How I Created My Perfect Camera Collection
If you want to get a photographer talking, ask them about their camera.
There are few things that photographers like to talk about more than what gear they have. Whether it is because they just have an interest in gear or are doing a bit of showing off, photographers have always been a gear-centric trade.
As a working commercial designer, it always struck me a little funny. Very rarely have I been around other designers who talk about their keyboards, mice, drawing tablets, or other gear like that. Illustrators tend to talk shop about materials (a little). Mostly, this side of commercial arts is more interested in what we’re consuming, thinking about, or how we do our craft.
Photographers are so centered on their gear that there is a “syndrome” we joke about called GAS: Gear Acquisition Syndrome. It’s so bad that most photographers know as much about being an eBay seller as they do about taking photos!
After my gap of 10 years between shooting film, I also fell into this. It got moderately bad, and I still have several cameras that are currently just decorative pieces or curiosities rather than working tools.
After hearing the cries of my bank account late one night, I decided to be a little more circumspect with what I was buying and using. So, about a year ago, I sat down, did my research, and made a list of what I’m looking at capping my gear at. And since then, I’ve done a lot more photography and a lot less browsing on eBay and KEH.com.
It's by no means easy, though. Each photographer is different. We shoot different subjects, are drawn to different projects, and have different budgets. So, to help, I decided to walk you through my thought process on why I have the gear I do.
Hopefully, this will give some insight into your own needs and help you make more thoughtful decisions about the gear you need vs. the gear you want.
Some backyard snacking taken on the X100S on Labor Day, 2023.
What This Post Is and Isn’t About
What’s Covered: I’ll explain the thought process I used to determine why each piece of gear fits into my collection and workflow and why it fits into each category. Sometimes, a single camera fits into two categories, so I’ll explain why it’s in two places.
What Isn’t Covered: I’ll only be covering cameras, as going over accessories, lenses, and other items will be too much of a post for one day! I’ll also not be reviewing my cameras in detail. I’ve done quite a bit of research on each one and know them well, but if you want to look into each, there’s always YouTube. I’ll try to provide useful links where I can.
Why Limit Your Photography Gear?
Buying gear is fun. Using new cameras is fun. Much to my socialist chagrin… finding a deal is fun. Humans are built to notice and get a rush from the new, the novel, and learning new things. It’s how we’ve been wired.
Why should you put a cap on your gear? There are three significant advantages to having a set amount of gear in a pool that you can pull from.
1. You’ll Know What You Need for the Job or Project
The first reason revolves around planning. Having the right tool for the process helps ensure that you’re making photos instead of deciding between piles of gear and accessories.
I divide this into three categories: Serious Work, Travel, and Fun. These should be pretty self-explanatory on their own, but dividing your gear like this can also help you decide what you need if those areas overlap.
For instance, if you are traveling for a family vacation, you may want to mix some gear from the Travel category with the Fun category. For me, I may take my Canon Rebel 2000 and possibly my Polaroid and Sony A5000.
If I’m doing a shoot for a friend, and we have a playful idea, I’m probably packing the Canon 90D, EOS 3, and my Polaroid.
This allows you to quickly mix and match what you need, which will affect the film, accessories, and bags you need to pack everything up.
2. You’ll Know Your Gear Better
If you’re constantly buying and selling your camera gear, you’re doing more learning and re-learning of what you have, which can get in the way of capturing that perfect moment happening in front of you.
You really should be learning everything about a camera before you pick up a new one. While older cameras up to the 80s are relatively straightforward to learn and operate, once you get into the late 90s and 00s, they are jam-packed with a ton of features. Don’t even get me started on how bloated modern-day digital cameras are).
If you’re fumbling about trying to remember how your camera operates, you’ll take fewer photos.
For instance, I’ve had my Canon Rebel 2000 since, well, 2000! I only recently learned a few weeks ago that it had a multiple-exposure mode. And it’s up to nine exposures in total! I’m not exactly sure where I would use nine exposures, but it just goes to show that there’s always something to discover about the gear you have.
3. Limits Allow Your Creativity to Take the Lead
One of the biggest things I’ve learned as a designer is that limits are good. Time limits, limits on fonts and colors being used, limits on scopes of work. These boundaries force me to problem solve and not just take the easy road to a solution.
The same goes for photography.
As film photographers, an easy limit is the film stock you’re using. If you’ve packed Ektar 100, you’re probably not going to be doing night photography, and if you don’t have any macro lenses, you’re not going to be doing any macro work.
The same thing applies when building your camera list. If you’re an avid shooter of action like sports or racing, you’re probably not going to want a camera that you need to advance each frame manually. If you tend to shoot street photography, you’re not going to want a huge professional camera that is obvious that you’re taking photos (or being a target for someone to snag).
You can’t be every type of photographer for every type of situation. You’ll want to look at the subjects and settings that draw you in and inspire you. Build around what you want to do and not have a tool for every job.
The hockey rink in the American Dream Mall, East Rutherford, NJ. Taken on a Minolta X700, 50mm, Lomo 800.
Serious Work
When I say serious work, I don’t mean a paid shoot, necessarily. When thinking about serious work, this is when you’re looking to get the best possible result from the time you’ve taken. I see this area as something I need: flexibility, speed, and quality. Things like portability are usually a secondary consideration.
Fuji GS645S
With its 60mm lens equivalent to 35mm and its light weight, the Fuji GS645S was probably the most researched camera in my collection. The GS line was designed for travel without sacrificing quality, and it really does hold up to that promise. It’s easy to use, accurate in both its focusing and light meter, and produces beautifully sharp images. On top of that, as a mainly vertical orientation shooter, it fits what I want for scenes and portraiture.
While I would have preferred the Fuji GS645 Pro with its 75mm lens (a 50mm equivalent, which is my bread-and-butter focal length), I saw a lot of chatter about how hard the bellows are to replace. Similarly, the GS645S was too wide of a focal length.
So, this camera just nailed my sweet spot as my only 120mm option.
Fuji GS645 Wide60 overview and tutorial (BlueYote Photo on YouTube)
Fujifilm GS645S Medium Format Camera - The Ultimate Review (Frank Dávalos on Youtube)
Canon EOS 3
The newest addition to my collection, I’m still learning all the ins and outs of it. That said, having experience with both the Rebel 2000 and Canon’s digital cameras, it’s been a much lower bar to learn than if I went over to a Nikon setup. Also, because I have a nice collection of EF lenses sitting around, I know I have quality options.
You might notice below that I have the Canon Rebel 2000 as well. This might seem like doubling up at first. Still, in the 30+ years I’ve had the Rebel 2000, I can tell you that while it’s a fantastic everyday camera, having better focusing and in-camera metering options will be a game changer for complicated scenes.
Plus, a max shutter speed of 1/8000s on a 35mm film camera is nothing to sneeze at.
The downside of this camera is its weight. It’s definitely not a camera meant for easy travel, as it’s nearly as heavy as my 90D. But you have to sacrifice something for something so jam-packed with features.
Canon 90D
Again, this is a new addition to my collection, but I’ve had extensive experience with similar cameras, such as the 50D, so it wouldn’t have been as big of a stretch to learn if I had gone from film straight to digital.
The 90D is a honker of a camera, but it is capable and gives even modern mirrorless cameras a run for their money. It’s notably great as a video shooter, though I rarely take advantage of that.
The place this camera fills in my collection is my backup secondary shooter for any major issues that pop up. This should save me a lot of headaches on capturing scenes and subjects just in case my other gear decides to crap out on me.
While I am always looking to push my film photography work, having a digital as a backup is a lifesaver if your film gets ruined in-camera or in development, lost in the mail, or you were just stupid and forgot to adjust the ISO.
Minolta X700
The first camera I ever bought for myself, the Minolta X700, is a “you love it or hate it” camera. It’s partially on this list for sentimental reasons, but I know this camera inside and out and love its features and form factor.
It’s a quality camera that is relatively cheap, has a huge range of lenses that are available, and all the essential features that made it a mainstay with professional and amatuer photographers alike.
Its main drawback is a well-known and documented problem with its internal capacitors, which are known to break. However, this is also pretty easily repairable, even if repairs cost as much as a used model.
If I need a film look that is a little softer than the tack-sharpness that the Canon and GS645S provide, this is my go-to. I also have a large selection of lenses for this camera. Also, because it is a manual-focus camera, it’s a good camera for slowing me down when walking through a scene.
Some of my best images were all taken on the X700, so it remains sitting on my serious list.
Sorry, no reviews on this one. I’ve had it way too long to know a good review.
Travel Kit
Mountain Top Parking Lot at Prospect Mt. in Lake George, NY. Fuji GS645S on Kodak Gold 200.
My travel kit is about maximizing portability. Usually, I’ll want a few cameras that easily fit alongside other items like clothing, first aid kits, personal effects, and such. This gear should be light and have a good mix of quality to it.
Fuji GS645S
It's nice to see you again, GS645S. As mentioned above, this camera travels well, as its weight is only a bit more than my Rebel 2000 (depending on the lens) or my X100S. I can’t really express how nice it is to have a fixed-lens, lightweight camera that produces the quality I want for 120mm.
One of the downsides that should be known is the lens. While sharp, the lens is pretty fragile. To combat this and provide extra protection, Fuji added a crash bar around the lens that helps keep objects away from it. This bar is honestly pretty plastic, but it seems like it’s able to take a bit of shock.
Something to keep in mind if you’re looking at the GS645S.
Canon Rebel 2000
Plastic, lightweight, ugly. I can’t argue with the people who turn their noses up at this camera. While the build quality could be better, I’ve been using this for 20+ years. It was the first real camera I ever owned, a gift from my late father, and outside of a minor issue with the crystal display on the top, works like the day I opened it.
Yes, it’s a fully plastic build, but this thing is light. Paired with a 40mm pancake lens (a lens that has both quality and close-focusing capabilities), I would put this down as the ultimate in lightweight 35mm cameras.
It has all the basic features of a modern camera (manual mode, shutter and aperture priority, fully programmed mode) and many features with its metering and focusing that make it a great starter camera.
If you need to travel light, this is a great option.
Also, no reviews I can couch for on the Rebel 2000. I’ve had this camera pre-YouTube.
Fuji X100S
Ok, I know what you’re thinking. Of all the cameras available on the market, only the Leica line seems more of a snobby buy than the X100 series. These cameras have a hype machine on YouTube that’s only died down recently after everyone got the X100VI reviews out of their system.
It’s pricey (even the older models, like my X100S), has a fixed lens, and its video capabilities are moderate if we’re being generous.
However, if you know what you’re doing with this camera, it’s a beast to travel and explore with. Its images are sharp, the color science that Fuji brings to the table just hits differently, and its customizable simulations allow you to really fine-tune how you want your (JPEG) images to look (RAW images will be unchanged, giving you flexibility for later).
The thing with the X100 series is that, in my opinion, anything from the S on up is perfectly fine for 90% of what you need it to do. It packs a lot of travel value, and its focal length pairs amazingly well with my GS645S.
Minolta Explorer Freedom Zoom
With its pocketability and its overly long and convoluted name, the Minolta Explorer Freedom Zoom is a great option to slap into any bag or pocket and take as an extra camera.
It’s also shockingly common to find. While I stereotypically found mine for $5 at a local garage sale, it can regularly be found for under $100 online.
Images are pretty sharp, it’s got a telephoto zoom, powerful built-in flash, and a fake “panoramic” mode (though I never use that feature.)
I don’t have a ton to say about the Minolta EFZ, to be honest. It’s just perfect for travel.
Fun Stuff
Alstede Fresh farm market in NJ. Shot on a Canon Rebel 2000, 50mm, Cinestill 800T.
Anything in this category is just me having a good ‘ol time without overthinking. It includes family events, day trips, and other times when I want to enjoy the moments more instead of having to think about settings.
Sony A5000
Initially, the A5000 was a budget buy for me to start scanning film negatives. It’s light, small, and has Sony’s and a raft of third-party range of lenses available for varying budgets. However, since I acquired the 90D, you might think that I should just offload this camera.
While the 90D is superior in basically every way (except size) to the A5000, I keep this around because it’s a quality yet unobtrusive camera. I can stash it and a couple of lenses in almost anything. I can also hand this over to basically anyone, and they can use it when it’s in program mode. My partner loves to be able to shoot this here and there without thinking about settings.
Canon Rebel 2000
Because of its combo of options, lenses, and lightweight, this is what I consider my primary “family shooter” in the collection.
Holidays, vacations, family milestones… it works perfectly to capture what I want without distracting from the stuff I want to remember.
Minolta SRT-202
Anyone who has a collection of film cameras should own a fully mechanical camera. I found a near-mint quality SRT-202 from Unique Photo in New Jersey and snatched it up as soon as it was on sale.
There’s something about the shutter sound, the weight, and the cool touch of metal that really brings the aesthetic joy out when shooting this camera.
The only issue I’ve had is that the light meter seems to be a little off on scenes, so whenever I’m out and about with this guy, I’m always pairing it with my Keks KM-02 light meter attached to its hot shoe.
I know many photographers would look at this collection and sell this camera immediately. But I would come to regret that decision. It’s a good backup camera for my line of Minolta lenses, and it’s my guilty pleasure to shoot, even though I don’t take it out as much as I used to.
Polaroid One Step 2
As much as Polaroid is a real pain in the ass to shoot, I must be a masochist because I love the format. I’ve always had Polaroids in my family, so they’re very ingrained in me. For over 30 years, I’ve owned a Polaroid Impulse, which I still love. But, especially as Polaroid is making advances in their film emulsions lately, I did want something a little more quality that could take their iType film.
So, for around $300, I dropped the money on the Polaroid One Step 2.
I’ve heard a lot about this camera’s quality, and with the sheer disappointment that the Gen2+ I own just gathers dust in my collection, this thing lives up to the hype.
It’s the perfect camera when I want to have a good time and get nearly all the shots I want. Sure, you still need to know what the hell you’re doing with lightening or darkening scenes on Polaroid film, but if you do, you’ll hit more than you miss.
Is the Polaroid Onestep 2 still worth buying? - In Depth Review (Just ANother Chris on YouTube)
So, Are You Actually Done?
So, contrary to the actual title of this blog, I can’t really say if I’ve “completed” my collection or whether it’s “perfect.” That’s kind of the thing with collections, they will always be despite our best efforts imperfect.
I could come across a Mamiya 7 with a complete set of lenses at a garage sale for $10 or have a camera break and need to replace it if the cost of repair is too high. I’m sure things will change in a year, with tweaks here and there, depending on how much work is evolving.
But, I think the exercise of trying to limit your collection to a set of tools that you use most often is a good one to work on. With the demand for cameras still high, with prices ever rising, the need to chase gear can be one that can lend itself to obsession.
I would instead be taking photos than scanning eBay, and you probably would be too.
Let the gear chase go to the people who need the gear first.
