My gear changed a lot in these last couple years. First of all because I went, even more heavily than before, back to film. Then because I struggled to find a digital system capable of giving me, without much fuss, the colors I wanted.
So here is the content of my actual photo bags (of something I have multiple copies, like flashes etc.). I have a host of film cameras that are essentially my “toys”, that I choose to bring with me on the spur of a moment, and that I won’t list here; even if they are capable of stunning results, it is not them I use the most.
And then I have the gear that help me create most of my work, that you will find neatly listed below.
Obviously I don’t take everything with me all the time; instead, I try to choose the right tool for the job depending on the assignment, the location, the light I’m likely to find and so on. Some of this stuff simply lives in a particular place, like the car, my jacket during the winter, or in the panniers of each one of my bikes.
On average I carry just a couple of lenses if I already know something about the place where I’m going to shoot; on a multi-day hike, or if I’m clueless about the location, I can bring up to 4 lenses and a couple of bodies. When I carry more is usually some kind of “special effect” lens, like a fish-eye or a long lens. This happens usually only if the location or the subject calls for it, or if I’m working on a specific project for which the look of this kind of lens is needed. A tripod is almost always with me.
Lastly: yes, I do indeed have too many lenses and camera bodies. Some I keep because different lenses and formats will give you different looks, like for a painter different shaped brushes, or because it is always useful the ability to choose the more appropriate instrument for each particular job; others quite simply because I like them. Remember: every art form is, at its core, not only a form of communication, but a form of play, so you better be having fun with toys that you like!
So here you are not going to find everything, just the stuff I use the most, i.e. for 90% of what I do.
Quite possibly the “Goldilocks camera”. It made me switch back to DSLRs from a fully mirrorless setup. IMO, the best colors of any brand (even Fuji).
Sony RX100 IV
Positively tiny, the perfect setup to carry when out on the bike or on vacation, if I can live with a limited choice of focal lengths
Olympus OM-D E-M10
Thanks to the tiny m4/3 lenses form factor, the perfect setup to carry when out on the bike or on vacation if I might need longer or wider lenses
Film cameras: 35mm
Light, well made, nice to operate. A real workhorse
Positively minuscule, but with manual controls (aperture priority plus manual focusing) and a rangefinder: why there is not a digital version???
This one is growing on me. At first it felt less refined than a Nikon and the weird position of the shutter speed dial put me off, but I am liking the camera more and more. Incidentally, the best sounding shutter of all my 35mm film cameras!
Pentax ME Super
Fantastic camera, with IMO one of the best viewfinders ever made
Film cameras: medium format
Hasselblad 500c/m > Review
On one hand I am just addicted to the square format, is how I see most of the times. On the other hand, the 500 is an amazingly compact camera for what it does, so I am able to carry around without worrying too much about logistics
What can I say? Fun to shoot and the results at times really surprise you!
Polaroid SX-70 Alpha
More than a camera, a mixture between an engineer’s dream and the perfect brush for an artist
Film cameras: large format
Busch Pressman Model D 4×5″
Surely one of the smallest 4×5″ ever made, with loads of precise movements. A tad heavy, being all metal
The movements are a bit of a hit and miss, but this camera is all about being the most lightweight 8×10″ you will ever find
Hasselblad Zeiss 50mm f/4 Distagon
I love the way this lens renders the space in landscape photography, and it is super sharp to boot
Hasselblad Zeiss 80mm f/2.8 Planar
One of my all-time favorite lenses, period!
Hasselblad Zeiss 150mm f/4 Sonnar
Not a lens I use that much, and the out of focus areas rendering is a bit chaotic for my taste if there are leaves etc. in the background, but super sharp and sometimes you really can’t get close enough to your subject
Fujinon W S 250mm f/6.7 (for 8×10″)
The way this lens renders is utterly exceptional. Do not confuse this one with the Fujinon W 250mm f/6.3, an entirely different lens
Schneider Angulon 90mm f/6.8 (for 4×5″)
Super small wide angle, really sharp and tiny. Perfect if you don’t need a lot of movements
Kodak Ektar 127mm f/4.7 (for 4×5″)
Lovely rendering and positively minuscule for a large format lens. I can keep it on my Busch and still close the camera
Nikon 17-35mm f/2.8 AF-S
Not the sharpest on the D800 (especially wide open), but still more than good enough even for very large prints
Nikon 24-85mm f/3.5-4.5 G AF-S ED VR
Surprisingly quite sharp and VR works pretty darn well
Sigma Art 50mm f/1.4 HSM DG
Super sharp and with a really nice rendering, just a bit large and heavy but nothing major
Nikon 180mm f/2.8 ED Ais
Utterly fantastic lens
Nikon Nikkor TC-200 teleconverter
It works surprisingly well in conjunction with the 180/2.8 for landscapes, as long as you stop down a bit
Olympus OM 35mm f/2
My copy is in super ugly shape but still manages to be seriously good
Olympus OM 50mm f/1.8
A nifty fifty…what can I say? It works well and it’s nice!
Olympus 14-42mm f/3,5-5,6 M.Zuiko
Excellent kit lens, a bit weak at 42mm but still competent enough to make huge prints
Panasonic G Lumix 25mm f/1,7 Asph > Review
Lovely rendering especially at the widest apertures, smooth as butter
Panasonic G Lumix 35-100mm f/4-5,6 Asph Mega O.I.S.
Basically as sharp as the f/2,8 version, but this one it can fit in a jeans pocket
Pentax K 28mm f/3.5 M
Pentax K 50mm f/1.7 M