, like a 10-inch cast-iron skillet. Use it exclusively for at least three months. During that time, you’ll learn to compose by moving, understand depth of field, and discover what focal length suits your style. After that, you can add a second lens for specific needs: a wide-angle for landscapes, a telephoto for wildlife, or a macro for close-ups. But resist the urge to buy multiple lenses at once. This section walks through the exact steps: research, test, buy, and master. We’ll also cover how to evaluate used lenses (a great way to save money) and what to look for in online reviews. The goal is to make one smart purchase that serves you for years.

Step 1: Determine Your Camera’s Sensor Size

First, know whether your camera is full-frame, APS-C (crop), or Micro Four Thirds. This affects the effective focal length. For APS-C (Nikon DX, Canon EF-S, Sony E), a 35mm lens gives a 50mm equivalent view. For Micro Four Thirds, a 25mm lens gives a 50mm equivalent. If you’re unsure, look up your camera model’s crop factor. Then choose a lens that gives a 35-50mm equivalent field of view. That’s the sweet spot for most everyday photography.

Step 2: Set a Budget and Find a Prime

For under $200, you can get excellent primes: Canon 50mm f/1.8 STM ($125), Nikon 50mm f/1.8D ($130), Sony 50mm f/1.8 OSS ($250 used), or a manual-focus 35mm f/2 from brands like 7artisans ($100). If your budget is higher ($300-500), consider a 35mm f/1.8 or f/2 (Sigma, Tamron, or the manufacturer’s own). Avoid zooms for now—they’re more expensive for similar quality. A prime forces you to learn, just as a beginner chef should master a basic skillet before buying a full set of pans.

Step 3: Test Before You Buy

If possible, visit a camera store and hold the lens. Check the autofocus speed and noise, the manual focus ring smoothness, and the build quality. For used lenses, inspect the glass for scratches, fungus, or dust. Mount it on your camera and take test shots at different apertures. Check for sharpness in the center and corners. A good prime should be sharp wide open (f/1.8) and very sharp by f/2.8. If buying online, read multiple reviews from sites like DPReview, Imaging Resource, or YouTube channels like Christopher Frost. Look for consistent praise on sharpness and build, and be wary of overly negative reviews that mention defects.

Step 4: Use It Exclusively for Three Months

This is the hardest step for impatient beginners, but it’s crucial. Put your kit lens away and use only your new prime. You’ll learn to “zoom with your feet” and anticipate shots. You’ll understand how aperture affects mood. You’ll also realize what you miss: maybe you want wider shots for landscapes, or longer reach for portraits. After three months, you’ll know exactly what your second lens should be. This disciplined approach saves money and builds skill faster than buying a zoom that covers all ranges but teaches nothing.

Step 5: Add a Second Lens Based on Need

After mastering your prime, consider a second lens. If you shoot landscapes or interiors, get a wide-angle (e.g., 16-35mm or 14mm prime). If you shoot portraits, a longer prime (85mm or 135mm) gives beautiful compression. If you shoot wildlife or sports, a telephoto zoom (70-200mm or 70-300mm) is useful. But remember: each new lens should fill a specific gap, not just add convenience. A good kit might be a 35mm prime for everyday and a 85mm prime for portraits, or a 50mm prime and a 24mm wide-angle. Keep it minimal.

By following this process, you avoid the common mistake of buying too many lenses too soon, ending up with a bag full of mediocre options. One great lens is better than three average ones.

Tools, Economics, and Maintenance: The Real Cost of Lenses

Lenses are investments that hold value better than camera bodies. A good lens can last 20+ years if cared for, while a camera body becomes obsolete in 5 years. This section covers the economics: what to spend, where to save, and how to maintain your lens. We’ll also discuss accessories like filters and hoods, and whether to buy new, used, or refurbished. The analogy continues: a lens is like a high-end pan that you season and protect. Just as you wouldn’t use metal utensils on a non-stick pan, you shouldn’t touch the front element with your fingers. We’ll cover cleaning, storage, and when to repair vs. replace. Finally, we’ll compare three common beginner lenses in a table to help you decide.

Budget Allocation: Spend on Glass, Not the Body

A common rule is to spend twice as much on lenses as on the camera body over time. For a first lens, budget $150-400 for a prime. That’s a fraction of the cost of a new camera, but it will improve image quality more than any body upgrade. For example, a $200 50mm f/1.8 on a $500 DSLR will produce sharper, more vibrant photos than a $1500 mirrorless with a kit lens. The lens is the bottleneck. If you’re on a tight budget, consider a used lens from a reputable dealer like KEH or MPB. These often come with warranties and are thoroughly tested. Avoid unknown sellers on auction sites unless you can inspect the lens in person.

New vs. Used vs. Refurbished

New lenses come with full warranty and are guaranteed flawless, but they cost more. Used lenses can save 30-50%, but you risk wear, fungus, or de-centering. Refurbished lenses (direct from the manufacturer) are often like new with a warranty, at a discount. For your first lens, buying used from a reputable dealer is a smart move. Look for “Excellent” or “Like New” condition grades. Avoid lenses with scratches on the front element, oil on the aperture blades, or excessive dust inside. Fungus looks like spiderwebs and is a deal-breaker. If you buy online, use a site with a return policy.

Accessories: Filters, Hoods, and Cases

A lens hood is essential: it blocks stray light that causes flare and also protects the front element from bumps. Use it always. A UV filter is optional—some photographers use it as a sacrificial layer, but cheap filters degrade image quality. If you use one, buy a multi-coated filter from B+W or Hoya. A padded case or wrap protects the lens in your bag. Never store lenses without end caps on; dust accumulates on the rear element easily. For cleaning, use a blower first, then a lens brush, and only a microfiber cloth for stubborn smudges. Never use household cleaners or paper towels.

Lens Comparison Table

Each of these lenses is an excellent first choice. The Canon 50mm is famously cheap and sharp; the Nikon 35mm gives a natural field of view; the Sigma 30mm is exceptionally sharp and fast. Pick based on your camera system and preferred field of view. All three will outshine any kit lens.

Maintenance is simple: keep the lens capped when not in use, store in a dry place (avoid humidity), and clean only when necessary. A lens can last a lifetime with basic care.

Growth Mechanics: Building Skill Through Lens Limitations

The best way to improve as a photographer is to embrace limitations. A prime lens with a fixed focal length and manual focus option forces you to think, move, and anticipate. This section explains how using a single lens builds fundamental skills: composition, exposure, and timing. We’ll discuss the “one lens challenge” and how it accelerates learning. We’ll also cover how your lens choice affects your style and how to gradually expand your kit without becoming a gear collector. Just as a chef learns to cook a perfect omelet in one pan before attempting soufflés, you should master one lens before buying others. This approach not only saves money but also develops a consistent visual style. We’ll share a typical progression: 6 months with a 50mm, then adding a wide-angle, then a telephoto. Finally, we’ll talk about how to resist gear acquisition syndrome (GAS) and focus on making photos, not buying gear.

The One Lens Challenge: How It Accelerates Learning

Commit to using only one lens for 30 days. You’ll quickly learn to see in that focal length—you’ll know what will fit in the frame before raising the camera. You’ll also learn to adjust aperture consciously because you can’t zoom to change perspective. This forced constraint builds intuition faster than switching lenses. Many professional photographers started with a 50mm lens and used it for years before expanding. It’s not a limitation; it’s a teacher.

How Lens Choice Shapes Your Style

A 35mm lens encourages environmental portraits and storytelling, as you include context. A 50mm lens isolates subjects and compresses perspective, giving intimate portraits. An 85mm lens flattens features and creates dreamy backgrounds. Your first lens will influence how you see the world. If you’re drawn to street photography, a 35mm (or 28mm) is classic. If you love portraits, a 50mm or 85mm is ideal. If you shoot landscapes, a 24mm or 35mm works well. Choose a lens that matches the genre you want to explore most, and then explore it deeply.

Gradual Expansion: When and What to Add

After 3-6 months with your prime, you’ll feel its limitations. Maybe you can’t get wide enough for group shots, or you can’t reach distant subjects. That’s when you add a second lens. But add slowly: one lens per year is a healthy pace. For example, if you started with a 50mm, add a 24mm wide-angle for landscapes, then an 85mm for portraits. Or if you started with a 35mm, add a 70-200mm telephoto for versatility. The key is to identify a specific need, not a general desire for “more reach.”

Resisting Gear Acquisition Syndrome (GAS)

GAS is the urge to buy gear instead of taking photos. It’s fueled by marketing and online forums. To resist, remind yourself that every new lens requires learning time. A lens you don’t fully understand is wasted money. Instead of buying a new lens, spend that money on a workshop, a photo book, or a trip to a new location. Those experiences will improve your photography more than any glass. Also, set a rule: you must create 1000 meaningful images with a lens before considering another purchase. This ensures you’ve exhausted its potential.

By growing slowly and intentionally, you build a kit that serves your vision, not your ego. Your first lens is the foundation; nurture it.

Risks, Pitfalls, and Mistakes: What to Avoid

Even with good advice, beginners make common mistakes when buying their first lens. This section outlines the top pitfalls and how to avoid them. These include: buying a lens that’s too long (like a 200mm zoom) and missing shots because you can’t fit anything in frame; buying a lens that’s too wide (like a 14mm) and getting distortion or unflattering portraits; ignoring the crop factor and buying a lens that’s not suited to your sensor; spending too much on a zoom that’s not sharp; buying multiple cheap lenses instead of one good one; and neglecting to check compatibility with your camera mount. We’ll also cover the risk of buying a lens with image stabilization when you don’t need it, and the mistake of thinking a higher price always means better photos. Each pitfall is explained with a concrete scenario, and we offer a simple checklist to use before any purchase. The goal is to help you avoid wasting money and feeling disappointed.

Pitfall 1: Buying a Telephoto Zoom First

Many beginners buy a 70-300mm zoom thinking they need “reach.” But telephoto zooms are heavy, expensive, and often have small apertures (f/4-5.6) that struggle in low light. Plus, composing with a telephoto is challenging for a beginner—you lose context and often end up with blurry shots. Instead, start with a standard prime (35mm or 50mm) that forces you to engage with your environment. You can add a telephoto later when you have specific needs (e.g., wildlife or sports).

Pitfall 2: Ignoring the Crop Factor

If you own a crop-sensor camera (APS-C or Micro Four Thirds), a 50mm lens gives a field of view equivalent to 75-80mm on full frame. That’s a portrait lens, not a standard lens. Many beginners buy a 50mm for APS-C expecting a normal view and end up with tight shots indoors. Always calculate the equivalent focal length. For APS-C, a 35mm lens is roughly 50mm equivalent, which is the true standard view. For Micro Four Thirds, a 25mm gives 50mm equivalent. Know your sensor before buying.

Pitfall 3: Buying Multiple Cheap Lenses Instead of One Good One

It’s tempting to buy a set of cheap primes or a superzoom (18-200mm) for versatility. But cheap lenses have poor sharpness, slow apertures, and plastic mounts that break. A single good prime (like a Sigma 30mm f/1.4) will outperform a bag of cheap zooms. Quality over quantity is especially true for lenses. Invest your budget in one excellent lens rather than three mediocre ones. You’ll use it more and enjoy the results more.

Pitfall 4: Overlooking Compatibility

Not all lenses fit all cameras. For example, Canon EF-S lenses won’t mount on full-frame EF bodies (though they can with an adapter). Nikon DX lenses work on FX bodies but in crop mode. Sony E-mount lenses work on full-frame E-mount but may vignette. Third-party lenses from Sigma, Tamron, and Tokina have different versions for each mount. Always double-check that the lens is designed for your camera’s mount and sensor size. A quick search for “[your camera model] + [lens name] compatibility” will confirm.

Pitfall 5: Believing Price Equals Quality for Your Needs

A $2000 f/2.8 zoom is optically superb, but it’s heavy, expensive, and may not be the best tool for a beginner. A $200 prime may be sharper in the center and lighter, making it more likely to be carried and used. Don’t assume expensive means better for your situation. Consider weight, size, and whether you’ll actually bring it. The best lens is the one you have with you.

Avoid these pitfalls by using a pre-purchase checklist: (1) Calculate equivalent focal length on your sensor. (2) Set a max budget and stick to it. (3) Read at least three reviews from different sources. (4) Check compatibility with your mount. (5) Borrow or rent if possible. (6) Buy from a place with a return policy. This checklist will save you from most first-time mistakes.

Mini-FAQ: Quick Answers to Common Questions

This section addresses the most common questions beginners ask when choosing their first lens. Each answer is concise and practical, building on the frying pan analogy where helpful. We cover: “Should I get a zoom or a prime?” “What does f/1.8 mean?” “Do I need image stabilization?” “Is a 50mm good for APS-C?” “What’s the difference between Canon EF and EF-S?” “Should I buy a kit lens or body only?” “How do I clean a lens safely?” “Can I use old manual lenses on my modern camera?” “How do I know if a lens is sharp?” and “What if I buy the wrong lens?” The goal is to provide quick, actionable answers that reinforce the article’s core message: invest in a prime, learn its properties, and avoid clutter.

Zoom vs. Prime: Which Is Better for a Beginner?

A prime is better for learning. Fixed focal length forces you to move and compose, building skills faster. Zooms encourage laziness (just twist to zoom). Once you’ve mastered a prime, a zoom can be a useful tool, but start with a prime. It’s like learning to cook with a chef’s knife before buying a food processor.

What Does f/1.8 Mean?

It’s the maximum aperture, or the widest opening of the lens. A lower number (f/1.8) lets in more light and creates a blurrier background (shallower depth of field). It’s ideal for low light and portraits. A higher number (f/16) lets in less light and keeps everything sharp. The f/1.8 is considered “fast” because it allows faster shutter speeds.

Do I Need Image Stabilization (IS/VR/OSS)?

For a standard prime (35mm or 50mm), image stabilization is not critical because the focal length is short enough that you can handhold at 1/50s or 1/80s with good technique. Stabilization is more useful for telephoto lenses (100mm+) or in very low light. Many cameras have in-body stabilization (IBIS) now, which works with any lens. If your camera lacks IBIS and you shoot handheld in dim conditions, a stabilized lens can help, but it’s not a must for a first lens.

Is a 50mm Lens Good for APS-C Cameras?

It depends on your goal. On APS-C, a 50mm becomes roughly 75-80mm equivalent, which is a classic portrait length. It’s excellent for headshots and detail shots, but too tight for indoor group photos or general walk-around use. If you want a normal field of view, choose a 35mm (which becomes ~50mm equivalent). If you specifically want portraits, a 50mm is great.

What’s the Difference Between Canon EF and EF-S?

EF lenses work on all Canon DSLRs (full-frame and APS-C). EF-S lenses are designed only for APS-C cameras (they have a smaller image circle). You can mount EF on APS-C, but not EF-S on full-frame (they physically protrude and can hit the mirror). This is unique to Canon; Nikon’s DX lenses work on FX bodies in crop mode. Always check lens compatibility before buying.

Should I Buy a Camera with a Kit Lens or Body Only?

If you’re budget-constrained, buying a kit can be cost-effective if the kit lens is cheap to add. But plan to replace it soon. If you can afford it, buy the body only and put the savings toward a prime lens. You’ll start with better image quality and avoid the frustration of the kit lens. Many stores offer body-only options.

How Do I Clean a Lens Safely?

Use a blower (like a Rocket blower) first to remove dust. Then use a soft brush (like a lenspen) to gently sweep away particles. For smudges, breathe on the lens (gentle fog) and wipe with a clean microfiber cloth in a circular motion. Never use paper towels, tissues, or household cleaners. Avoid cleaning too often; minor dust doesn’t affect image quality.

Can I Use Old Manual Lenses on My Modern Camera?

Yes, with an adapter. Vintage lenses (like Nikon AI-S, Canon FD, or M42 screw mount) can be adapted to mirrorless cameras easily. On DSLRs, adapters may not allow infinity focus. Manual focus lenses are cheap and often optically excellent, but you lose autofocus and electronic communication. They’re great for learning and for a specific look, but not ideal as a first lens if you’re not comfortable with manual focus.

How Do I Know If a Lens Is Sharp?

Look for reviews that include MTF charts (a measure of contrast and resolution across the frame). In practice, take test shots at different apertures: a lens should be sharp in the center at its widest aperture, and very sharp across the frame by f/4-f/5.6. Compare to known sharp lenses (like the 50mm f/1.8) as a baseline. Also, check for chromatic aberration (purple fringing) in high-contrast areas.

What If I Buy the Wrong Lens?

Most retailers have a return policy (14-30 days). If you’re within the window, return it. If not, you can sell it used on eBay, KEH, or a local photography group. Lenses hold value well, so you might recoup 70-80% of the cost. Consider it a learning expense. Next time, use the pre-purchase checklist to avoid a repeat.

Synthesis and Next Actions: Your Lens Purchase Plan

To wrap up, let’s synthesize everything into a clear action plan. Your first lens should be a prime between 35mm and 50mm equivalent, with an aperture of f/1.8 or f/2. It should be from a reputable brand (Canon, Nikon, Sony, Sigma, Tamron) and bought new or used from a trusted source. Budget $150-400. Use it as your only lens for at least three months. Master aperture, composition, and focusing. Then, and only then, consider a second lens based on a specific need. Avoid the trap of buying multiple lenses at once or spending too much on a zoom. Remember the frying pan analogy: a good pan (prime) is simple, durable, and teaches you to cook. A cheap pan (kit lens) frustrates and limits you. A fancy pan set (expensive zooms) is unnecessary until you know what you’re doing. This approach will save you money, frustration, and time, and will make you a better photographer faster. Now, take these steps: (1) Identify your camera’s sensor size and crop factor. (2) Choose a focal length (35mm equivalent for general use, 50mm equivalent for portraits). (3) Pick a lens from the table or similar. (4) Buy it and commit to using it exclusively. (5) After three months, evaluate what you need next. Your photography journey starts now, with one good lens and a willingness to learn.

Actionable Checklist

• Know your camera’s sensor size and crop factor.
• Set a budget of $150-400 for the lens.
• Choose a prime lens: 35mm (for general) or 50mm (for portraits) equivalent.
• Buy new or used from a reputable source with return policy.
• Use only that lens for 3 months.
• Practice aperture control, composition, and moving your feet.
• After 3 months, assess what focal length you need next.
• Add a second lens only if it fills a clear gap.

Final Words: The Pan Analogy Revisited

A good frying pan heats evenly, lasts for decades, and teaches you to control heat. A good lens lets in light evenly, lasts for decades, and teaches you to control aperture and composition. Invest in quality, learn its quirks, and build your skills one dish—or one photo—at a time. Your first lens is not a purchase; it’s a commitment to a craft. Choose wisely, and enjoy the journey.