Give a look to the amazing machines which are our writers’ Holy Grail cameras. And let us know yours in the comments below. Enjoy.

James – Zeiss Ikon Hologon Ultrawide

I’ve mentioned the Zeiss Ikon Hologon Ultrawide to lots of photo geeks in casual conversation over the past five years. Just one of them has known what I’m talking about. Most people think I’m talking about the Zeiss Hologon 16mm lens for the Contax G series cameras, or an old (and rare) Zeiss 15mm Leica M mount lens. But I’m not talking about a lens. The original Hologon lens was fixed to a Hologon camera. My Holy Grail camera, in fact.

The Zeiss Ikon Hologon Ultrawide was first produced in 1969. A mechanical 35mm film camera, it was fitted with the lens from which it derives its name, a Zeiss Hologon 15mm F/8 (fixed aperture, fixed focus). This lens provides a 110º field of view. The camera has a viewfinder, a bubble level, a pistol grip accessory, a graduated neutral density filter to kill vignetting, a tripod socket, thumb-powered film advance, and a shutter with speeds from 1/500th of a second down to Bulb and T.

It is essentially a finely made metal clockwork camera with an enormously wide lens. Okay, 15mm by 2020 standards isn’t too wild. But back when this camera was made, 15mm was pretty wild. So wild, in fact, that Zeiss Ikon, the company who made it, barely sold any units. Despite making great cameras, Zeiss Ikon folded in the 1970s, after which their parent company Carl Zeiss took over. For the next few years, Carl Zeiss would produce small batches of Hologon cameras per year. In addition, they converted a number of the 15mm Hologon lenses to M mount (less than 1,000 units). Decades later in 1996, the famed Hologon was recomputed and reborn in Contax G mount, becoming a legendary lens in its own right.

The Zeiss Ikon Hologon Ultrawide was and remains an expensive camera. When new, it retailed for $825. That’s more than $5,500 in today’s money. And $5,500 is just about what a nice, fully functional example will cost today. The high price alone puts the Hologon fairly out of reach for most buyers. And then its rarity makes it hard to find even if one has the money (there are a handful of imperfect ones on eBay, usually, but who wants to spend $3,500 on a camera with a hazy lens?).

But beyond the high cost, what really makes the Zeiss Ikon Hologon Ultrawide a Holy Grail camera is that it’s just so impractical. A fixed 15mm lens that can’t focus or change aperture on a camera that costs five grand? How does one possibly justify that? I guess if one owns a camera shop and a camera blog whereby the entirety of the business operations consists of buying and selling cameras, and writing articles about special cameras for other photo geeks to enjoy, one might be able to justify the purchase. It is, after all, a business expense. Yes… Yes.

What say you, dear reader? Should I buy a Hologon?

Jeb – Hasselblad XPan II

Call me a sucker for weird formats; Polaroids, square 120, and even 110. I love shooting them all because they offer unique compositional challenges. Technically the Hasselblad XPan is a 35mm camera and you can use it to shoot 24x36mm negatives. But the whole point of the camera is the switch that allows it to shoot panoramic 24x72mm negatives. Panorama photography is a small niche in the field, but wide composition is something that has long appealed to me and is not a little influenced by films like The Master and Kenneth Branaugh’s Hamlet. 

There are a few options for panorama cameras, but none reach the quality of the XPan. Designed by Hasselblad and produced by Fuji, who released it in Japan as the [arguably prettier] TX-1, it was released in 1998 along with three new manual-focus lenses (30mm, 45mm and 90mm) specially built for the camera. It had automatic exposure, a silent shutter, exposure compensation and a motor drive. The XPan 2 was released in 2003 with modest improvements, such as an expanded bulb mode allowing for exposures up to nine minutes long, a self timer, and in-viewfinder exposure information. One cool function is that the film is completely unwound and then rewound frame-by-frame each time a photo is taken so that each exposure is protected as it’s taken, and so that the format can be changed mid roll.

But what you really want with the XPan is that wide negative. It gives photographers a cinematic perspective on whatever subject they choose, and while many people consider the XPan limited in its practicality, I say the only limitation is the photographer. Unfortunately the niche-ness of, and high-demand for, the XPan has seen prices skyrocket – well beyond the reach of most of us, including myself. XPans regularly cost a minimum of $3,500, and that’s with only one of the three lenses. If I were to take the time to average the price of the eleven XPan II’s currently listed on eBay (which I did), I’d find that the average the average price of an XPan II on eBay is an astonishing $5,886.

Still, if there’s one camera out there that I’ve never used but still salivate over, it’s the XPan. At the very least it would save me time cropping to my favorite aspect ratio.

Connor – Zeiss Ikon ZM

Being abandoned with nothing but one camera would be difficult for me regardless of my fictional budget. I’m just as much a collector as I am a photographer, and using/learning to handle different cameras is just part of the fun to me. That being said, I think I would go with the Zeiss Ikon ZM 35mm rangefinder. With a suite of Zeiss lenses, of course.

I prefer rangefinders for my style of shooting, and the ZM’s utilitarian feature set and access to some amazing lenses make it hard to ignore. With a shutter that’s just one step faster than the comparable Leica M7, and a metering system that’s very similar as well, aside from aperture priority, it’s clear who Zeiss had in their crosshairs when designing the ZM. It’s lighter, faster, and, at least in theory, more accurate to focus than the Leica due to its longer rangefinder base.

I can’t write any more about the ZM without talking about the lenses that come with it. The M Mount Zeiss lenses come with a powerful and deserved reputation (check out this review by Dustin to see for yourself) as the cream of the crop in terms of optical sharpness and design. I know the M mount has a huge variety of lenses and manufacturers, but there’s something about putting a non-Zeiss lens on a Zeiss body that feels… unholy. I’d rather have Planars and Distagons and Biogons on my Zeiss camera than Summicrons or Skopars. I will fully accept my contrarian badge and wear it with pride, as long as my desert island has enough batteries to keep the ZM working forever.

Cory – Nikon F2 Titan

I’ve had far too many cameras pass through my fingers since I tumbled into the rabbit hole of film photography. Some of them have been average and forgettable, others surrounded by hype and storied reputations. At a certain point you realize that gear doesn’t really matter all that much. Some features are useful or even necessary to be sure, but at the end of the day it all comes down to what camera speaks to you on a deeper, emotional level. Which one begs to be used? To be passed down to your kids or grandkids? Which camera is as much of an heirloom as it is a trusted companion to your life?

I’ve been thinking about this a lot lately. James went through this same journey when he decided to purchase his Nikon SP 2005 Special Edition. Like him, I wanted something fully mechanical, rare, and beautiful. Preferring SLR to rangefinder and already possessing a decent collection of F-mount glass led me to my own personal grail – the Nikon F2 Titan.

The traditional Nikon F2 is a standout camera in its own right, being hand-assembled from over 1500 individual parts. Its all mechanical body capable of continuously varying shutters speeds from 1/125-1/2000th of a second is a marvel of mechanical engineering. 

The F2 Titan is ostensibly a standard F2 wrapped in a titanium shell, but its history and rarity are what make it truly special. In 1977 the famous Japanese adventurer, Naomi Uemura asked Nikon to make him a camera that could survive his solo dog sled trip to the North Pole. Nikon created a titanium bodied F2 using special lubricants intended to function at -50c, and tested the camera’s durability by hurling it down flights of stairs in the factory. Nikon produced three F2 Titanium Uemura Special cameras in total (the first Titanium cameras ever made, in fact). Uemura took two of the cameras with him and shot 180 rolls of film during his six month journey. 

In 1978 Nikon produced and marketed an extremely small number of bare-metal titanium F2’s. Professionals complained the titanium finish was too reflective so Nikon painted the future models with a thick, textured black epoxy.

The F2P (P for press), was released in 1978 and distributed to two thousand members of the media that year. The F2P can be identified by a serial number starting with 920xxxx and a plain front plate (it is commonly referred to as a ‘no name’ F2 Titan). In 1979, Nikon released the F2 Titan, which had ‘Titan’ engraved on the front plate and serial numbers started with F2T 79xxxx. It was essentially an F2P that the general public could buy. The final and rarest (only 300 made) titanium F2 was designated the F2H. It sported a non-moving semi-transparent pellicle mirror and a huge MD-100 motor drive and MB-100 battery pack. It achieved a blistering 10 frames per second.

I’ve lusted after one of these special cameras for years, ever since I first learned of their existence. Recently the opportunity presented itself via the friend of a friend for me to purchase an F2P in near-mint condition and it’s on its way to me now. I can’t wait to own, and more importantly, shoot such an important and unique piece of Nikon history. I know that Grails aren’t supposed to be attainable. I’m cheating a little by picking this one. Chalk it up to excitement.

Aidan – Mamiya 7

I currently own and frequently use the Mamiya m645, or as I like to call it “the beast.” It’s beautiful. However, if I had to choose a camera that I would consider my “holy grail,” or a piece of equipment that I want so badly but is so financially out of reach that it can’t be justified, would be a another camera from Mamiya. The Mamiya 7 is my holy grail, desert island camera, dream setup, or whatever we want to call it! I crave its lightweight square-like design that’s able to capture sharp 6x7cm medium format memories. 

I surprised myself when I considered a rangefinder to be my holy grail camera; but this specific beauty is too handsome to keep off of the top of my dream list. If I had the Mamiya 7 I feel like I could step up my landscape and street photography tremendously with its versatility for any situation. It’s just unique enough, and it has a concise lineup of lenses that would allow me to be ready for any situation. 

The unfortunate $3,000 to $4,000 that this camera costs does not seem justifiable, especially when my significantly heavie, “beast” camera is by my side wherever I go. One day, even if it costs me an arm and a leg, the beautiful, lightweight, medium format Mamiya 7 rangefinder will be mine to create a new lifetime of cliché film shots.

Drew – Rolleiflex Hy6 Mod 2

In the world of autofocus medium format cameras, there are just a handful of players. I’m lucky enough to own the Fujifilm GA645, which is awesome because of how compact it is, and the Pentax 645N, which is a thoroughly modern workhorse. When I think about all of the cameras I don’t own but would like to own and yet probably never will own, one stands out – the Rolleiflex Hy6 Mod 2.

Despite having an appreciation for manual cameras, I’m still a sucker for the adornments and conveniences of modern photography. And on top of that, I really love the fewer shots and larger negatives of 120 film. The various 645 autofocus cameras are good, maybe great, but they’re 6×4.5 and ultimately do not boast the best autofocus or internal metering, which are the hallmarks of modern photographic equipment. The Contax 645 could be my holy grail camera, because I adore Zeiss lenses, but at the end of the day the storied shoddy autofocus and wonky electronics make me hesitant about ever purchasing one.

A far better option is the exorbitantly pricey (for me) Rolleiflex Hy6 Mod 2. This beast is a further development of Rollei’s 6008AF but developed to use Sinar digital backs. The Hy6 has a long history of development with multiple companies involved in its production, only to then become insolvent. It is currently produced by DW-Photo GmbH, a reincarnation of DHW Fototechnik itself a vestige of Rollei/Franke & Heidecke.

In any case, the Hy6 Mod 2 can shoot using 6×4.5 or 6×6 film backs, or medium format digital backs made by Leaf or Sinar (we’re talking sensors in the 50+ MP range). With a waist level finder but blisteringly good AF, you can compose shots organically and never miss focus or have to use a loupe/magnifier. On top of this, the 80mm f/2.8 Schneider-Kreuznach Xenotar, the Hy6’s standard lens, produces stunners. Painterly bokeh and razor-sharp. Luckily, not only are there many Schenider lenses made for the Hy6, the camera also accepts the earlier Rollei 6000 lenses made by Zeiss, Rollei, and Schneider. The cherry on top is that the camera’s three TTL metering modes (center-weighted zone, average zone, and precise spot) work as well as any in-camera meter could, making slide film a breeze to shoot.

Put simply, who wouldn’t want a camera that makes effortless 6×6 images that look gorgeous every single time? For that, all you’ll need is 5,000 – 8,000 USD!

Josh – Plaubel Makina 67

Among photo geeks, I suppose I can count myself rather fortunate. Over the decade-plus that I’ve been shooting film seriously, I’ve finally narrowed my collection down only to things I actually need. I have a pro-spec 35mm SLR system, a classic German rangefinder, an underwater camera, and an antiquated-but-capable TLR if I ever need to shoot medium format. Frankly, not much else outside of that excites me. Luxury point-and-shoots? Don’t care for them. Large format? No time for that. Wacko vintage curiosities masquerading as cameras? No patience. I’ve tried nearly all of these and even geeked out hard over them, but I really don’t think I need any of them. Bummer.

But there is one camera that has piqued my interest for years, yet has completely eluded me – the Plaubel Makina 67. It’s a slick German medium format rangefinder that shoots huge 6×7 negatives out of an incredibly thin body. The compact, bellows-based design is concise and devilishly pretty, a nice contrast to the boat anchors in this category, the Pentax 67 and the Mamiya RB67. The Makina 67 even sports a quick 80mm f/2.8 Nikkor lens, a spec that surpasses the 80mm lenses on the Fujica GM670 and even the legendary Mamiya 7. It seems to solve the weight and size issue I have with most 67 cameras, and does it in style. I might not need it per se, but I’ll be keeping a Makina-sized space on my shelf. You know, just in case.

Some nice cameras in there. Do you have a Grail camera? Let us know what it is in the comments below. Happy hunting.

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Give this article a browse, and then let us know what you think in the comments below.

Share your favorite lens with us and feel free to link to your favorite photo made with it. We’d love to see your world as shot through your favorite lens.

Enjoy!

Bellamy Hunt / Japan Camera Hunter

I had to think long and hard about this one. In my career I’ve seen many lenses that could be considered by many people to be their dream lens. I’ve shot everything that I always wanted to shoot. So perhaps you’re thinking that my favourite lens is something wildly esoteric? Well, I am sorry to disappoint you, my favorite is something much simpler. 

My favorite lens is the lens I shoot with most frequently, the Leica Summicron 35mm f/2 ASPH 11611. A classic design that performs excellently under any situation. It gives me the results I want. It is sharp, but still has character. Its color rendition is brilliant and it has nice contrast too. It is everything I need in a lens. 

Although, if I’m being honest, this lens kind of wins by default. It’s the lens I use because I can use it daily. But my all time favorite is a rare Zeiss cine lens. A 5cm f/2 with a fixed focus and fixed aperture. It was extremely hard to use and absurdly valuable, but the results were magnificent. I only got to shoot five frames with it and I fell in love. Unfortunately, it was not mine and I had to give it back. So, as that lens is unobtanium, I have to pick the Summicron. 

Cory / Casual Photophile

Despite the dozens of lenses that have passed through my hands over the years, when James asked me to write about my favorite, the choice was easy. Before I reveal my muse, let me provide some context. For one, I’m not a pixel peeper. I appreciate resolving power, but MTF charts and lines per millimeter statistics are boring. I don’t fall prey to the siren song of bokeh, but I do appreciate smooth transitions from sharp focus to blur. Because I prefer to print in the darkroom, lens distortion is something I have no patience for as I can’t correct it with a simple button press. Finally, I favor lenses that have previously produced my favorite images.

With the above criteria in mind, my favorite lens is undoubtedly the Carl Zeiss 75mm f/3.5 Planar permanently mounted in my Rolleiflex 3.5F. The real power of this lens is its magical character. I’ve always felt as though it combines the precision of a more modern lens with the charm of vintage glass. The falloff between critical sharpness and background blur can only be described as buttery. More importantly, this lens has produced the most treasured photograph I’ve ever taken.

My grandparents came to visit right around the same time the Rolleiflex had returned from an overhaul. The camera was in perfect working order and I was eager to use it. I asked if I could take some photos of them and shot a roll on our front porch. Less than a year later, my grandfather passed away from an aggressive form of leukemia. These were the last formal photos taken of my grandparents and I made a large print of the image you see here for my grandfather’s funeral. This is a camera that I’ll never sell. Not for the technical capabilities of the lens, though excellent, but for the priceless photographs it has allowed me to make.

Drew / Casual Photophile

It feels like I say it in every article I write, but I’m a Zeiss fanboy. I love the contrast and colors T* coated lenses produce. I started with the C/Y mount lenses, which produced gorgeous results. Then I moved on to the G mount lenses and my 45mm f/2 Planar wowed me – except when the Contax G1 missed focus. Finally, I settled on the modern Zeiss 50mm F/2 ZM Planar. And man, is it satisfying. 

It’s said that the Zeiss 50mm F/2 ZM Planar is based on the 45mm f/2 G Planar, which would make sense. Both lenses have six elements in four groups, and though the ZM is 40 grams heavier than the G, it bests the G with a more versatile aperture range (down to f/22) and ten aperture blades to the G’s six. In my experience, the ZM produces images with a bit more modern rendering when compared to the G. But best of all, I can nail focus even wide open with the ZM. I have a larger sample size with the G Planar, but the ZM Planar produces more beautiful bokeh and sharper in-focus areas. 

That’s why it’s my favorite lens. The image that I chose, the family golden retriever, highlights the ZM Planar’s best aspects: gorgeous depth of field and perfectly rendered focus. Now, if I could only find a nicely priced 50mm f/1.5 ZM C-Sonnar.

Hamish Gill / 35mmc

Without much doubt my favourite lens is the Zeiss 50mm f/1.5 ZM C-Sonnar. There’s quite a lot about this lens that makes it unique within my collection, and perhaps even unique within the wider class of modern lenses. 

The C designation in its name denotes either ‘Compact’ or ‘Classic’ depending on who you ask. By my measure, it stands for the former. But with its design closely related to very early Sonnar formula lenses, it’s fair to say that ‘Classic’ does indeed describe the way it renders an image. The real beauty of this lens though is that it combines the classic formula with very modern Zeiss coatings. 

The combination of the early Sonnar design and modern coatings makes for results that aren’t as sharp as those from more modern designs but have stacks of contrast. The results exhibit ‘3D pop’ that very few 35mm format lenses can match, making it superb for capturing people and their environment.

It’s not the easiest lens to shoot, mind. Its classic formula means it suffers with focus shift, which is quite problematic on its native m-mount. For some, this makes for a lens that’s too difficult to shoot reliably. For people like me though – people who love the way it renders – the slight difficulty it presents in shooting is a sacrifice that’s absolutely worth making. [See Hamish’s full review of this great lens here]

Jeb / Casual Photophile

At first I had no idea which lens was my “Favorite of All-Time.” But when James added that we should pick our favorite photo, I browsed photos and knew in my bones it had to be Minolta’s Rokkor 45mm f/2. This cheap pancake typically comes attached to any number of Minolta camera bodies won on internet auction, almost as an added bonus. But this lens is the ultimate sleeper, like a case of Coors Banquet it’s going to surprise you with a taste that belies its price tag. And sitting between Minolta’s truly epic lenses in the 35mm and 50mm focal lengths, this 45mm Jan Brady is all but lost in the mix.

But don’t let all of this distract you; this lens is light, inconspicuous, gives great contrast and is sharp as a knife. It’s not a spec monster that slays other lenses with its technical prowess, but it has its own unique and interesting personality, and its profile is as slim as you could expect from a pancake lens. I traveled through my backyards and throughout Europe with this attached to a number of bodies, and it’s helped me create some of my favorite images. This lens is a testament to Minolta’s insistence on quality – that even its low-cost lenses were (and remain) outstanding.

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Mike Eckman / MikeEckman.com

I could have chosen one of many excellent Nikkor, Rokkor, Takumar, Zeiss, or any of the other hundreds of optically excellent lenses that have been made over the past hundred-plus years. But choosing one of those would be too simple. I thought my favorite lens should not only take good pictures, but have some character, and do something that you can’t get from just any old vintage lens.

The Kamerabau-Anstalt-Vaduz Kilfitt-Makro Kilar D 4cm f/2.8 is that lens for me. I got this lens in Alpa mount on an Alpa Alnea Model 7 back in 2018, and was quickly enamored by its optical quality and two inch minimum focus. I’ve shot this lens on film, and after acquiring a digital adapter, I’ve mounted it on my Fuji X-T20 digital mirrorless.

Since September 2018, every single beauty picture of a camera that has been posted on my site has been shot with this lens. I like using a vintage lens to photograph vintage cameras, and with this lens, I can get a nice full camera picture from ten feet away, or an extreme closeup of a small detail of a camera that I want to show off. This lens not only makes fantastic looking film and digital pics, but its ability to function as a general purpose and macro lens is why I have selected it as my favorite lens of all time.

Connor / Casual Photophile

Picking a favorite lens was a difficult exercise for me. I tend to switch lenses very infrequently and end up using whatever lens came with the camera. In the case of the Olympus XA, that lens would be the brilliant F. Zuiko 35mm f2.8. 

While wading through my archives looking for inspiration, I found one 50mm shot after another, which made the XA’s slightly wider 35mm stand out. The outstanding sharpness of the six-element optics also made it stand out. The only drawback of this design is noticeable vignetting at wider apertures, but stacking that up against the XA’s minuscule size and feature-packed body, there are worse issues to have.

Even removed from the revolutionary context of the XA, this lens is an extremely solid performer and is one of the main reasons I’ve consistently reached for the XA, even in lower light situations (where my favorite photo with it was made). 

Peggy Marsh / Camera Go Camera

What is my favourite lens? The Canon 50/1.4 in Leica Thread Mount (LTM). Easy choice. Currently, it’s attached to a Canon IV SB2. For a lens that is over 60 years old, my example is so smooth to use. It feels solid and exudes quality, all metal and glass. It was relatively cheap when compared to other M39 lenses with similar performance levels. I’m not going to describe the technical details of the lens, since you can easily look those up. I’m more interested in the results.

However, I will mention the fairly long focusing throw, which for me, makes this lens a thoughtful one to use. Not a lens that I use when I need to move quickly, capture fleeting moments. It is a lens I savor, take my time with. This is especially true in low light situations where the widest f/1.4 aperture is needed.

The focal length, the nifty fifty, is a good all-around choice for portraits and landscapes. The resultant photos have a look that can’t be mistaken for a modern 50mm lens.

Ideally, I would like to try a 35mm lens to compare, but I don’t have one. You can’t choose something you don’t own. I had a look through my archives for photos and it has become abundantly clear, I have not used this lens nearly enough. I want and need to go out right now and try it, but well, stay safe, stay inside. At least the fast aperture might help with that.

Aaron / Casual Photophile

The diminutive Carl Zeiss 38mm f/2.8 enjoys a reputation that belies its small size. Nestled inside of the titanium-clad Contax point and shoot cameras of the 1980s and beyond, this lens was able to transform the reputation of a whole class of cameras. By placing the five-element Sonnar lens within the original Contax T in 1984, Contax redefined the expectations of the humble compact camera. Until this point, these “Soccer Mom” cameras were marketed solely at amateurs going on holidays, and had the optics to suit this less than demanding demographic of photographer. 

Not so after the Contax. The level of sharpness, micro-contrast and 3D pop generated by this little lens began an arms race that spawned a new category, the luxury compact camera. Throughout the 1990s Leica, Minolta, Nikon, Konica and more would compete with Contax to deliver lenses which often bested SLR equivalents, stuffed into bodies which could comfortably fit inside a coat pocket. It has been this form factor which has allowed me to carry this lens, first in the body of the autofocus Contax T2, and then in its forefather, the Contax T, around the globe, to capture some of my fondest memories. And the lens has always delivered. 

Those beer-soaked halcyon days as the nation cast aside Brexit concerns to (momentarily) celebrate the success of the national football team during the Russian World Cup. Through last year, as I chased sunsets down the backstreets of Hanoi, Taipei and other locales around South East Asia. A glance through my photos shows a stunningly high hit rate, and that virtually all of the botched photos are a result of user error. Even in these imperfect shots, there’s no flare or distortion to speak of, and there is character in spades. 

Even as cynicism toward luxury compact cameras continues to rise in step with their price tags, I find it hard to totally dismiss these cameras, solely because of my fond experiences with this lens. 

Kyle Depew / Founder, Brooklyn Film Camera

My favorite lens at the moment is the Schneider-Kreuznach APO-Symmar 210mm f/5.6. I bought mine around a year ago from a Japanese dealer and have been utterly in love since first mounting it on my Chamonix 45N-1. It has a beautiful Copal shutter and a 7-bladed aperture that’s as smooth as can be. It’s an absolute pleasure to use and renders portraits gorgeously.

I’ve been particularly enamored by making Polaroid 4×5’s with this system. The film is hard to find these days but I’ve had luck finding a handful of late-dated packs that have worked well. The chemistry is very old at this point (the last batches of Polaroid 4×5 ever produced expired in 2009) and it consequently renders colors very strangely, which I happen to love. These portraits were made on Polaroid Type-59 film that expired in 2007. Large format Polaroid magic!

Dan Rubin / Designer and Photographer

It’s easy to love Leica lenses of any era. The way they render a scene is the stuff of legend, and generally, they are priced to match. The Leica Summicron-R 50/2 sits outside of that, for me. Not a cheap lens by most standards, but as with most R-mount lenses, far less than its M counterpart.

When I picked up this lens three years ago along with my Leicaflex SL, it immediately became the favorite combination among my 35mm cameras, and one that almost always finds its way into my bag wherever I travel. Mine was made in 1981, a three-cam version.

Though shooting it wide open yields silky smooth bokeh and sharp details (it’s lovely for portraits), my favorite photo to date with this lens was shot in the middle of a sunny Spring day in Vienna, on Kodak Portra 800, somewhere between f/8 and f/11. The timeless look that this lovely lens provides when stopped down is divine.

Jim Grey / Down the Road

My favorite lens of all time is a common lens; you can buy one used for well under a hundred bucks. It’s plenty sharp and it’s well built, but it’s otherwise not remarkable. Yet I keep reaching for it because it’s perfect for the kind of work I do. I mount the 35mm f/2.8 AI Nikkor lens onto one of my Nikon SLR bodies and off I go into the world. 

I often photograph the built environment in cities and towns. That 35mm focal length means I seldom have to back up into the street to take in the scene. I also frequently photograph landscapes, where 35mm lets me bring in lots of the land without it looking to be too far away. That sometimes happens at 28mm and wider. This lens also lets me do a passable job when I want to move in close. 

I took this lens, my Nikon N2000, and a bunch of Kodak T-Max 400 with me to Ireland a few years ago. My wife and I spent two weeks driving all over Galway, Sligo, Mayo, Donegal, and Antrim. In Galway’s Connemara region we visited stunning Kylemore Abbey. I made this photograph from inside the front door, looking out into the Irish landscape. I used this photo for the cover of my book of film photos I made in Ireland; you can get a copy here. You’ll see more work from this lens from time to time on my blog, Down the Road.

Josh / Casual Photophile

This question’s hard. Not because I don’t know which lens to pick, but because I know which lenses I should pick. I should pick the Zeiss 80mm f/2.8 Planar on my Rolleiflex 2.8, the best lens in my arsenal. I should pick the Nikonos W-Nikkor 35mm f/2.8, a lens which helped me make my favorite photo (and the artwork on my band’s 12” single). And I should pick the Leica Summicron 50mm f/2 V3, which is still technically the best lens I’ve ever used. But I can’t. There’s only one lens that I can call my favorite – the pre-AI Nikkor-S 50mm f/1.4.

Truthfully, the Nikkor-S 50mm f/1.4 shouldn’t even be here. It’s heavy, it bruises my ribs whenever I run around with it, and worst of all, it gets Downy soft wide-open. It has never won an award in any camera magazine, its MTF charts probably look dismal, and most other vintage lenses can beat it in nearly every single technical category. It’s a deeply flawed lens, and it isn’t for everybody.

But then I remember that nearly all of my favorite images were taken with the Nikkor-S 50mm f/1.4, and choosing the Nikkor starts to make sense. After ten years of shooting this lens, I recognize its images almost instantly – the rendering is creamy and rich, overall contrast is always exactly to my taste, and the colors pop with an intensity known only to ancient single-coated lenses. My hands know this lens just as well; the scalloped focusing ring and aperture ring still glide and click more solidly and smoothly than any other lens I’ve used. And whenever I think of its heritage as the constant companion of a camera that quite literally changed the world of photography, the choice becomes clear. This lens is everything that I love about shooting vintage cameras and lenses. Why would I pick anything else?

Ned Bunnell / President of Pentax USA, Retired

When James asked me to name my favorite lens, my immediate reaction was the PENTAX-FA 31mm f/1.8. I’ve owned this lens for fifteen years and I’ve previously claimed it might be the only lens I’d ever need. In fact, last December I finally bought a Pentax K-1 so I could use lenses like the FA31 and my Super Takumar 50mm f/1.4 (8) on a full-frame body.

I shot with the K-1 and the FA31 for two months. During this time, I never picked up the camera that I’ve been using exclusively for the past six years, the Ricoh GR. I now have the latest iteration, the GRIII. And while I produced some lovely images with the K-1 and FA31, I began to miss my GR compact camera and its 28mm fixed-lens. 

I’ve finally realized that I prefer to keep things light and simple when I’m taking pictures. While the K-1 and FA31 is nicely balanced as far as SLRs go, it’s still large and a bit cumbersome. Whereas, walking around with the GR in hand, I can spontaneously photograph whatever catches my eye without thinking at all about the gear.

Lens wise, I’m not making any compromises. The Ricoh GR’s 28mm lens is probably as sharp as any 28mm interchangeable lens on the market today. And the GR is actually smaller and lighter than some of these lenses. I’m back using the GRIII every day. For me it’s the perfect camera; an incredible lens in a compact, unobtrusive body with all the controls of a traditional APS-C camera.

I’ll still bring out the FA31 and K-1 on special occasions, but even then the GRIII and its exceptional 28mm lens will probably be in my pocket… just in case. 

James / Founder, Casual Photophile

Sometime during the third hour of poring over the innumerable photos I’ve made for this site in the past six years, I cursed myself. What a stupid idea. Pick our favorite lens? And then pick our favorite photo made with that lens? What was I thinking? Days of agony later, I should have saved myself the trouble and gone with my first instinct. The lens that first popped into my mind when dreaming up this exercise is the one I’ve finally chosen, even though it’s far from perfect.

The Carl Zeiss 45mm f/2 Planar in G mount is that lens, and I love it for the same reasons that other Zeiss fans on this list have already written. It makes exceptional micro-contrast, is as sharp as I want a lens to be, and has a distinct personality that’s unquantifiable. This lens, coupled to a G2, made one of my favorite photos I’ve ever shot (and I’ve shared this photo in a few articles since making it). But this lens has also made a lot of my favorite digital photos, and I think that versatility is why I really love it.

Finding the right adapter to use the CZ 45mm f/2 Planar in G mount is critical. That’s because the G system uses electronic focusing, rather than mechanical. You can read all about this in my review of the lens. And while this methodology creates something of a challenge for digital shooters adapting G mount lenses, the struggle is worth it. The images I get from this lens mounted to my Sony a7II are always exceptional, and occasionally mind-blowing.

I’ve shared one film image and one digital image below. I know that (by my own rules) we were only supposed to share one favorite image, but what am I gonna do? Fire myself?

And at roughly 3,500 words, let’s take a break there. Many thanks to everyone who contributed to this article. It was great fun, and I’ve had such a great response from my fellow professional camera likers that I’ll be able to put together another all-star lens team from new contributors in just a couple of weeks. Until then, feel free to browse our full list of lens reviews, and be sure to visit all of the excellent sites that we’ve linked to from this article.

If you’ve enjoyed this look into our personal lens preferences, let us know in the comments. And as mentioned earlier, please share with us your favorite lens of all time, and the best photo you’ve made with it.

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The post Our Favorite Lenses as Chosen by Your Favorite Camera Geeks appeared first on Casual Photophile.

Our Desert Island series is a recurring set of articles in which the CP writers and I draw on our unusually deep knowledge of special cameras to answer the question “If you could only have one camera of a certain type or from a certain brand, which would it be?”

And more importantly, we want you to tell us what your pick would be in the comments section.

In previous Desert Island Cameras articles we’ve picked from our favorite brands, picked our favorite film, discussed Leica with Bellamy Hunt (Japan Camera Hunter) and talked all things Pentax with former President of Pentax U.S., Ned Bunnell. Last time we talked about a camera type, the rangefinder, and today we’re picking our ultimate medium format film camera. This should be fun.

Jeb’s Pick – Rollei 6008

When picking a medium format camera to take to a deserted island, my first tendency was toward practicality. It seemed a sensible choice to pack a camera that was tough as a rock, used above a 6×4.5 negative ratio, and wasn’t reliant on batteries if it’s to last me the rest of my sunburned life. But we shouldn’t discount the value of appearance and optical superiority. So while my first instinct was something Russian and utilitarian, I’m instead going German with the Rollei 6008.

There’s a big difference between the Rollei that was famous for its medium format cameras for more than fifty years and the company that’s known today mostly for its nostalgia films and brand licensing. The 6008 was decidedly a product of the old Rollei — it’s an incredibly well-made and feature-rich camera boasting an uncompromising selection of exceptional lenses.

Medium format cameras generally aren’t known for having many bells and whistles. In fact, some of the best MF cameras don’t even have a light meter. But the 6008 is an exception to the rule. it’s got enough features to make it feel more like a professional 35mm SLR.

Multiple metering modes, shutter speeds up to 1/1000th of a second, interchangeable film backs, exposure compensation, mirror lock-up, variable flash sync, depth-of-field preview — shall I go on? Okay. Automatic film transport. Lenses from Zeiss, Rollei and Schneider. That’s still not everything. The 6008 is a professional’s camera — a medium format camera that wants to get out of the studio and show that it’s capable of handling any real-world photographic challenge.

And it doesn’t hurt that I love its design, with its black and green and red coloring, its mix of metal and rubber, its rotating and lockable hand grip, and that Euro-in-the-eighties all-lowercase sans serif typeface. Desert island or not, the Rollei 6008 is very likely the only camera I would ever need.

See what James thought about the Rollei 6008 in our review.

Charlotte’s Pick – Bronica SQ-A

My choice for the one medium format camera I’d take to a desert island is the humble, solid Bronica SQ-A. It was my first medium format camera, and like the cheap tank of a car in which most people learn to drive, you never forget your first. Paired with a 50mm f/3.5 lens, it’s the perfect combination of simple design and easy-to use operation (though that doesn’t mean my first shot won’t always be accompanied by swearing, removal of the dark slide, then shooting again).

My model is missing its winder crank, but as I tend to shoot handheld with the speed grip attached, that makes no odds to me. With a huge, clear waist-level viewfinder and the shutter button moved to a more ergonomic position, street (well, jungle) and candid photography is easy. Mind you, the loud shutter slap would probably scare away some of the more timid inhabitants of my desert island – it’s definitely not discreet. The only feature I’d miss is a proper B mode – imagine the star trails you could capture at night, on a deserted island.

Paired with a slow Ilford black-and-white film (Delta 100 would be my choice), a nice dark cave to develop in, and a volleyball to whom I could explain my motivations behind each shot (poor Wilson), I think I’d be happy for a good long while. And if it stopped working due to sand or salt, I could still use the hefty Bronica to easily crack open coconuts.

Chris’ Pick – Mamiya Super 23

The primary issue with picking a desert island camera is deciding whether to follow the head, or the heart. My heart adores the Pentax 67. This is easily explained. The Pentax Spotmatic is one of my favorite cameras of all time, in all of its rugged, compact simplicity, and the Pentax 67 is the same camera writ large. It’s a super-sized Spotmatic with the glorious addition of a contoured wooden handle for ergonomic and brawling purposes. The Pentax 67 offers solid ergonomics, top notch Takumar glass, and decades of variants to choose from.

Yet if I’m being wise, I would follow my head. And I believe the wise choice is the Mamiya Super 23. The Mamiya system contains a total of ten lenses and an array of interchangeable backs ranging from 6×4.5 to 6×9, effectively broadening the range of available focal lengths. While the stamped-aluminum Mamiya may lack the Pentax’s appealing form, it is a functional masterpiece. The brick-like Mamiya offers a tilting bellows mount for the interchangeable film backs, rangefinder coupling, and switchable framelines for 100/150/250mm lenses. That’s serious versatility. 

All of this ignores the system’s greatest merit – Mamiya’s glorious lenses. They’re contrasty, resistant to flare, and all feature leaf shutters allowing flash-sync at all speeds. Removing the film back and affixing a ground-glass screen allows the shooter to rapidly re-angle the film plane and focus with ease.

It moves, my word, it moves.

This ingenious system allows the Mamiya to achieve a greater degree of creative flexibility than with virtually any camera I’ve come across. If I’m stuck on a desert island with the Mamiya for the rest of my life, at the very least I’ll never be bored. 

See Chris’ full review of the Mamiya Super 23.

James’ Pick – Hasselblad 500 C/M

The Hasselblad 500 C/M is an obvious and somewhat boring pick – but hear me out. Before I’d ever held or even seen a Hasselblad in the metal, I’d shot plenty of medium format cameras. I’d even shot many MF cameras that were at least somewhat influenced by the design of the Hasselblad – Mamiya’s RB and RZ, the smaller 645 format SLRs from Pentax and others. I’d always come out of those experiences wondering, “How much better can a Hasselblad be?”

The first time I held a Hasselblad, that question was answered. The difference is profound.

It starts with its size. The Hasselblad is easily held in the hand, unlike a lot of medium format cameras, and there’s really no comparing it to some other SLR style machines. Different beasts entirely, but look for example to the Pentax 67. Shooting the 67 is like wearing a rubber boot clamped tight in the jaws of a rusty bear-trap, while the Hasselblad is like dancing in a glass slipper.

Its ergonomics are surprisingly perfect. There’s a simplicity of control that just feels wonderful. Everything is where it needs to be, and there’s really nothing here that we won’t use regularly.

Lastly, its build quality is unrivaled. The Hasselblad 500 C/M is such an elegant camera that it makes other machines seem like tractors. Its clockwork mechanisms whirr and click and ratchet into place with a precision that I’ve never felt in another medium format camera. Advancing the film and cocking the shutter is like winding the mainspring of a wristwatch, where the incremental advance of gears can be felt through the fingertips. It’s an impossible thing to quantify, and I wouldn’t have believed it myself before I’d spent a few months with one. But the Hasselblad really is that good.

I mean, NASA brought a Hasselblad to the Moon, right? That’s about as much a desert island as one will find.

Josh’s Pick – Rolleiflex 2.8 Planar

West Coast hip-hop legend DJ Quik once said, “Life is much too short for you to not be fly.” I agree. So for this medium format desert island article, I’m picking the flyest of all medium format cameras to take to the grave – the Rolleiflex 2.8 Planar.

The Rolleiflex 2.8 Planar is the TLR all TLRs wish they could be. It’s gorgeous, and the envy of shooters, collectors, and manufacturers alike. Its beautiful Art Deco design has been widely copied, but its ergonomics, imaging capability, and signature high quality of build has never been matched. None of the Rolleiflex TLR copies have the same charm and raw quality as the real thing, and I suspect that no other medium format camera out there does either.

Visual appeal and legendary mystique aside, what makes the Rolleiflex 2.8 truly great is its lens. The Carl Zeiss 80mm f/2.8 Planar found on the Zeiss variants of the Rolleiflex 2.8 is my favorite lens on any format or system, film or digital. It’s one of the only lenses I know of that offers smooth, understated vintage character while also producing a technically incredible image. Modern lenses with modern accoutrements may produce sharper images, but none of them can recreate the look of an old school Carl Zeiss 80mm f/2.8 (for proof, see my full review).

Other medium format cameras may be able to shoot different formats, mount different lenses, and change between different films on the fly, but none of them can make an image pop quite like a Rolleiflex 2.8 Planar. It might look a little ostentatious these days but hey, life’s way too short for you to not be fly.

And those are our picks. Pretty amazing machines, but what do you think? Was your favorite medium format camera mentioned or passed over? Let us hear about it in the comments.

If you like this piece, check out the rest of our Desert Island Cameras series to see which camera we’d choose if we could only have one.

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The post Desert Island Cameras No. 08 – Medium Format Edition appeared first on Casual Photophile.

In previous Desert Island Cameras articles we’ve picked from our favorite brands and picked our favorite film, discussed Leica with Bellamy Hunt (Japan Camera Hunter) and talked all things Pentax with former President of Pentax U.S., Ned Bunnell. Today we’re focused not on a camera company, but a camera type; the rangefinder.

Essentially different from other cameras in their focusing methodology, rangefinders provide a unique shooting experience and some of the highest quality cameras and optics in the world. Here are the rangefinders we’d each pick as our “stuck-for-the-rest-of-our-lives” cameras.

Chris’ Pick

Picking this camera hurt me. I’m a well-documented Canon fanboy, and of my several rangefinders my Canon P is the one I’ve owned the longest. It does nearly everything I want a camera to do. It’s solid, well made, has an excellent selection of available glass, and has a nice bright finder. Of course, the P does have a few major strikes against it. First, the poor 35mm framelines. As a person who wears glasses, the widest lines are nearly invisible in the huge 1:1 viewfinder. Another strike against it is the Leica Thread Mount mount lens system it uses.

Sure, LTM has a wonderful catalog of lenses available for it, but M-mount very literally has all that and more. With a cheap machined adapter one can use both M-Mount and LTM lenses with ease on an M-Mount camera. Not so on the poor Canon P. My other 35mm-rangefinder-in-residence, a Voigtlander Bessa R, overcomes the first handicap with its marvelous 0.72x viefinder, but is equally hindered by the second. 

So, there go two cameras that I own and love dearly. Two swings, two misses.

But recently, and in print, I had the pleasure of fondling a really masterful rangefinder. In this money-is-no-object dream world, I’d have to choose the Leica M-A. In a situation where I’ll be shooting just one camera for the rest of my life, there’s something to be said for at least starting with a brand new piece of hardware. I’m twenty-seven years old. Given this, I’d be shooting the M-A without a backup for more than sixty years before I kick the bucket. And it really would last that long.

The M-A is a wonderful piece of hardware, and not just for its newness. The build quality is top notch, the lens selection is terrific, and apart from a finnicky shutter speed dial, everything just works harmoniously. I feel like a brand traitor saying so, but if I had to choose one rangefinder to shoot forever the Leica M-A is hard to pass over. 

Jeb’s Pick

I’ve gone off the reservation a bit in choosing the Fuji GW690. This medium-format rangefinder is famous for its sharp lens, big size and massive negatives. Nicknamed the “Texas Leica,” it’s about as subtle as the Lone Star State itself.

As a medium format rangefinder, the GW690 is a rare bird. While many medium format cameras are cumbersome and difficult to shoot without a tripod, the GW is extremely portable. Being a rangefinder, it isn’t weighed down by things like mirrors and pentaprisms, the absence of which improves an already sharp lens. And while rangefinders are typically precision machines often accompanied by high price tags, the most I’ll stand to lose if this camera breaks is $500.

Medium format negatives don’t come much bigger than the 6 x 9cm format shot by this camera (without spending really big money). Five times as big as 35mm and close to half the size of 5 x 7 negatives, these massive negatives pack a lot of detail. This is helped but the camera’s fixed Fujinon 90mm f/3.5 lens that’s well-known for its sharpness and lack of distortion. As a rule of preference, I generally avoid normal lenses, but there are exceptions to every rule and the Fujinon is one of them.

There are a number of reasons the GW690 may not work as a daily shooter. The lack of a light meter, the expense of only getting eight exposures per 120 roll of film, controls that slow down the photographic process, an underwhelming viewfinder and focusing difficulty were all justified criticisms that James cited in his less-than-glowing review. All of that, and knowing that I’d be stuck with a focal length I don’t particularly enjoy, might normally dissuade me from buying this camera.

But here on the deserted island I say bring it on. I love the Fuji’s look, its bare-bones approach, and its potential for producing great images. That there are quirks to the Texas Leica only means I’ll have something with which to challenge myself as I sit out eternity in my island paradise. I just hope they let me bring my light meter.

Josh’s Pick

I’m not a rangefinder guy. I’m even less of a Leica guy. So it may seem a little bizarre when I say that I think the premier camera of both those segments is the Leica M2.

For me, the M2 showcases everything great about the rangefinder format. Its 0.72x viewfinder and uncluttered 35/50/90 framelines lets users watch subjects walk into and out of the frame, the contrasty rectangular rangefinder patch along with its bright viewfinder still outclasses just about every other camera on the market in low light, and the M2’s all-metal build in comparison to its successors’ use of occasional plastic makes for one of the most luxurious shooting experiences in photography. Wrap that all up in golden age Leica design and build quality and you’ve pretty much got the ultimate rangefinder.

Yeah, it’s beautiful and stylish, but it’s also an incredibly capable photographic tool. Aside from the weird old-school Leica loading and rewind system, the M2 has aged well. It remains just as nimble, quiet, and portable as it was fifty-odd years ago and holds its own even when compared to the high-tech cameras that followed. Though I don’t have a particular affinity for the rangefinder format, I find myself throwing the M2 in my bag whenever I need a small, quiet camera.

Even though I’ve criticized Leica and the M2 in previous reviews, I still think the M2 is the standard bearer for all rangefinders. It’s a classic among classics, and a camera that I don’t think anybody would regret having as their one and only. This has worked for me; it’s still the only rangefinder I shoot.

Dustin’s Pick

I think that of all the writers on staff I have to be the one who’s shot the largest number of rangefinders. Just look at the archives. James has made me write about nearly every compact, fixed-lens rangefinder made in the 1970s. And if you’ve read some of those reviews and our Olympus Edition Desert Island Cameras, you can probably guess where I’m heading when picking my favorite rangefinder.

It isn’t flashy or even very popular, but if I had to pick one rangefinder to last for the rest of my life it’s the Olympus 35RD. And here’s why.

The 35RD is one of the smallest and lightest compact rangefinders ever made, perfect for shooting all situations without slowing me down. It boasts a fast maximum shutter speed of 1/500th of a second (which is common among the rangefinders of its era) and a lens with a maximum aperture of f/1.7 (which is less common). The beauty of the RD compared to many comparable rangefinders is that it’s fully mechanical, relying on battery power solely for the meter. If the batteries die, the camera continues to shoot at every shutter speed.

The feather-damped, short throw film advance is lovely, and the focusing ring is extremely easy to turn, making rapid-fire snaps a piece of cake. Loading film is also a breeze. A simple pull of a tiny, recessed tab, and the door pops open. Of course, it does possess a shutter-priority auto mode, but using this little pocket rocket manually is just too good to resist.

All this praise said, the RD does come with a few quirks. Lackluster aperture ring ergonomics, a fixed rewind crank, and a tiny finder have been challenging, but the image quality I get from this lens make it worth the effort. The fixed 40mm Zuiko delivers razor sharp images with a classic vibe. I absolutely adore the rendering of this lens, even more so than any of my OM mount Zuikos (which is saying a lot).

The 35RD is somewhat of a rarity these days, and many users complain that sticky shutter problems plague neglected copies, but if the camera has been reworked with modern lubricants it will shoot beautifully for many decades still.

James’ Pick

There are three criteria that make up the core of my hypothetical perfect camera. One, it’s got to be small (I can’t stand large cameras). Two, it must shoot aperture-priority semi-auto, since I’m lazy, and photographing my hyper-active children makes manual mode a recipe for missed shots. Three, it must be an SLR.

Wait, how’s this going to work?

Okay, scratch that last point for the purposes of this writeup, and sub in a fourth criteria; my ideal camera must have a world-class lens. Enter, the Contax T.

Before we get any further, let’s be clear – I’m talking the original T. The later autofocus T2 and T3 can fry in Hell. Those cameras, for all their autofocus wizardry and point-and-shootness are actually slower and clunkier than the original T. And let’s not talk too much about how absurdly over-priced they’ve become following well-publicized instances in which they’ve been seen in the hands of a number of celebrities over the past couple of years.

The original Contax T, on the other hand, is still affordable and a pure photographer’s camera. It’s an honest-to-goodness rangefinder camera with a direct manual focus lens (the T2 uses a less satisfying thumbwheel and the T3’s manual focus mode is activated via menu inputs). It’s got a rangefinder patch in the viewfinder, a depth of field scale on the lens, and it all feels simply stunning in the hand. It offers a flawless shooting experience with its aperture-priority auto-exposure mode (with available exposure compensation), comes in black or champagne titanium, fits in your pants’ pocket, and (are you ready for this?) features a synthetic ruby for a shutter release button.

All of this is impressive. What’s even better is the fact that it makes incredibly high-quality images with very little compromise or imposition put upon the photographer. Set the focus distance to the green dot on the depth-of-field scale, set the aperture to F/8, and simply point and shoot all day long. The 38mm F/2.8 Carl Zeiss T* lens is fast and perfect, and in all my years of shooting it’s the lens that’s helped me shoot some of my absolute favorite photos.

And those are our picks. Pretty amazing machines, but what do you think? Was your favorite rangefinder passed over? Let us hear about it in the comments.

If you like this piece, check out the rest of our Desert Island Cameras series to see which camera we’d choose if we could only have one Nikon, Olympus, Minolta, and more. And let us know which brand or type of camera you’d like to see us tackle next.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Desert Island Cameras No. 07 – Rangefinder Edition appeared first on Casual Photophile.

Last time we talked about Pentax with that company’s former President, Ned Bunnell. Today we’re focused on the camera company that put high quality SLRs into the hands of countless amateurs across the globe – it’s Canon. And here’s the Canon camera we’d each pick as our stuck-for-the-rest-of-our-lives camera.

Dustin’s Pick

Being asked to pick a desert island camera from the world’s largest camera manufacturer is like asking me to choose my favorite guitar player from the 1980s. It’s gonna be tough. Canon’s long history of camera wizardry and market dominance has left us with a seemingly bottomless selection from which to choose. I’ve owned many a Canon in my day, and while all of them have served me well as photographic tools, there is one that stands out in my mind as a desert island no-brainer; the mighty EOS-1v.

A solid, well-built, quasi-weather sealed, film pac-man of a machine, the EOS-1v is about as close to perfection as one can get in a 35mm professional body. It’s the only 35mm camera I’ve ever felt comfortable using for paid work, secure in the knowledge that pairing it with my L series glass will undoubtedly produce results I can be proud of. It’s captured multiple weddings, family events, and the birth of my third son. It’s traveled with me internationally, been bounced around camera bags and off of walls, and still performs as if it just rolled off the assembly line back in 2002.

The familiarity of the EOS platform has allowed me to switch back and forth between my digital EOS bodies without a second’s pause, and the ergonomics are truly best in class. It’s my only 35mm film body that I can shoot all day and not come home with hand cramps or sore biceps.

Want specs? It boasts a 45 point AF system and predictive AI servo mode that tracks moving subjects surprisingly well. And with the HS hand grip add-on, this film-munching mongrel will devour a roll of film in roughly 4 seconds flat. That’s right – 9 FPS. Boing! Couple that with a top shutter speed of 1/8000th of a second, and you’re ready to shoot anything from sporting events to extreme bar mitzvahs.

Feature-rich film bodies have a limited audience nowadays, but if you’re someone who still shoots paid gigs on film, or if you’re an EOS digital shooter looking for a film body, or you simply want the most advanced 35mm camera ever made, the Canon EOS-1v is as good as it gets.

Chris’ Pick

Canon was a nobody in the professional camera market prior to the release of the F-1, and their first effort is still their best. The F-1 exemplifies everything that’s special about a pro-level Canon; it’s durable, configurable, versatile, and just as handy in a bar fight as your average chair leg. This brick of a camera might not be Canon’s handsomest creation (that honor goes to either the P or the 7), but it is a functional delight.

The F-1’s high level of configurability allows it to be the perfect tool for nearly any job. Typically I use the camera with a power winder (the Winder F) and the swiveling Speed Finder. The latter permits me to shoot with my eye several inches from the finder, and makes shooting from very low or very high angles much simpler.

Of course, the F-1 is not perfect. There’s no hiding the fact that it’s extremely large and cumbersome when compared to machines like the Pentax LX and Olympus OM-1. It’s also substantially larger and heavier than the brand’s own excellent Canon A-1. But what it lacks in compactness it more than makes up in ruggedness, and since this desert island situation likely means I’ll need a camera that is as at least as useful for documenting my suffering as it capable of cracking open the occasional crab.

I don’t choose the F-1 easily. Indeed, I’ve already recommended the FTb over the F-1 on this very website, for many very good reasons. In most shooting situations the junior Canon is every inch the F-1’s equal, and it comes with a much smaller price-tag. But if we’re talking the rest of my life, if I’m forced to choose just one camera to be stuck with forever, I don’t intend to settle. I want a power winder and a titanium shutter.

Jeb’s Pick

Of all the Desert Island posts I’ve collaborated on, choosing my preferred Canon was the easiest. I often gripe about Canon being unimaginative with their product design, and I admit I don’t give the brand enough credit for their technological mastery. But in one shining moment they achieved both gorgeous style and ultimate capability with the Canon Canonet G-III QL17.

That’s a big name for a small camera, but don’t let the size of this compact little rangefinder fool you into thinking it’s a cheap and featureless machine. The GIII is so good it’s become known as the “poor man’s Leica.” Dubious nickname notwithstanding, the camera’s reputation is completely deserved.

The Canonet’s shutter-priority auto-exposure system  ensures every exposure is accurate, and the meter reading displayed in the viewfinder shows which aperture is being used. It has a leaf-shutter-equipped 40mm f/1.7 lens that’s tack sharp. Focusing is fast and accurate with a short focus throw, and a contrasty focus patch sitting in a bright viewfinder. The shutter action is super quiet, and unlikely to startle any island wildlife. And even though it’s a petite camera, it brings a satisfying heft that lets you know that it’s not a toy (though it may not be quite strong enough for cracking coconuts).

The technical capability and build quality of the Canonet are in line with Canon’s brand, but for me, the Canonet is really special because it’s also a beautiful machine – something to gaze at as well as gaze through. And that’s a rare and wonderful thing when we’re talking about Canon.

James’ Pick

I love serious machines, and that should come as no surprise. The cameras I keep for myself are often the ones that are complicated and impressive; cameras for people who like to disassemble and reassemble British twin-cylinder motorcycle motors, if you know what I mean.

That’s why I struggle with Canon. There’s no denying that they’re one of the most important camera manufacturers to ever exist, but at the same time, they’re a company that’s made nearly all of their money selling less-than-serious cameras. If Alpa is Rolex, Canon is Timex. The quartz watch costs less and is more accurate than the Rolex, but I know which one I’d want to wear.

Don’t get me wrong – the AE-1, the EOS lineup, and so many of Canon’s other cameras are amazing cameras capable of making fantastic photos. But they just lack that kind of unquantifiable feeling of old-world machinery that really makes me fall for a camera.

So which Canon would I choose if I could only have one? Something a bit odd; the Canon Demi. This half-frame camera is tiny, looks gorgeous, and allows 72 exposures to be shot on a 36 exposure roll of film. The 28mm f/2.8 lens is sharp enough on such a small frame (there’s also a faster version with a 30mm f/1.7), and its contoured, all-metal body just feels great in the hands. I love it for its uniqueness, and for the rare reaction it produces when I use it (a Canon camera that makes me feel something!).

And those are our picks. Pretty amazing machines. But what do you think? Was your favorite Canon passed over? Let us hear about it in the comments.

If you like this piece, check out the rest of our Desert Island Cameras series to see which camera we’d choose if we could only have one Leica, Pentax, Minolta, and more. And let us know which brand you’d like to see us tackle next.

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The post Desert Island Cameras No. 06 – Canon Edition appeared first on Casual Photophile.

We’re joined in this task by a special guest, Mike Padua of Shoot Film Co. Mike’s a pro photographer, entrepreneur, and all-around good dude. His company produces useful products for film shooters, plus a massive range of pins, hats, stickers, and clothing, all celebrating the fantastic culture of film photography. If you haven’t heard of SFC, check ’em out, say hi, buy a shirt.

Now let’s get down to business. Here are our forever films, why we love them, and why you might too.

Josh’s Pick – Kodak Tri-X

As soon as James posed the “Desert Island Film” prompt, he and the rest of the writing staff already knew which film I was going to pick. As much as I’d like to prove all of them wrong by picking something rare and exotic, I just can’t. There’s just no other film I’d want to accompany me to my watery, sandy grave more than photography’s most timeless black-and-white film, Kodak Tri-X.

What can I say about the film that I and so many others haven’t said yet? It’s the film all other black-and-white films are judged by, the film whose look defined the golden age of photojournalism, the film that looks phenomenal no matter what the situation. The reputation of this film is well-known, and to extol its virtues here would be redundant.

But let’s forget about all that for a second and think about the question at hand. If I was asked to trust only one film to document the rest of my moments on this earth, I’d choose Tri-X with no hesitation. Why? Simple. Tri-X always gets the shot. If there’s too much or too little light, Tri-X’s exceptionally wide latitude takes care of it. While other films have arguably caught up to Tri-X’s exposure latitude (HP5+ comes to mind), none of them have ever been able to truly replicate its signature look.

Don’t get me wrong, I’ve got love for a lot of black-and-white, color negative, and slide films. But when push comes to shove, nothing beats Tri-X.

More on Kodak Tri-X here.

James’ Pick – Kodak Ektar 100

I can’t help it; I’m a color guy. Even the established narrative that “serious photographers” only shoot black-and-white can’t discourage me from shooting color film. Who wants to be serious, anyway? And there’s no color film as punchy or, well, colorful as Kodak’s Ektar 100.

Ektar 100 is Kodak’s replacement for the discontinued Ektar of the 1990s, and has been called a suitable replacement for Ektachrome by the boys in Rochester. And though it’s tough to replicate the quality of a slide film with a color negative film, Ektar gets closer than any other. It creates images that are sleek, saturated, and vivid, perfect for shooters who love to play with color. The ultra-fine grain structure results in images that are about as close to E6 quality as you’ll find in a C-41 emulsion, and since it’s a C-41 film it can be processed anywhere color film is handled.

But what I love most about Ektar is that it allows me to make gorgeous high key photos in the type of light I love most – bright sunlight. Those days when the sun is beaming and everything’s a mottling of light and shadow are my favorite days to be out with a camera. I set the ISO dial to box speed (ISO 100) and shoot without worry. The film’s high latitude means even that even with fast prime lenses I’m able to over-expose and shoot wide open (or near to it) while still creating beautiful exposures.

No other film has wowed me with its results as Ektar. If you’re someone who loves the vibrancy of a brilliant, sunny day, Ektar is the best fit, and it’s the film I’d happily shoot for the rest of my photographic life.

More on Kodak Ektar here. 

Chris’ Pick – Ilford HP5

I developed an unintentional hierarchy of films early on, and I admit that elements of my initial biases have stayed with me through two decades of shooting. I’ve always automatically reached for Kodak C-41 color, Fujifilm for slides, and Ilford for black-and-white. But I enjoy shooting black-and-white most, and there’s only one film that works for virtually every situation in which I find myself; Ilford HP5.

While Tri-X seems to get all the glory in the world of black-and-white, it’s just a touch too perfect. Tri-X may have superior resolving power and clarity, but I generally prefer the overall look of Ilford HP5. HP5 brings a grittier depth to scenes, and I like seeing that in my photos. If Tri-X is Jackson Browne, then HP5 is Warren Zevon. I’m happy to sacrifice the accessibility of Tri-X for HP5’s “Lawyers, Guns and Money” aesthetic.

Part of that grittiness comes from the film’s inconsistency across gradients. Where Tri-X has a very smooth tonality, HP5 seems to have a dark third, a mid-tone third, and a highlight third, with hard breaks between each. The images are contrasty and punchy, and these characteristics are only exaggerated the harder we push the film. In fading light, every street scene looks like trouble just waiting to happen.

If poor, pitiful me has to shoot just one film forever, I’d be very glad for it to be HP5. If you’re looking for gritty shots and high drama, Ilford’s got you covered.

More on Ilford HP5 Plus here.

Dustin’s Pick – Kodak Portra 400

Asking a film photographer to widdle down their stock to a single film type is like asking a chef to prepare meals with only one type of meat. But if I’m forced to shoot only one film stock for the rest of my days, then my choice is arguably the most adaptable modern color film, Kodak’s Portra 400.

Portra 400 is something of a unicorn in the color film world. It’s a mid-speed wonder that can be shot anywhere from 100 – 1600 ISO with outstanding results. Looking for soft, creamy portraits? Overexpose it a stop or two. Looking for a bit of grit and contrast? Light it up at 800 or even 1600 and push during development. However one chooses to expose it, quality results are guaranteed. Unlike its slower and higher speed counterparts, Portra 400 truly is the most versatile of the Portra line. While both 160 and 800 variants can exhibit wild characteristics when pushed, Portra 400 happily pulls that weight when its siblings fail. The stock is consistent across formats as well, which can’t be said for a lot of other film stocks out there. I find solace in knowing that my results on 35mm and 120mm will yield nearly identical results in similar lighting.

Deserted islands aren’t typically a place where you’d find other human beings roaming about, but should Wilson and I stumble upon a few fellow beach-goers I’d get a “fun island headshot party” started and put this stuff to use. Portra 400 makes skin tones look incredible, and the accurate color, warmer tones, and clarity of the film creates lush images without over-saturation. Moreover, I wouldn’t feel guilty recommending Portra to my fellow islanders; its wide latitude means that newcomers to the stock can err on the side of over-exposure up to five stops and still make usable images.

I shoot this film in a lot of environments and situations, and most of the time I’ve a roll in one of my rangefinders, metered at 640, and pushed a full stop during development. Deeper blacks, added grain, and contrast all come as a result, but the charm remains. Whether you’re on the street, in the studio, or on an island, Portra 400 is sure to please shooters looking for warm tones and punchy color.

More on Kodak Portra 400 here.

Jeb’s Pick – Agfa Vista 200

I desperately want to pick a different film. Desperately. Portra 400 for its versatility, Ektar for its punch, Tri-X for its seat atop the throne, even Fuji 400H would be fun. They aren’t just emulsions of quality, they are Serious Films. They are professional-grade films used by professional photographers to create professional images. So I went through my archives hoping to find a bunch of images made with one of these great films. What I found was a spattering of shots peaking like Greek islands in a sea of Agfa Vista 200. By sheer democratic vote, I guess my favorite film is Agfa.

Agfa – the cheap consumer film that you buy in European convenience stores for just a few of the coins in your pocket. It’s designed for your kid’s soccer games and snapshots of monuments. I’m pretty sure the box for the 400 speed version actually has a child kicking a soccer ball on it. This is what the majority of my images have been taken with. Sometimes that’s because I’m testing a new camera and don’t want to risk wasting a roll of something more expensive, other times it’s because I’m not a rich man, and getting three rolls of film for less than $10 is really attractive.

I know how this film works, its limitations, and how it can be an underrated performer. It’s a budget-conscious travel film, and that’s largely what I need. With the exception of Tri-X, the other films I mentioned are either geared toward specific types of photography or are limited by speed. They all do certain things really, really well. Agfa does everything decently. That might not be a good slogan for a marketing campaign, but it’s a good metric if you can only have one film for the rest of your life. There’s always the possibility (however slight) that someone says “Wow, that’s a cool image.” and I can respond, “Oh yeah, it was taken on Agfa 200. I got it for three bucks. They were sold out of Tri-X.”

More on Agfa Vista 200 here.

Special Guest Mike Padua‘s Pick

It was an unlikely occurrence but I seem to have found myself on a desert island, devoid of online commerce and far, far away from civilization and any camera shops. Luckily, I was given the opportunity to choose which film stock I’d take with me (imagine that) knowing that I would be limited to that one film forever. So let’s get to thinking.

It’s going to be color film since I’m sure this desert island will have lush flora and fauna, white sand, and a vista of blue sea stretching out to infinity. Not to mention a sprawling cave system filled with hidden treasures, gems, and gold doubloons stashed by pirates centuries ago. I’m going to need to document that color. It won’t be a slow film, because even though the sun shines bright and hot, I’m sure the weather can shift to unforgiving storms at any moment, and I’ll want to stop down to a smallish aperture so I can shoot quickly using zone focus when I’m being chased through the forest by a smoke monster or the weird “others” from the far end of the island.

It’ll need to be a negative film. That high noon tropical sun casts some harsh shadows in the jungle, and I need to have some decent exposure latitude at the highlight end in these tough conditions, so C41 it is. And since I’m stuck here forever, I’m going to need a lot of it. And because my budget doesn’t allow for anything too high end, I’m looking at the cheap…er, value, end of the spectrum.

And finally, since I inexplicably have an unlimited stock of the stuff being mysteriously provided to me at various dead-drop points throughout the island, I need to choose a stock from a company that plans to remain in the business of making film for a while… or at least until I perish of hunger on this island since I can’t bring myself to hunt for wild boar, or whatever.

So, what is my desert island film? It’s Kodak UltraMax 400.

Remember, when you’re invited on an around-the-world sailing trip by your friend who barely has any sailing experience, say yes, and bring lots of film.

Many thanks to Mike for sharing his favorite film. If you’d like to see what he and Shoot Film Co. are up to, follow along on Instagram, Twitter, and YouTube.

Do you have a favorite film we didn’t mention here? Let us know about it in the comments and feel free to link to your sample shots. We’d love to see the images you’re making with your forever film.

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Buy film from Amazon

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post We Pick Our Desert Island Film with Special Guest Mike Padua of Shoot Film Co. appeared first on Casual Photophile.