I've used five different camera systems in my life, but a sixth has just arrived at Studio Ubiquity. This seems like a good time to update my history with still photography. So I've trawled the archives and compiled the following narrative. It helps me to understand the decisions I've made along the way. Perhaps it will be useful to you?
You can also read an older version of this article.
Phase 1: 135 film in 1981
Like many folks of a certain age, I began photography using black and white film in the 135 format, AKA full-frame. The context was my studies at the University of Western Ontario in the early 1980s. There I discovered the student newspaper The Gazette, which was published three times a week. Training consisted of the instruction "here's a camera" plus a short session in the darkroom.
In those days we had no care for brands. So long as the lens fit the body we'd use it. This could not be further from today's obsessive environment of minute comparisons between models for differences that simply don't matter. But it's worth emphasising that readers/viewers were also less discerning in those days. It's an eye-opening exercise to read books of classic photography and discover many shots that today would be criticised for being too soft, having unappealing focus transitions, etc.
My interest was music. I only began taking photos in order to document concerts that I was reviewing. I remember using a Pentax K1000 but nothing much else. Though I do recall being unsatisfied by the standard 50mm focal length as this was neither wide enough for environments nor long enough to capture musicians on stage.
Of course I had various point and shoot systems, but it took me decades to get a proper camera. I simply couldn't afford a camera or at least not the system I wanted. My good friend had a Contax with Zeiss lenses and these blew my mind in terms of usability and quality. I had too many other priorities in life to make photography another. I regret this now.
Phase 2: Pentax DSLR in 2008
This is going to be hard to believe but my first photography system was not purchased until 2008. In all the intervening years I was using crappy cameras, despite my strong interest in art and aesthetics. Indeed, I had used one of the first prototype digital cameras while a visiting artist at the Banff Centre for the Arts. So I kept my eye on that technology which conveniently did away with chemical usage, the physical realm of the darkroom, and the plague of dust.
The first camera body I purchased was the Pentax K100D Super, followed by the Pentax K20D and Pentax K-X. These are APS-C cropped sensor digital SLRs. Pentax always lagged behind Canon and Nikon for features and usability, but won out on sheer value. Their autofocus lenses were decent and sometimes exemplary. Here's a list of purchases, the most expensive being €400.
- smc Pentax-FA 1:1.9 43mm Limited
- smc Pentax-FA 1:1.8 77mm Limited
- smc Pentax-DA 1:2.8 35mm Macro Limited
- smc Pentax-DA 1:4 12-24mm ED AL[IF]
- smc Pentax-DA 1:4 16–45mm ED AL [IF]
- smc Pentax-DA 1:3.5-5.6 18-55mm WR
- smc Pentax-DA 1:4-5.8 55-300mm ED
Pentax really shines when it comes to their manual focus legacy lenses. Unlike other brands these are generally obtainable for bargain basement prices. This is not because of any optical inferiority but simply because the name "Pentax" does not equal Zeiss and Leica in people's minds. I soon amassed a number of third-part lenses for the K-mount system and even became a bit of an expert on the 28mm focal length. Along the way I compared many different models, as this blog attests.
- Vivitar 28mm f/2.8 + TX to K mount adaptor
- Vivitar Series 1 Auto Wide Angle 28mm f/1.9 "VMC"
- Vivitar 28mm Wide Angle f/2.8
- Vivitar 28mm 1:2.0 close focus wide angle
- Vivitar 135/2.8 Auto Telephoto Close Focusing M42
- Vivitar 100mm f/3.5 macro
- Vivitar Series 1 105mm macro f/2.5
- Cosina 55mm f/1.2
- Pentacon 135mm f/2.8
Phase 3: Pentax 645N in 2009
I am actually not sure when I bought a Pentax 645N medium format film camera. I was super curious to see what else Pentax had made. For a while I thought that I'd get back into developing. This didn't happen for various reasons. My physical limitations (disabilities) means the large camera is difficult to manage. With one bathroom in the house commandeering it for chemical treatments was impractical. The local developing house was rubbish, ruining spools with basic errors. While I fully support film photography it's not for me!
Phase 4: Mirrorless MFT in 2011
In 2011 I made a jump to mirrorless cameras. The Micro-Four Thirds (MFT) system uses a half-frame sensor, hence smaller even than APS-C. Nonetheless it has many advantages over the mirror-based assemblage of an SLR.
- real-time exposure through the EVF
- focus peaking and other assists without leaving the viewfinder
- ability to see subject in low light
- quieter shooting (even silent with electronic shutter)
- compact size and low weight
Some people don't like the use of an electronic viewfinder. And indeed these must be high quality to compete with the optical alternatives. But the benefits listed above simply made photography more responsive, while also opening up new opportunities (including video).
Olympus and Panasonic have released a profusion of bodies in this format, so it was easy to buy a model two or three generations old. My first MFT camera was only €170. Here's my progression:
- Olympus E-P1
- Olympus E-P2
- Olympus EPL-2
- Olympus E-P5
I strongly favour prime lenses as you can see:
- Samyang/Rokinon 7.5mm f/3.5 UMC Fisheye
- Panasonic Leica G 14/2.5 ASPH
- Panasonic Leica DG Summilux 15mm F1.7 ASPH
- Panasonic Lumix G Vario 20/1.7 ASPH
- Olympus M.Zuiko 45mm 1:1.8
- Olympus 75mm f/1.8 ED M.Zuiko Digital
The Olympus EP-5 was my favourite camera for a long time. I had the 90 degree viewfinder accessory, so I could shoot looking down to the camera held at my waist. But unfortunately Olympus progressed by making bigger cameras with "professional" features. Soon there was no size advantage to the system. Panasonic pursued the video market and left photographers alone.
The time came when graduating to a larger and more capable system became the best option for me. But I retained an MFT camera as a tiny option when travelling. To this end I bought the following in December 2024 as my final MFT purchase:
- Panasonic Lumix GX9
- Panasonic Lumix G X Vario 12-35mm F2.8
Phase 5: Panasonic full-frame in 2023
In 2023 three driving factors encouraged me to evaluate 135 format mirrorless cameras. The first was image quality, particularly in low light, since I was shooting lots of gigs... back to my roots! The second factor was video, my side-line as an experimental film-maker becoming more important to me. I would have preferred to buy a dedicated video kit (e.g. Blackmagic) but couldn't afford two new systems. So a hybrid photo/video camera made more sense.
With no particular loyalty I evaluated all available brands to see which system would suit me best. Price was a significant factor. The entry level Panasonic camera ticked all my boxes. Despite more advanced models being released, the Lumix S5 remains the best bargain in the industry. My system became:
- Panasonic Lumix S5
- Panasonic Lumix S 20-60mm f/3.5-5.6
- Panasonic Lumix S 35mm f/1.8
- Panasonic Lumix S 85mm f/1.8
- Carl Zeiss Distagon T* 2.8/28
- Carl Zeiss Planar T* 1.4/50
- Carl Zeiss Makro-Planar T* 2.8/60 C
- Carl Zeiss Sonnar T* 2.8/85
- Carl Zeiss Planar T* 2/100
Phase 6: Fujifilm GFX in 2026
I have a lot planned in the next twelve months, including six weeks in Canada, six weeks in Finland, a trip to the Arctic Circle, and more besides. So it seemed the right time to upgrade my camera system to the best available. There's no point missing a once-in-a-lifetime opportunity.
The Fujifilm GFX 100S was released in 2021 and sits in the same sweet spot I repeatedly seek. It's not so old as to be redundant but old enough to be discounted, especially on the secondary market. This camera system uses a 43.8 × 32.9 mm sensor size. Fuji calls this "medium format" because it's larger than 135 film. We can compare to other medium format systems and other sensors I've used:
FORMAT SENSOR SIZE CROP 645 56.00 x 41.50 0.62 H3D 48.00 x 36.00 0.72 FUJI 44.00 x 33.00 0.79 35mm 36.00 x 24.00 1.00 APS-C 23.60 x 15.70 1.53 MFT 17.30 x 13.00 2.00
All else being equal, the larger the sensor the better the image. But of course other factors are never equal. Here Fuji's second advantage is apparent. The Lumix S5 has a 24 megapixel sensor and Panasonic's best camera, the Lumix S1R II, has 42 megapixels. I was seriously considering that upgrade path, since then I get to keep my camera system and use the same lenses. But the second-hand cost is the same as the Fujifilm GFX 100S... which has an incredible 102 MP.
What happens when I suddenly have four times as many pixels in an image? Amazing detail. While no new device will make me a better photographer, I do believe that landscape and urban shots can benefit.
The third advantage of the GFX system is that every lens is incredible. Sure, there aren't many to choose from and they cost a bomb. But they are exemplary. I bought two similar focal lengths to compare and will sell the one I don't use. The 45mm is a bit faster while the 50mm is the smallest lens in the entire system.
- Fujifilm GF 45mm f/2.8 R WR
- Fujifilm GF 50mm f/3.5 R LM WR
The Future
Stay tuned for forthcoming articles evaluating my new system.
I've obtained three mount adapters so I can continue to use my Contax, Pentax, and M42 optics. My hope is that I actually don't need to buy any more Fujifilm lenses... I can't afford it! As time permits I will share the results of those adventures.
Conclusion: I now have three active camera systems and can choose the best for the task at hand. I hope to eventually downsize but will need a while to become experienced enough to make an informed choice.
Every day is a new learning experience.
Pictured:
- Panasonic GX9 with Lumix G X Vario 12-35mm F2.8
- Panasonic Lumix S5 with 85mm lens (though all focal lengths are the same size)
- Fujifilm GFX 100S with GF 45mm f/2.8 R WR.
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