If you could keep just one camera...

[moggi1964]

My Mamiya C3 - every time I look into that WLF I feel like I'm seeing the world afresh.

 

[lecarp]

One camera? That's just INSANE!

 

[JerseyDoug]

Leica IIIf RDST

 

[JWMster]

Can't make this work!

Thought I could dump digital... couldn't and ended up rebuying Fuji XT-4 and GFX-50R in an unsuccessful pass as if I were thinking I could dump all the rest. Didn't work. Especially the lack of a tangible touch-it-feel-it process.... and I've got all this film lying in a fridge. Old problem, new era, to quote Shakespeare on his pen collection: "The collection groweth.. and none exeunteth stage right..."

Did dump Leica M3 and M6.... that actually wasn't that hard: Hated the way those loaded, but liked the shots. Loved the Zeiss lenses but realized I was collecting and not enjoying the shooting... especially loading experienced. Cycled through a bunch of others but ultimately replaced with Nikon F's ...and ultimately settling on the F4 as the prize of the bunch. Sweet camera! though telephotos beyond the 135mm are honkingly too big! Nikon's commitment to the F line meant the same lenses worked all the way through the Nikon D800.... but actually those big teles pushed me to reconsider that.... and redo digitial as ASC (Fuji). Sold the Nikon heavy weights, but still have the F4's and complementary lens crew.

Medium format - after an incomplete but still extensive set of trials, have found it hard to wrestle with anything other than my Rollieflex 3F with filters, etc. Sometimes manual everything is just fine and doesn't break. Efforts with Bronica, Rollei 6008, and some others were still born. But the TLR leaves only when they pry it from my cold dead hands. But the tough thing with 120 film is peeling that backing paper and loading the reels is a PIA, and the other thing is that SLR MF's tend to do is make you wonder why.... since they seem to clock in about as big and heavy as 4X5.... though they can do a bit more speed. Not much, but some. Where I see "beyond the TLR" fitting these days is in more panoramic type shots. Maybe it's wanting "IN" on the fad? But I can see using some of my LF lenses here and the LF cameras with a roll film back. Caveat is that if I really really had to cull and dump ALL LF, maybe the RB system would step in. Maybe?
At this point, I'm very much paused on both of those MF continuance ideas and holding ONLY with the TLR.

With LF 4X5, I'm still weeding. For now (semi self awareness speaking), I think this is the keeper format. "The challenge with this format is amazing, and the joy of handling.... is great. So far my shots ain't.... but it's a learning exercise." Yup. And the (expensive) lessons do feed back into the rest in innumerable ways. One thing that's annoying is that once you see that tilt can solve a lot of perspective problems, NOT doing that is hard to bear. Mentally I cringe even seeing someone else's published shots that don't at least keystone this away in editing. And that's why I'll keep working 4X5 until I really "get it": Because it's worth it and the challenge is formidable, humbling, and worthy.... and I'm not, but I'm still ambitious enough to think some of this can be changed.

So I can't do it. Resolutions to cull "the collection" are underway. Again. Yes, all in all, I've spent like a drunken sailor (maybe like 2 or 3?), and promised to reform and "do better and be more controlled" like a hung over sailor. And then I don't. Duh. The problems with film are that it's rare out in the wild, and trying / using someone else's prized find to see whether it fits you really doesn't have the opportunity to happen if it ever did. You buy, you try, and trade out or keep. And this whole "Cull" thing is about as gruesome as a Sci-Fi Horror movie of the same name... I can't even watch it... much less do it... even mentally here. And then there's the developing, darkroom, printing end of the business.... but that's another can of worms. How many cans are we opening here? Right... let's not go there.

 

[GLS]

Mentally I cringe even seeing someone else's published shots that don't at least keystone this away in editing.

This is often my reaction as well, especially when wide angle lenses were (ab)used. Shooting LF makes one hyper-aware of the limitations of other formats.

 

[4season]

Resolutions to cull "the collection" are underway.

My own efforts are ongoing, and it seems to help me if I document when stuff arrives, and when it leaves. And from 1/1/2020 to date, this is what I've de-acquired:

When I dipped my toes back into the film waters some time around 2012, I had the urge to explore so many paths not taken previously. But while the diversion had it's entertaining moments, ultimately, most didn't take me anywhere particularly interesting. I don't worry too much about making mistakes because they are inevitable, and keeping things for too long can also be a mistake. When I sell something, it's not just money and space that I receive in return, but potential.

Of course, camera-collecting can be it's own thing, and I "get" the appeal of finely crafted machines and the stories behind them. But my attention span is limited, and my interests aren't static.

 

[JWMster]

My own efforts are ongoing, and it seems to help me if I document when stuff arrives, and when it leaves.

I do a spread sheet rather than photos, but same idea. What DID you keep?

 

[waynecrider]

My choice is actually 2 of the same thing; 2 K1000’s with different lenses. Once my Spotmatic is repaired it will be the Queen.
No plastic fantastic!
Second place; 4x5 Pacemaker Graphic.

 

[AnselMortensen]

That is a tough one....but...
As of right now, it would have to be my customized Anniversary Speed Graphic, because it is the most adaptable camera I own.
#1. It has a focal plane shutter, so I can use a wide variety of old barrel lenses, including Petzvals.
#2. It has the large lensboard size, 4"x4", so I can use larger diameter lenses than a Pacemaker.
#3. I have adapted it to have front tilt, for Scheimpflug....instead of the "tilt the bed down, tilt the lens standard backwards" tomfoolery.
#4. Pacemaker yoke installed, so multiple infinity stop locations are possible.
#5. Graflok back installed, for multiple roll-film back possibilities...including an Art Panorama 6x17 back...(which I have).
#6. I also have a sliding split-back Graflock back, for 2) 2.5 x 4" exposures on one 4x5 sheet of film.
#7. Unnecessary rangefinder/viewfinder doodads removed, so smaller package...great for hiking.

 

[RalphLambrecht]

I'm sure it's been asked before. You can only keep one of your cameras. Which one will it be?

my 1977 NikonFE without a doubt.

 

[Besk]

That is a tough one....but...
As of right now, it would have to be my customized Anniversary Speed Graphic, because it is the most adaptable camera I own.
#1. It has a focal plane shutter, so I can use a wide variety of old barrel lenses, including Petzvals.
#2. It has the large lensboard size, 4"x4", so I can use larger diameter lenses than a Pacemaker.
#3. I have adapted it to have front tilt, for Scheimpflug....instead of the "tilt the bed down, tilt the lens standard backwards" tomfoolery.
#4. Pacemaker yoke installed, so multiple infinity stop locations are possible.
#5. Graflok back installed, for multiple roll-film back possibilities...including an Art Panorama 6x17 back...(which I have).
#6. I also have a sliding split-back Graflock back, for 2) 2.5 x 4" exposures on one 4x5 sheet of film.
#7. Unnecessary rangefinder/viewfinder doodads removed, so smaller package...great for hiking.

Back in my post of 2019 wrote: "Miniature (6x9) Crown Graphic. I have lenses to cover about any need and several backs including one set up for 35mm."

I was thinking of the most versatile camera even if film was hard to get. Even though I prefer 4x5 (and 35mm for snap shots) the 2 1/4 x 3 1/4 Crown Graphic seems to be the one that I would keep if I could have only one camera. Sheet film for Grafmatics, 120 film and 35mm film with suitable back are all usable with a variety of lenses. Ground glass focusing plus a rangefinder.

 

[abruzzi]

this is in the medium format forum, but people aren't really following that, so here goes--I'd keep my Sinar Norma. Why? because its so modular, I can currently shoot 8x10, 5x7, 4x5, 6x9, 6x7, Instax Wide, and if I wanted to I could get backs to do 6x6 and 6x4.5. I could shoot film, and I could shoot up-to 150mp digital (not that I could afford one of those backs.) My Arca Swiss F-Metric could do all that too, and I prefer it to the Norma, but today, its only setup for 4x5 and down, while I do have the larger formats for my Norma.

 

[4season]

I do a spread sheet rather than photos, but same idea. What DID you keep?

There's actually still a bunch left, even if at least 5 of the cameras are Zenits: How did I wind up with so many Zenits?

Over the years my film-camera interest has shifted to emphasize those cameras which I feel I have a good chance of maintaining in good working order. That doesn't necessarily rule out electronics, plastics, or more complex designs, but if I think something's going to be a real challenge, the price needs to be discounted accordingly.

 

[numerus]

Mine would be a Mamiya C220f with WLF. The bright screen allows you to focus without a loupe, the lenses are superb, you can take macro shots and it's not too heavy.

 

[JWMster]

Heading out on the water tomorrow. Taking a Fuji XT4 because APS-C makes a telephoto "longer" and that's what's needed on the water, but looking longingly at the Nikon F4 and lenses where a telephoto weighs tons. Love that system but not the tele lenses beyod 135mm. Tempted to pick up a Mamiya RB or Pentax 67, but TRYING very hard to hold the mantra and stick with a Rollie for the MF buzz and use a roll film back on 4X5 where I picked up a 6X9 Horseback the other day. The whole 4X5 thing is so tactile, so painful, so mind bending... it's just a complete THING... "hunting the shot, finding the light, etc." that there's nothing like it. With any other camera - with EVERY other camera, it's shoot a roll or two, fill a datacard and all that.... you program a series of shots before you even set out, but with 4X5.... getting 4 shots is a full day. The PIA factor is a feature not a bug. So this is the mental gymnastics I'm running through. And it's graven in my mind that one series of shot I took I ran into a local guitarist of repute... who absolutely understood the dedication it takes and the enjoyment of the moment... and he's no longer with us. I think of that a fair bit: Better to keep the people and ditch the gear.