David Fleet did a nice video on Gear Acquisition Syndrome and YouTube gear reviews. His words resonated a bit with me because I tend to be a gearhead.

There is nothing inherently wrong with an admiration of cameras and lenses — they are fascinating and wonderful machines after all. But, if one intends to use the tools to make images, then fascination with the equipment can become a trap as it becomes the focus and not the use of the equipment.

Thus, GAS also applies to any endeavor, be it amateur or professional, that relies on (expensive) equipment to accomplish said endeavor. (Ahem) Radio (ahem) can also be in this category.

I went through a bout of photographic GAS last year and the beginning of this year. I bought several cameras and a few new lenses. (Plus a few vintage lenses, perhaps this will be a topic for another weblog entry.) I used each of them enough to form an opinion on whether or not each would become a part of my regular kit.

The three most significant cameras purchased over the last year are: A Fujifilm X-T5, Fujifilm X100V, and a Sony A7Sii¹. The X-T5 replaced my old X-T1, which was my entry into the Fujifilm ecosystem. I have plenty of lenses for this camera. They can do everything that I might want to do, perhaps with the exception of a tilt-shift lens for architectural photography. However, I do not do much architectural photography and I have a vintage Nikkor 35mm tilt-shift that could be pressed into service.

If I want to carry an interchangeable lens camera, then the X-T5 is my go to. I can choose a couple of lenses that will handle my intended subject, toss the camera, lenses, and support² into a bag, and off I go. I have adapters for the Fuji if I want to shoot vintage glass.

But, sometimes, I do not want the complications associated with an interchangeable lens camera system. I want to take a camera, a purpose-built machine for making photographs (not a cellphone). But I want simplicity. So, I have a Fujifilm X100V. Even with the lens hood and a small grip attached, this is a small camera. I can carry a small bag with the camera, support, and a water bottle and have a capable system. I often carry this bag under a backpack when I hike with The Girl.

I like the simplicity of a fixed-lens camera. I do not have to make a decision about what lens to use. I raise the camera to my eye (or use the screen), frame the shot, and make the capture. There is something liberating about making images with a fixed-lens camera and I use mine a lot.

Plus, the Fujifilm in-body film simulations are quite good. There are also hundreds of programmable film simulations available for Ritche Roesch’s Fuji X Weekly website (and smartphone app). My favorites are currently Reggie’s Portra 400 simulation, the Tri-X simulation, and the Kodachrome 64 simulation.

I generally shoot raw (perhaps plus an in-camera Fuji film simulation JPEG) or JPEG only with one of the programmed film simulations above. The raw files are readily post-processed using either the in-camera film simulations (to JPEG) or using PhotoLab7. But, I find that I often just shoot the in-camera or programmed film simulations on the fly and then use those straight out of camera. There is probably another entry about this process.

I bought a Sony A7S (Mark I) as a test to see how it worked and whether I liked the results with my vintage 35mm (full-frame) glass. I found that it worked, but desired the in-body image stabilization, so I bought an A7Sii. This is a solid camera. But after shooting with one for more than a year, I decided I want a little more resolution, I do not shoot video (a specialty of the A7S), and want a bit more power in the processor. So, a Sony A7iii is on its way.

Now, all of this is quite a bout of GAS. Last week I considered my investment in all of these cameras and decided it is time to let many of them go. I decided I want to redirect my energy from seeking the best camera and lenses into making more images and working on the art part of photography. After all, a major part of my return to my cameras is the search for practices that feed my soul.

Furthermore, I am plagued by the engineer’s curse of always seeking to optimize the system. I agree with Fleet that any modern camera, or every modern camera, and the associated lenses are capable of making excellent images. It really is up to what system works best for each photographer’s approach and preferences. For me, it is the Fujifilm for digital photography. I need to leave behind my impulse to find the best because what I have is plenty good enough to accomplish my goals.

Where is this leading me? Well, I began the process of liquidating my excess gear. I made images of the A7S and its vertical grip this weekend and will list them for sale this week. The A7Sii will follow shortly, maybe next weekend. I sold/traded the X-T1 to a buddy who already loves the camera. I have three more Fujifilm bodies that will be photographed and sold soon.

There are others as well. And there are a few film cameras to follow as I have time to make the images and post them.

Something else Fleet said also resonated with me. That is the proliferation of YouTube channels that receive pre-release equipment, prepare their reviews, and then post simultaneously on release day. For example, Fujifilm just released the new X-M5, their smallest camera in the X-Trans line. I noticed a bunch of YT videos appeared in my feed on the same day.

I am not in the market for the X-M5. I looked at the X-M1 as a possible carry camera, but the lack of a finder turned me away. A finder is a requirement for my way of photography. Many times the ambient light is simply too bright for me to properly frame the shot with only the rear screen. This is one of my gripes about using a smartphone for photography.

But, Fleet mentioned these YT channels and how this is just part of the marketing strategy and the general push of commercial consumerism. I really just do not care to play. And Fleet decided to stop doing equipment reviews and focus his content on photography and not stuff.

That said, I will upgrade my X100V to the X100VI. I want the in-body stabilization and upgraded processor that the X100VI has. I will then be set for my digital camera setup for awhile, probably years. It took me nearly 10-years to upgrade from my X-T1 to the X-T5. So, it will be several years before I am again motivated to upgrade my main cameras.

Now, if I can only curb my appetite for vintage glass. There are already many posts of shots using vintage glass (as above). There will be more, for sure. Plus, I recently shot a bunch of comparison shots from my collection of 35mm focal length lenses. I was curious about their performance, particularly a tiny little Soligor 35mm f/2.8. When the Sony A7iii arrives, I will re-shoot this series and then write it up.

But, I need to leave the fascination with the latest, greatest, and search for the best digital gear behind and focus on the creative aspects of photography. These are much more difficult than buying equipment. Perhaps that is why so many people chase the gear instead of investing the energy in developing the craft.

It is certainly food for thought.

I am grateful for the tools I have. Life is good.

¹There are a handful of others and a few more vintage film camera bodies, but again, those are probably the topic for another weblog entry.

²Support here means a spare battery (or batteries), a spare memory card or two, and a bottle of water and snack if I am hiking with Sera.

I just finished David duChemin’s All Questions Answered webinar a few minutes ago. I had a huge collection of questions sent in by his followers and students and winnowed down the list to maybe a dozen questions.

I found his answers to the questions of interest, but it was his excursions on tangents generated by the questions that I enjoyed even more. It was an hour and a half of listening to him brain dump his thoughts and feelings about the craft and he is articulate. So, it was an easy listen.

I cannot recall if I have any of his books. If not, I will need to rectify that. I am signed up for one of his courses and need to get after that as well. I will learn something, I am sure.

One of the questions was something like “What do you photograph for?” He had an articulate answer for the question (it makes him feel alive) and then enumerated a list of other reasons photographers have for spending the time, effort, and money making photographs. It was a good list.

He also spent time talking about finding the subject/genre that lights a fire in you. Ask the question “What am I passionate about?” Then go chase that.

The rhetorical question “What if I can only travel with my family?” was asked, and he shared Alain Laboile’s craft, which is he only photographs his family¹. As with all art, one just has to find a way to make it work within the structure of one’s life.

I have written any number of times — I make photographs because it is one of the things that feeds my soul. There is a focus and joy that comes from noticing something as I move through my daily life and then taking a few minutes to explore it with a camera.

The header image is an example. Sera and I were hiking the trail in the national forest. She was hunting chipmunks. I was looking for the interplay of light, shadow, and texture in the world around me. This particular bit of lichen on a branch caught my eye. There is plenty of light and shadow. There is a muted set of colors, punctuated by the bright light green of the lichen. There is a randomness in the fall of the pine needles. Then there is the branch at a diagonal through the frame.

These things caught my eye². It is one of several images made of similar subjects that day. Sera happily hunted while I paused to make the images. Then we were off on the trail again, both of us on the lookout for our prey.

Life is short. If there is something that would make you happy, go do that. Make sure it gets done. Because, one day, it will be too late.

I remain grateful. Life is good.

¹Note to self: Buy one of Laboile’s books and study the images.
²With a nod and an homage to Wife, who said this to me many times.