What is your most tactile camera

My OM1, mechanical and simple. Better in the hand than my EM5s. Even like the feel of my original Fuji X100. Another vote too for the Epson RD1. Wish I hadn't sold mine, really miss that one.

Paul
 
lxmike said:
...and so what camera do you just hold, or what cameras have you used that were so special just holding them made you feel good.......
Click to expand...

been fondling this one quite a bit lately...

23263100950_d148b469ff_c.jpg


For tactile feel, the Minolta is hard to beat. Smooth action and firm detents on the controls. Mirror lock up switch and the stays-stopped-down-till-you-push-it-again DOF preview are really fun. Film advance lever around the shutter button is fun. Ratcheted incremental film advance for as-many-short-throws-as-you-want can be a fun time waster. Meter on-off-battery check button with nothing but diamond cut texture to be turned with your thumb by friction is fun. Light meter needle in the finder is fun to watch bounce around when you point it at the lamp in the living room. This black paint camera has a somewhat smooth satin feel and fondling it with the MC-ROKKOR fast fifty and clamp on metal hood makes it even harder to put down. Minolta was aiming high at this point...
 
I'll throw in (figuratively) two cameras to fondle, to point out their differences.

The first is a Zorki IV: dense, industrial/mechanical, militaristic, even; its knurled film advance knob demands respect; the way the shutter speeds are chosen, by pulling up on and turning the selector knob, requires you to make a decision and stick with it, matter-of-fact and with military-like finality; the VF diopter adjustment is there just to remind you that you're a miserable, weak, frail human being with poor eyesight; finally, the kerthwack of the shutter when fired announces itself to the world that you, the photographer, have just created an image and you're not ashamed of it or taking any shyte off anybody.

In contrast, the Retina IIIC, with its sveldt metal rope chain and nickel-trimmed leatherette half case opens up, clamshell-style, like a wet bar in a limousine, locking into position with a barely perceptible snick; its viewfinder is only an afterthought, really, but you needn't worry because you're a auteur and auteurs always get by; the controls on the lens are rigorous and precise, demanding careful attention because this is high art, but through careful breeding you're up to the task; one sets the EV ring based on the meter's suggestion or one's artistic sensibilities, then have offered, like a fine waiter with white gloves, a selection of shutter speeds and apertures to choose from - and will the gentleman be taking dinner in the lounge tonite sir? Finally, the shutter is tensed and film wound on by this mysterious bottom-mounted lever that requires the camera be momentarily upended and softly stroked, with finesse and delicateness; the act is consummated by a mere whisper, a snick, a catch of one's breath.

Two cameras I love to fondle, but two entirely different experiences.

~Joe
 
The imaginable ones are always the best!

I own a couple of Ms, Barnacks, Olys OM1 and 2, a Kodak Retina 3C, and a series of Canon FD SLRs. They all feel great and fondle well.

Just donated myself a Robot Royal with 50mm f/2 Sonnar. It should be in the mail now and arrive in a day or two. I've never held one, but when I close my eyes I can feel it in my hands....
 
The one where everything falls just where it has to be is the Bronica RF645 for me. This is designed by people that used a camera. A delight to use.

Sadly I'm not fond of rangefinders and the focal lenghts I prefer are not available.
 
JoeV said:
I'll throw in (figuratively) two cameras to fondle, to point out their differences.

The first is a Zorki IV: dense, industrial/mechanical, militaristic, even; its knurled film advance knob demands respect; the way the shutter speeds are chosen, by pulling up on and turning the selector knob, requires you to make a decision and stick with it, matter-of-fact and with military-like finality; the VF diopter adjustment is there just to remind you that you're a miserable, weak, frail human being with poor eyesight; finally, the kerthwack of the shutter when fired announces itself to the world that you, the photographer, have just created an image and you're not ashamed of it or taking any shyte off anybody.

In contrast, the Retina IIIC, with its sveldt metal rope chain and nickel-trimmed leatherette half case opens up, clamshell-style, like a wet bar in a limousine, locking into position with a barely perceptible snick; its viewfinder is only an afterthought, really, but you needn't worry because you're a auteur and auteurs always get by; the controls on the lens are rigorous and precise, demanding careful attention because this is high art, but through careful breeding you're up to the task; one sets the EV ring based on the meter's suggestion or one's artistic sensibilities, then have offered, like a fine waiter with white gloves, a selection of shutter speeds and apertures to choose from - and will the gentleman be taking dinner in the lounge tonite sir? Finally, the shutter is tensed and film wound on by this mysterious bottom-mounted lever that requires the camera be momentarily upended and softly stroked, with finesse and delicateness; the act is consummated by a mere whisper, a snick, a catch of one's breath.

Two cameras I love to fondle, but two entirely different experiences.

~Joe
Click to expand...

Dear Joe,

I also own both of the cameras described above and I must say your descriptions ring true to me as well.

Regards,

Tim Murphy 🙂
 
JoeV said:
I'll throw in (figuratively) two cameras to fondle, to point out their differences.

The first is a Zorki IV: dense, industrial/mechanical, militaristic, even; its knurled film advance knob demands respect; the way the shutter speeds are chosen, by pulling up on and turning the selector knob, requires you to make a decision and stick with it, matter-of-fact and with military-like finality; the VF diopter adjustment is there just to remind you that you're a miserable, weak, frail human being with poor eyesight; finally, the kerthwack of the shutter when fired announces itself to the world that you, the photographer, have just created an image and you're not ashamed of it or taking any shyte off anybody.

In contrast, the Retina IIIC, with its sveldt metal rope chain and nickel-trimmed leatherette half case opens up, clamshell-style, like a wet bar in a limousine, locking into position with a barely perceptible snick; its viewfinder is only an afterthought, really, but you needn't worry because you're a auteur and auteurs always get by; the controls on the lens are rigorous and precise, demanding careful attention because this is high art, but through careful breeding you're up to the task; one sets the EV ring based on the meter's suggestion or one's artistic sensibilities, then have offered, like a fine waiter with white gloves, a selection of shutter speeds and apertures to choose from - and will the gentleman be taking dinner in the lounge tonite sir? Finally, the shutter is tensed and film wound on by this mysterious bottom-mounted lever that requires the camera be momentarily upended and softly stroked, with finesse and delicateness; the act is consummated by a mere whisper, a snick, a catch of one's breath.

Two cameras I love to fondle, but two entirely different experiences.

~Joe
Click to expand...

This was a very enjoyable read, thank you! Do you write?
 
Hmmm, Pentax Spotmatic and the M2; closely followed by the early Zenits which implies the Zorki 6. It's the ends of the film advance lever that feels so right and none of that modern plastic to spoil things and break off...

Regards, David

PS Special award for meter needles in view-finders goes to the Pentax K1000.
 
JoeV said:
Thank you. I hack and dabble, and have been know to pound the keys of a few (ten, at current count) manual typewriters; GAS is an ever-present risk with typewriters as with cameras.

My blog, should you be interested:

http://joevancleave.blogspot.com/?m=0

~Joe
Click to expand...

Thanks Joe, I book marked your site to peruse at a quiet time. Have you tried my signature link and read about my motorcycle trip? If not, I invite you to.

regards, FrankS
 
I agree, nice descriptions, Joe.

A couple of cameras I don't have anymore: the Pentax Spotmatic F, and the Robot Star. I especially miss the whirr and clunk of the spring-driven film wind on the Robot. An amazing feeling in the hand, and the camera is so small and heavy and dense.
 
As l sit typing this, my IIIf is ensconced next to me on the arm of the chair, it will be loaded tomorrow night for a trip out on Tuesday, until then l shall 'fondle' it and exercise the shutter while l sit. In truth this thread has shown to me l am not mad or indeed alone in my habit of holding and fondling cameras
 
I'm going to go the unpopular opinion route here, I love the Canon Eos100, Eos3, 5d and 5dIII, all feel substantial, all the controls are to hand, and the 3 and 5s just roll through everything and deliver.

I had a 1dMK2 and that was an utter tank, there's something to be said for the slightly smaller bodies though.
 
John Bragg said:
Nikon F5. Giorgetto Giugiaro really pulled out all the stops when designing it ! Feels so sculpted to the hand and just an extension of Me. The F100 is also very tactile in a similar design.
Click to expand...

Yes...The Nikon F5...
Along with the Mamiya m645, with WLF and 70mm shutter lens...feels and looks so good...
 
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