Photo equipment that I currently use
As far as photographic equipment is concerned, there is always a considerable danger of slipping into the mist of comparing brands or pieces of equipment and forgetting about actually taking photographs. This, however, does not mean that one should take photographs without paying attention to the equipment at all. Rather, it is about balancing the two.
To cope with this balancing problem, I have adopted the following approach: I thoroughly research a subject or a piece of equipment prior to making a decision or a purchase and then make basic tests, if necessary, once I get it. After this is done, I come back to the technical side only if something peculiar draws my attention while using equipment in the field, or if I start feeling limited by the features it can offer. For some it might appear insufficient; I, however, am of the opinion that worrying too much about photo gear is likely to hurt your photographs more than any potential minor faults of your equipment would hurt a great image.
Anyone who is serious about photography and practices it for at least some time is bound to try and go through different formats, recording and reproducing media, brands, etc. in search of a setup that suits his particular photographic needs best. While online research on photo gear can eliminate obviously unsuitable options, the set of equipment that approximates one's optimum choice can only be arrived at through personal experience and practice as we all have different preferences and priorities. Moreover, this process never stops—you will find yourself adopting new techniques, technologies and equipment as you grow as a photographer and technology develops in general.
You will probably note that photographs presented on this Web site were taken with a wide range of equipment—this in fact represents the searching process that I have been going through. One system that clearly stands out in this process is the Hasselblad V–series cameras: it was my main kit from June 2005 through around August 2015; at the peak it consisted of two cameras (503CW and Flexbody), two film backs and four lenses (CFi 4/50, CFE 2.8/80, CFi 4/150 and CFi 5.6/250; at various times I also used CFE 4/40, CB 4.8/160 and CFE 4/180).
At present, I use the following gear:
Ebony 45SU camera (image courtesy Ebony)
Ebony 45SU large format film camera with three lenses (Fujinon–SW 90mm f/8, Fujinon CM–W 135mm f/5.6 and Fujinon C 300mm f/8.5) and miscellaneous accessories. I do not use it nearly as often as I wish I did, but this is where my soul rests, photographically speaking.
Nikon Z7 camera with Nikkor Z 24–70mm f/2.8 S zoom, Nikkor Z 40mm f/2 and Voigtlander APO–LANTHAR 35mm f/2 lens.
iPhone 13 Pro and ProCamera app shooting in DNG format.
For over ten years, my camera support system consisted of a Gitzo G3530LSV tripod and a Kirk BH–1 ball–head. In early 2017, however, I upgraded to the combination of a ReallyRightStuff TVC–24L tripod and a Arca–Swiss p0 Monoball ball–head. Then in late 2020 I acquired a Peak Design Travel Tripod; it was purchased for one specific trip where the smallest possible packing size was crucial. It now sees a lot more use than I originally intended.
When not shooting digital, I normally use Fujifilm Provia 100F slide film (alas, Velvia 50 is no longer available in large format). I scan transparencies with a top–end dedicated film scanner and do all necessary corrections in Adobe Photoshop. Images taken with digital cameras are processed in Adobe Lightroom Classic. Best photographs are then printed with an Epson SureColor P800 printer. This approach has finally given me the complete control over the photographic process that I have always longed for.