CALM - Cameras and Lenses Matter

[Paul Ozzello]

I used to dismiss the importance of the actual camera to the photographic process but as I‘m getting older - I find the choice of camera lens, camera, and format extremely important to the creative process.

For 25 years I limited myself to a Hasselblad with an 80mm lens and a 38mm SWC/M; telling myself that with such a great camera any bad pictures were more of a reflection of the photographer.

But several years ago I decided to explore other formats, 612, 617, a rotating panoramic camera (Noblex 150), and more recently an old Polaroid SX-70, and every time I start using a new camera I take some of what I consider my best work.

I’ve learned that I see the world completely differently depending on what camera I’m using - and I’ve also realized that certain cameras or formats just don’t work for certain subjects. For example - I don’t know what it is about the 35mm format - I just can’t get it to work: not my Leica rangefinder, nor the old Nikkormat I’ve had since I was 15, not one memorable image. Well no more than maybe a dozen.

Maybe we should all be embracing GAS after all!

 

[MattKing]

Maybe we should all be embracing GAS after all!

You've picked an excellent place of worship to preach to the choir

 

[Cholentpot]

I'm on a journey this year to use every single one of my working cameras at least once. No matter how bad or trash they are I'll give each working one a whirl. It's loads of fun to see what gems I'm finding.

 

[Sirius Glass]

The OP has been using the Hasselblad about ten years more than I. I have extended my range to cover the 30mm Fisheye, the 38mm SWC, 50mm, 80mm, 100mm, 150mm, 250mm and the 500mm which is also used with the 2XE. Like the OP, I find the 35mm format not as convenient for forming a composition as the frame is often too wide, however when the situation will not allow me to use the Hasselblad, I will use the Nikon AF camera and lenses.

I think that one should get the best system that they can afford. That way, if a composition fails the cause can usually be seen by walking into the bathroom and taking a good look at the mirror. That said, some compositions fail because no one camera system will cover all situations, hence I also have the WideLux F7, Nikonos V, 4"x5" Pacemaker Speed Graphic and the 4"x5" Graflex Model D, and several other cameras that meet particular needs.

 

[awty]

There just tools, the more tools the better.

 

[etn]

Maybe we should all be embracing GAS after all!

Definitely. A good starting point for you would be to simply look at other lenses for your Hasselblad.

Kudos to you to have been able to stick to 2 lenses for 25 years. I couldn't have done that. But I am weak as far as GAS goes

 

[etn]

The OP has been using the Hasselblad about ten years more than I. I have extended my range to cover the 30mm Fisheye, the 38mm SWC, 50mm, 80mm, 100mm, 150mm, 250mm and the 500mm which is also used with the 2XE. Like the OP, I find the 35mm format not as convenient for forming a composition as the frame is often too wide, however when the situation will not allow me to use the Hasselblad, I will use the Nikon AF camera and lenses.

I think that one should get the best system that they can afford. That way, if a composition fails the cause can usually be seen by walking into the bathroom and taking a good look at the mirror. That said, some compositions fail because no one camera system will cover all situations, hence I also have the WideLux F7, Nikonos V, 4"x5" Pacemaker Speed Graphic and the 4"x5" Graflex Model D, and several other cameras that meet particular needs.

Whaaaaat, no Hasselblad 60? or 120? or 180? (just kidding)

Agree with everything you say here.

About "the best system one can afford" : the beauty with Hasselblad (or pretty much all film camera those days) is that even if the price is high, you will not lose money if you decide to sell it later.

The negative is obviously that if you drop it, lose it, or destroy it one way or another you're losing quite a bit. Sometimes I don't dare going out with some of my gear just for that reason.

But then I think:
1) I didn't buy it to sit on the shelf,
2) how often did I drop a camera in the last 40 years (answer: yes it happened once, point taken I was not being very careful),
3) YOLO man.

 

[RalphLambrecht]

I used to dismiss the importance of the actual camera to the photographic process but as I‘m getting older - I find the choice of camera lens, camera, and format extremely important to the creative process.

For 25 years I limited myself to a Hasselblad with an 80mm lens and a 38mm SWC/M; telling myself that with such a great camera any bad pictures were more of a reflection of the photographer.

But several years ago I decided to explore other formats, 612, 617, a rotating panoramic camera (Noblex 150), and more recently an old Polaroid SX-70, and every time I start using a new camera I take some of what I consider my best work.

I’ve learned that I see the world completely differently depending on what camera I’m using - and I’ve also realized that certain cameras or formats just don’t work for certain subjects. For example - I don’t know what it is about the 35mm format - I just can’t get it to work: not my Leica rangefinder, nor the old Nikkormat I’ve had since I was 15, not one memorable image. Well no more than maybe a dozen.

Maybe we should all be embracing GAS after all!

Completely agree; every time I pick up a different camera I get into a different mood.

 

[snusmumriken]

Coincidentally, I’m thinking of selling one of my two Leica lenses because I find it unworkable with spectacles. That will leave me with one format, one camera, one lens. I welcome the constraints. The alternative seems to be always wishing you owned/had brought something other than what you have.

 

[Don_ih]

A new tool, particularly a new creative tool, opens you to new possibilities. You begin to look for ways to use it. Or at least I do.

I'm on a journey this year to use every single one of my working cameras at least once.

If I did that, it'd take more than a year....

 

[snusmumriken]

A new tool, particularly a new creative tool, opens you to new possibilities. You begin to look for ways to use it. Or at least I do.



If I did that, it'd take more than a year....

But why not, if it would unleash such creativity?

 

[Don_ih]

But why not, if it would unleash such creativity?

They're not new ---

I bought someone's camera collection (about 6-700 cameras) because it contained an 8x10, a 5x7, and a Leica III. I sold 5 or 6 cameras from the lot that I didn't want and recovered the money I spent on it. Unfortunately, it's left me with numerous containers of cameras.....

 

[juan]

I’ve found that when I get stale on LF, I can rejuvenate by taking a long walk with a smaller format. Maybe several walks. At the same time, I find that trying to use two formats on a photo excursion generally leads to mediocre results on both.

I like Cholentpot’s idea of using every camera in a year. I need to use up that J&C 400 in 35mm that’s clogging my freezer.

 

[Alan Edward Klein]

I used to dismiss the importance of the actual camera to the photographic process but as I‘m getting older - I find the choice of camera lens, camera, and format extremely important to the creative process.

For 25 years I limited myself to a Hasselblad with an 80mm lens and a 38mm SWC/M; telling myself that with such a great camera any bad pictures were more of a reflection of the photographer.

But several years ago I decided to explore other formats, 612, 617, a rotating panoramic camera (Noblex 150), and more recently an old Polaroid SX-70, and every time I start using a new camera I take some of what I consider my best work.

I’ve learned that I see the world completely differently depending on what camera I’m using - and I’ve also realized that certain cameras or formats just don’t work for certain subjects. For example - I don’t know what it is about the 35mm format - I just can’t get it to work: not my Leica rangefinder, nor the old Nikkormat I’ve had since I was 15, not one memorable image. Well no more than maybe a dozen.

Maybe we should all be embracing GAS after all!

Paul, I found my Nikonos IVa 35mm underwater camera shot on land with it's 35mm lens extremely sharp. Go figure? The camera weighs a ton, but it just takes nice sharp pictures.

 

[guangong]

Different cameras for different applications, although there is some overlap. Nothing beats 35mm for spontaneous picture taking wherever. Still some pics only achievable because I had my little Minox with me. LF requires a different mindset with attention to details. MF sits in between 35 and LF, a little awkward for some situations where 35 would be more suitable, but great at architecture and landscapes. There is also the divide between rf and SLR, much a matter of taste.
This is why GAS exists!

 

[xkaes]

It's probably better for Paul (the OP) if I don't mention the WORLD of subminiature cameras, and their numerous formats -- but I will anyway:

The advantages of using a subminiature camera are numerous:​

​

Their size and weight make them easy to take everywhere.​

People don't believe it when you say, "I'm taking your picture".​

Their results are much better than you'd expect, especially with today's films.​

Their history is as fascinating as James Bond.​

The cost of using them can be as minuscule as their size.​

And best of all -- you can still use these fine optical instruments!​

Take a few minutes and explore the little-known world of the littlest cameras.
But be forewarned: YOU may get hooked, too!

www.subclub.org

 

[faberryman]

I agree that cameras and lenses matter, and that shooting different formats and different focal lengths can expand your photographic vision. However, the task can be accomplished with, and I am being generous, half a dozen cameras and half a dozen lenses. Owning a hundred 35mm cameras, which is what GAS is all about, is more an exercise in compulsion than creativity.

I read in a recent post that one Photrio member sits on the sofa "exercising" all his cameras while watching TV. I am not sure how you expand your photographic vision by "exercising" your cameras. On the other hand, Pirsig was into maintenance so, in the right frame of mind, maybe some good could come out of it. I guess I need to keep an open mind. Just not so open my brains fall out.

The net result of the OP's well intentioned post is that he has given GAS-aholics yet another rationalization to press the Buy button, not that they really needed it, and by "it" I mean both the rationalization and the camera they just bought.

 

[Cholentpot]

A new tool, particularly a new creative tool, opens you to new possibilities. You begin to look for ways to use it. Or at least I do.



If I did that, it'd take more than a year....

I'm assuming it'll take a year. There's no telling. Some cameras will have to get used more than once though.

They're not new ---

I bought someone's camera collection (about 6-700 cameras) because it contained an 8x10, a 5x7, and a Leica III. I sold 5 or 6 cameras from the lot that I didn't want and recovered the money I spent on it. Unfortunately, it's left me with numerous containers of cameras.....

I can use some more cameras to flesh out my project. What happens if I run out of cameras midway through the year? Those containers won't empty themselves.

I’ve found that when I get stale on LF, I can rejuvenate by taking a long walk with a smaller format. Maybe several walks. At the same time, I find that trying to use two formats on a photo excursion generally leads to mediocre results on both.

I like Cholentpot’s idea of using every camera in a year. I need to use up that J&C 400 in 35mm that’s clogging my freezer.

Having fun so far. I resurrected a few that I thought were dead. I shot my only roll of 126 and I have to figure out how to load my 616 cameras.

 

[Don_ih]

Those containers won't empty themselves.

Yeah, it's mainly not worth the time and trouble. They may as well empty themselves. They're handy sometimes, though since I could pretty closely identify the camera Picasso was using in that thread because I think I have 40 or 50 such paperweights.... I should make lamps out of them.

 

[Vaughn]

They are tools...they shape the way we see.

IMO, those tools carry the same importance as the printing process used, the film used, the subject, the composition, and the intent of the photographer. And a few other things I haven't thought about yet.

 

[Cholentpot]

Yeah, it's mainly not worth the time and trouble. They may as well empty themselves. They're handy sometimes, though since I could pretty closely identify the camera Picasso was using in that thread because I think I have 40 or 50 such paperweights.... I should make lamps out of them.

Send them to me, I have the time and trouble.

 

[MurrayMinchin]

I must be weird.

While walking through the forest and in ‘serious photo taking mode’ my mirrorless digital camera photographs look very much like my 4x5 images.

Feels sort of like an elephant trying to drink from a long stemmed wine glass, but the way I see is the way I see, no matter what camera it seems.

It does, however, offer speedy changes of vantage point.

 

[KerrKid]

Just getting in the mood to go out and take photographs is the hard part for me. Choosing what camera to take is the easy part since I only have 35mm cameras and all of them are better than I am.

 

[Sirius Glass]

I used to dismiss the importance of the actual camera to the photographic process but as I‘m getting older - I find the choice of camera lens, camera, and format extremely important to the creative process.

For 25 years I limited myself to a Hasselblad with an 80mm lens and a 38mm SWC/M; telling myself that with such a great camera any bad pictures were more of a reflection of the photographer.

But several years ago I decided to explore other formats, 612, 617, a rotating panoramic camera (Noblex 150), and more recently an old Polaroid SX-70, and every time I start using a new camera I take some of what I consider my best work.

I’ve learned that I see the world completely differently depending on what camera I’m using - and I’ve also realized that certain cameras or formats just don’t work for certain subjects. For example - I don’t know what it is about the 35mm format - I just can’t get it to work: not my Leica rangefinder, nor the old Nikkormat I’ve had since I was 15, not one memorable image. Well no more than maybe a dozen.

Maybe we should all be embracing GAS after all!

GAS is Good!

Resist the Force of GAS, one cannot - Yoda Star Wars XXXXVIII

 

[Sirius Glass]

Whaaaaat, no Hasselblad 60? or 120? or 180? (just kidding)

Agree with everything you say here.

About "the best system one can afford" : the beauty with Hasselblad (or pretty much all film camera those days) is that even if the price is high, you will not lose money if you decide to sell it later.

The negative is obviously that if you drop it, lose it, or destroy it one way or another you're losing quite a bit. Sometimes I don't dare going out with some of my gear just for that reason.

But then I think:
1) I didn't buy it to sit on the shelf,
2) how often did I drop a camera in the last 40 years (answer: yes it happened once, point taken I was not being very careful),
3) YOLO man.

60mm is too close to the 80mm.
120mm or 135mm I do not do close up photography enough to buy them
180mm is better than my 150mm but not enough to go through buying and selling.