The Enduring Allure of the Camera: A Photographer’s Lifelong Obsession

The journey into the world of photography began for me at the tender age of fifteen, sparked by a gift from my mother: an Olympus OM-10. This very camera, still a cherished possession and featured in accompanying visuals, ignited a passion that would define my academic pursuits and professional life. My studies in photography, art, and filmmaking at college laid the groundwork for a career that has continuously evolved around image-making and the intricate realm of visual effects. This deep-seated adoration for image creation extends to the tools of the trade, and I confess to possessing a personality prone to collecting. Among my many collections, cameras have remained the most steadfast and enduring. For over three decades, I have been immersed in the acquisition, use, and sale of cameras, a pursuit I see no indication of abandoning anytime soon.

This fascination is not merely about staying abreast of professional technological advancements. My career trajectory has been remarkably fortunate. Years ago, I had the privilege of managing the photo studio at Games Workshop (GW) during a particularly dynamic period. When I joined, all photography was still conducted on film, utilizing medium and large-format cameras for everything from product shots to the archiving of artistic works. The sheer volume of Polaroids I produced in those days was staggering; the expenditure could have easily financed a property.

The advent of digital technology marked a significant paradigm shift. I vividly recall the introduction of our first digital camera for production use. With a modest 1.2 megapixels, it felt revolutionary. The images it produced were disseminated into monthly print publications, fundamentally transforming aspects of our workflow. Subsequently, we integrated digital scans from our 10 x 8 inch film cameras. The capture process for a single shot was protracted, and one could observe the pixels rendering on the monitor, one by one, a process akin to witnessing a webpage load during the dial-up era. It was a truly transformative time. While technology progressed at an unprecedented pace, my affection for film remained unwavering, and I continue to employ it to this day.

The Digital Revolution and the Persistence of Film

My professional work, post-Games Workshop, largely involved Canon cameras. This changed with the acquisition of my first Fujifilm S1 Pro, an early digital single-lens reflex (DSLR) camera that proved to be a revelation. Built upon a Nikon F60 body, it captured 3.5-megapixel images (with an optional, albeit problematic, 6MP setting), and the color rendition was simply breathtaking. Since then, I have bought and sold numerous cameras, striving to remain current, for the most part.

However, this pursuit of digital evolution represents only half of my photographic narrative. Beyond my professional engagements, film photography has consistently ignited my enthusiasm. I have continued to shoot on film, even during periods when it appeared to be a format on the verge of obsolescence. The entire experience of shooting film, from the tactile engagement with the camera to the meticulous process of developing the images, holds a profound appeal.

The urge to explore new photographic equipment remains as potent for film as it is for digital, though the motivations differ. With film, the focus is not on chasing the latest technological marvels or ever-increasing megapixel counts. Instead, the allure lies in the character of older cameras, some of which may show signs of wear, and their inherent lack of digital convenience. There is an ineffable charm, a captivating essence that I doubt will ever diminish.

While I do part with some cameras, they are often replaced by alternatives I am eager to try. Curiously, I utilize all of them. Cameras that do not actively participate in shooting rarely remain in my collection; this, I believe, is the core principle guiding my curation. If a camera inspires me to pick it up, load it with film, and venture outdoors, it earns its place.

The Workhorses: Enduring Reliability and Iconic Status

My "workhorse" cameras, those in constant use, represent the pinnacle of reliability and photographic heritage. For 35mm film photography, my Nikon F2 stands as the undisputed champion. Older than I am, it remains in superior condition, functioning flawlessly. The vast ecosystem of lenses available for the Nikon F mount, which remained largely consistent for decades with minor modifications, offers unparalleled versatility. This camera, a testament to enduring engineering, is a cornerstone of my practice.

In the realm of medium format, my go-to instrument is the Hasselblad 500C/M. I have owned several over the years, and each has proven to be a near-indestructible piece of equipment, destined to outlast me. The distinct square format and the impeccable image quality produced by these cameras are unparalleled.

Other frequently used cameras include the Contax G1 and a Leica M4-P, though they are currently on loan. The prospect of acquiring a Leica M6 is also very appealing, and it may soon join my collection. The practical advantage of having multiple film bodies is significant, especially for extended shooting days. Having a second body loaded with a different film stock allows for immediate adaptation to changing creative needs. For instance, I might bring along the OM10 or the Contax for instances where black and white photography is more appropriate, or if a sudden shift in light necessitates the use of a more sensitive film stock.

While I engage less with large format photography these days, my Wista 45D remains a treasured tool, offering a unique perspective and a level of detail that is difficult to replicate.

Digital Companions: Versatility and Creative Potential

The approach to my digital camera collection shares similarities, though the motivations are distinct. I invariably carry a Fujifilm X100V in my bag, a compact and capable camera that offers a delightful shooting experience. Interestingly, I also retain the original X100. While slower and less feature-rich than its successor, its original Bayer sensor produces colors of remarkable beauty and character.

The primary camera for my professional work is currently a Sony A7R IV. Its substantial megapixel count and, arguably, a more neutral image output, provide extensive latitude for post-processing and creative manipulation. While I am not particularly fond of Sony’s menu systems, the camera’s ergonomics are excellent, and it readily integrates as a B-camera for video production, a domain largely dominated by my Blackmagic Pyxis 6K. The menu interface on the Blackmagic camera, in contrast, is a testament to thoughtful design.

Beyond these core instruments, my collection encompasses a variety of specialized cameras. A pair of Ricoh Theta cameras are utilized for capturing High Dynamic Range Imaging (HDRI) data essential for my 3D work. A DJI action camera and an Osmo Pocket 3 serve as my go-to devices for recording video content while on the move. I also maintain a collection of Polaroid cameras, and I am currently contemplating the acquisition of a 16mm movie camera. However, the considerable expense associated with developing and scanning 16mm film might lead me to explore alternative avenues for cinematic capture.

The Future of the Collection: Innovation and Legacy

In practical terms, I do not require any more cameras, nor even half of the ones I currently possess. Yet, there is an undeniable romance associated with them, an enduring excitement that fuels my desire to explore new (and old) photographic instruments and ascertain if they resonate with my creative vision. My Mamiya C330 sits beside me, its presence a silent enticement as I browse auction sites in pursuit of a pristine Rolleiflex.

This exploration of photographic hardware continues unabated. I am currently engaged in the 3D printing of an Infinidex panoramic camera, which I am redesigning to better suit my specific needs. Concurrently, I am closely monitoring a highly promising Kickstarter campaign for the BeerPan, a device featuring an exceptionally appealing 65×24 waist-level viewfinder.

The pursuit of photographic equipment is a continuous journey, a testament to the enduring power of image-making and the fascination with the tools that facilitate it. My "XPan fund" is a testament to this ongoing quest, a symbol of the desire to explore the boundaries of photographic expression. The camera, in its myriad forms, remains an object of profound allure, a gateway to creativity, and a vital component of my artistic identity.