In the end only the final image counts, but sometimes the means to achieve it can be interesting, too. So, for those of you that are – like me - occasionally interested in the nuts and bolts, here is a general roundup of my equipment. Most of it was acquired used over the last 24 years. Since I live on two continents I have several cameras for each format, but try to avoid duplication.
My main format is 4x5”, and my main cameras are a Linhof Technikardan 45 (in Europe) and a Linhof Technika 3000 (in the US). The current lens set for the Technikardan is: 55mm – 80mm - 110mm – 150mm – 210mm – 300mm – 450mm - 720mm. For the Technika: 65mm – 90mm – 120mm – 180mm – 240mm - 350mm – 500mm. If I need a lighter weight kit, I also use an Ebony RW with a kit of 2-3 lenses, like 120 and 210mm.
I occasionally use a Zone VI 8x10 camera with the following lenses: 210mm - 355mm - 450mm - 600mm.
Some lens tests can be found here
Light meters: Pentax digital (with additional IR/UV filter and lens hood)
For light travel and when a view camera is too unwieldy I mainly use the 6x7cm format: A Mamiya 7 II with lenses from 43 to 210mm, A Pentax 67 II with lenses from 55 to 800mm, or the Voigtländer Bessa III/Fuji 670 folder and Bessa III W. Earlier I also used several 6x6cm cameras (Zeiss Super-Ikonta, Rolleiflex GX, Mamiya C330), 6x9cm cameras (Voigtländer Bessa II, Moskva 5), a 35mm SLR system (Olympus OM-1, -2N, -2SP, and -4), and other 35mm cameras (Voigtländer Vito III, Zeiss Ikon S310, Olympus XA, Rollei 35SE). I still use these occasionally.
And yes, I do own and use digital cameras, a Fuji X-Pro1 and a Panasonic DMC-ZS100.
Film and development
My favorite films are/were in alphabetical order (I have a freezer of discontinued films and papers): Agfa APX 25 developed in Tetenal Neofin blue, Agfa APX 100 developed in Agfa Atomal or in Kodak XTOL, Agfa Copex Rapid developed in Spur UR new, Kodak TMAX 100 developed in TMAX RS or Kodak XTOL, Kodak TMAX 400-2 developed in TMAX RS or Kodak XTOL, Rolleipan 25/Adox Pan 25 developed in Tetenal Neofin blue. I occasionally used Agfaortho 25 developed in Tetenal Neofin doku or in Rollei RLC, Ilford Delta 400 developed in Agfa Atomal, Ilford Delta 3200 developed in Agfa Atomal, Ilford HP5+ developed in PMK Pyro, Ilford XP2 (C41), Kodak Tri-X developed in HC-110B, Kodak Technical Pan dveloped in Kodak Technidol, Kodak CN400 (C41), Konica IR, and Orwopan 25, depending on the task. All of the film/dev combinations have been tested and are used with the Zone system. I develop the sheet film in Jobo Expert drums in a Jobo CPP-2 or ATL 2300, and the roll films by inversion in a small tank.
Large format negatives are currently enlarged with a Zone VI-type 2 enlarger and LED enlarger heads from Calumet/Zone VI or from Heiland, with the usual darkroom controls like dodging, burning, flashing, localized bleaching etc. For medium format and 35mm negatives I now reactivated my Dunco-II-67 enlarger, upgraded with a Heiland LED source. I have over time also used a Leitz Focomat Ic and a Beseler MXT with Zone VI head. I use fiber base papers exclusively. My main papers right now are Kodak Polymax FA (discontinued), developed in Tetenal Eukobrom developer, and ADOX MCC 110 developed in either Moersch SE 6 (for neutral-cold tones) or Ilford Warmtone (for warm tones). I occasionally use Ilford Multigrade Classic, Multigrade Cooltone, Adox Variotone, and Fomabrom VC FB 111. I used other papers before, and still have a stash of discontinued papers in the freezer that I use occasionally. Some of these are/were Zone VI Brilliant/Guilleminot Boespflug, Agfa MCC 111, Forte Polywarmtone, Forte Polygrade V, Agfa Record-Rapid/Insignia, Kodak Elite, Orwo BBN 111, Kentmere Fineprint VC, Ilford Galerie, Ilford Multigrade IV and III, Oriental Seagull (the original one in the light blue packages). For some contact prints I used the Centennial printing-out-paper (POP) from Chicago Albumen Works/Kentmere when it was still available. All prints are either selenium toned (99%), gold toned, or are stabilized in Agfa Sistan/Ag-Stab.