The Neon Streets series was shot almost entirely on a Ricoh GR — a compact with a fixed 28mm lens that doesn't come off. No swapping glass, no second body, no bag full of options. Just one lens, whatever the scene.
I also carry a Leica V-Lux for anything that needs reach — it's a fixed superzoom, so same idea: no interchangeable lenses there either. Between the two, I've basically removed "which lens should I bring" from the list of things I think about before heading out.
What a fixed lens actually gives you
A single, known field of view forces a kind of discipline. I'm not chasing the "right" focal length for a shot — I move my feet instead, get closer or back away, and let the framing come from position rather than glass. It's a smaller camera in every sense, which also means it's easier to have on me all the time and easier to be discreet with on the street.
Why I kept using it
When I've borrowed interchangeable-lens setups for a shoot, I spend real time deciding what to mount before I even leave the house. With the GR, that decision is already made. Less gear, fewer choices, more time actually looking at what's in front of me.
Radical Sheep's street work leans on that constraint on purpose. Sometimes the fewer options you have, the more you actually see.