What Camera Gear do they use?

  Diane Arbus is one of the most iconic photographers of the 20th century, and her choice of camera gear was crucial to her distinctive, intimate, and often unsettling portrait style. Here’s a breakdown of what she used: Diane Arbus’ Camera Gear by Period Early Years: 35mm Format Camera : Nikon S2 and Contax rangefinder cameras Lens : 50mm standard lens Film : 35mm black-and-white film Nikon S2 ➡️ Used during the 1950s while she transitioned from fashion and editorial photography (working with her husband Allan Arbus) to more personal work. Most Famous Work (1962–1971): Medium Format Camera : Rolleiflex TLR (Twin-Lens Reflex) Likely models: Rolleiflex 2.8F or 3.5F Lens : Fixed Carl Zeiss or Schneider 80mm f/2.8 or f/3.5 Film : 120-format black-and-white film , typically Kodak Tri‑X Rolleiflex 3.5 ✅ The Rolleiflex was the defining camera of her mature period. It allowed: Waist-level framing , helping subjects feel less threatened Square form...

  Rammy Narula uses a beautifully diverse and film-centric camera kit, with a strong love for both medium/large format analog and Fujifilm digital systems: Analog / Film Cameras Voigtländer Bessa GSW 670 III – a medium-format rangefinder shooting 6×7 (≈28 mm equivalent); his go‑to for travel and street. Voigtländer Bessa III Fuji GA 645 – another 6×4.5 medium-format with a fixed wide-angle lens. Rolleiflex 3.5 F – classic 6×6 twin-lens Rollei prized for its square frames. Rolleiflex 3.5 F Hasselblad 501C – medium-format SLR with interchangeable lenses (40–100 mm range). Hasselblad 501c Mamiya 645 1000s – manual-focus medium-format, replaced earlier autofocus version. Mamiya 645 1000s Tachihara & Toyo 8×10 field cameras – large-format wood and metal bodies with long lenses (210 mm, 360 mm, 480 mm). Tachihara 8x10 field camera He also keeps some 35 mm film gear: Nikon F100 with 28 mm f/2.8 lens Nikon F100 Leica M6 with 28 mm lens Nikon 35AF-3...

  Werner Bischof’s camera equipment reflected his versatility and innovative spirit—ranging from large-format experimental systems to agile reportage tools: Devin Tri‑Color Camera (Large Format, Glass‑Plate) Devin Tri‑Color : A bulky, one-shot, three-glass-plate camera capturing red, green, and blue channels simultaneously. Devin Tri-Color Purchased for him by Swiss publishers Conzett & Huber , it enabled early color experiments from around 1939 onward. Used primarily in studio or static outdoor setups (with tripod due to long exposures), it produced vibrant, painterly color images, later digitally recombined for prints. Rolleiflex Medium‑Format TLR (120 film, 6×6 cm) Rolleiflex Automat (2¼×2¼) : Twin-lens reflex used extensively throughout his career for black-and-white and early color 120 film. Rolleiflex twin lens Provided compositional control and high tonal quality—ideal for his portraits and humanistic reportage across Europe and Asia. Werner Bischof and hi...

  Fan Ho, renowned for his evocative black-and-white photographs of 1950s and 1960s Hong Kong, primarily utilized a single camera throughout his illustrious career: the Rolleiflex 3.5A (Type K4A) , a medium format twin-lens reflex camera. Camera and Equipment Rolleiflex 3.5A (Type K4A) : Gifted to him by his father at the age of 14, this camera became his lifelong photographic companion. Its 6×6 cm negatives provided the flexibility to crop images to various aspect ratios, a technique Fan Ho frequently employed to achieve his desired compositions. Rolleiflex 3.5A (K4A) Leica Rangefinder : While the Rolleiflex was his primary tool, Fan Ho occasionally used a Leica rangefinder camera, though specific models and usage details are less documented. Darkroom Techniques Fan Ho was not only a master behind the lens but also in the darkroom. He often enhanced his photographs through meticulous post-processing techniques. For instance, in his iconic image Approaching Shadow (1954)...