The legendary Nikon F4—tactile, rugged, and pure muscle memory for anyone who’s shot Nikon. This 1988 beast feels like the blueprint for all modern Nikon bodies. It’s my only camera with a vertical grip, and the Type P screen with microprism focus assist makes manual lenses a dream to use. A true pro classic.
A no-frills 1930s folding camera, likely sold in pharmacies and built for simplicity. ƒ/6.3, 1/100s max—surprisingly capable for 6×9 shots. Nearly a century old, still working great, and the bellows are intact. A charming, oversized gem in the collection.
I grabbed the Altissa Altix-n for its looks and great condition and came with a Carl Zeiss-Jena lens. Its quirky controls, unique viewfinder, and solid build make it a surprisingly fun little camera to shoot with.
The incredible Minolta AF 9000—my favorite blend of digital and analog design. Developed alongside the 7000, but released later for the pro market.
I picked up this camera partly for its elegant 1960s design—and honestly, because I loved the Voigtländer font. Simple, clean, and beautifully preserved.
This solid little SLR from 1978 is a joy to shoot. M42 mount means tons of lens options, and the battery-powered meter still works perfectly.
The Seagull DF, a Chinese Minolta SR-T 101 clone, was my first film camera—fully manual, meterless, and a beautifully simple way to learn photography.
A classic Soviet-era camera—quirky but rewarding. With its unreliable selenium meter, it demands patience, but paired with the Helios 44-2, it shines.
My first Yashica, and a joy to use. Based on Minolta’s AF line but stripped down—making it refreshingly straightforward. Fast, accurate, and pure 80s charm.
My first folding camera—needed some TLC to get going: freed the focus, re-calibrated, patched the bellows. Now it’s a reliable, rewarding shooter.
The Minolta AF 7000 was my first autofocus film camera—and one of the world’s first. Iconic 80s design, ahead of its time, and still going strong.
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