In the digital age, film photography remains a grounding creative ritual for me. Each of my cameras has its own rhythm, its own character—and over the years, some have stood out more than others.

These are the five film cameras I reach for most often, ranked not just by features, but by how much I enjoy using them.

5. Mamiya C330

Medium Format | 6x6 cm | TLR

Features:

Interchangeable twin-lens setups
Bellows-style focusing for close-up work
Waist-level finder with pop-up magnifier
Full manual exposure control

Pros:

Unusually versatile for a TLR thanks to interchangeable lenses
Excellent image quality and quiet shutter
Built-in parallax correction
Great for handheld shooting and portraits

Cons:

Large and boxy for a TLR
Focus is purely manual and can be tricky
Lenses aren’t as fast as some SLR counterparts

Why I Love It:
The Mamiya C330 is pure character. It looks odd, feels even odder at first, and then—once you start shooting—it just clicks.

There’s something about waist-level composing that changes your relationship to your subject. People react differently. Portraits feel more intimate.

The fact that I can swap lenses is the cherry on top. It’s not the fastest or lightest camera, but it rewards patience with dreamy, square-format images that feel timeless.

4. Pentax 645 (Original Version)

Medium Format | 6x4.5 cm

Features:

Manual focus
Built-in light meter with aperture priority auto-exposure
Fixed film back with swappable 120/220 inserts
Classic SLR-style ergonomics

Pros:

Lightweight and intuitive for a medium format camera
Quick to shoot—ideal for handheld work
Excellent lens quality, especially the 75mm and 150mm
Reliable meter and long battery life

Cons:

No interchangeable film backs
Smaller 6x4.5 negatives compared to other medium formats
Manual focus with a somewhat dim viewfinder

Why I Love It:
The Pentax 645 is my “grab-and-go” medium format.

It’s like the Toyota of film cameras: not flashy, but relentlessly dependable. It balances perfectly in hand, shoots quickly, and produces beautifully sharp images with just enough medium format depth to make them feel special.

When I’m out shooting portraits or casual landscapes and don’t want to be burdened by bulk or complexity, this is the camera I bring. It’s unpretentious—and that’s what makes it brilliant.

3. Nikon FM3A

35mm SLR

Features:

Hybrid mechanical-electronic shutter
Aperture priority and full manual modes
Fully functional without batteries (in manual)
Classic match-needle metering

Pros:

Compact, durable, and elegant
Lightning fast to operate
Works perfectly with Nikon AI/AI-S lenses
One of the last great mechanical 35mm cameras

Cons:

Some lenses can be pricey
No luxury features like autofocus or built-in flash (not that you’d want that here)

Why I Love It:
The FM3A is the definition of photographic freedom.

It’s light enough to take anywhere, simple enough to never get in the way, and just beautifully engineered. I can meter in aperture priority, or shoot fully manual without a battery in sight.

The build quality is pure Nikon—solid metal, buttery controls—and every shutter click feels satisfying.

It’s the camera I use when I want to shoot without thinking about the gear. Just a body, a roll of film, and a 50mm lens. It’s the one camera I’d keep if I had to give up all the others—well, until the Leica showed up.

2. Pentax 6x7

Medium Format | 6x7 cm

Features:

Giant 6x7 negatives
SLR-style body with through-the-lens viewing
Interchangeable lenses and finders
Mirror lock-up for vibration control

Pros:

Image quality is second to none—big, bold negatives
Intuitive handling for anyone used to 35mm SLRs
Legendary glass (especially the 105mm f/2.4)
Creates a cinematic, immersive feel

Cons:

Large and heavy—needs a strong strap or a tripod
Loud mirror slap that can introduce shake
Battery required for shutter operation

Why I Love It:
There’s nothing subtle about the Pentax 6x7—and that’s the point.

It feels like wielding a photographic sledgehammer, in the best way possible. The huge negatives capture an incredible amount of detail, and the depth and rendering from Pentax lenses are just gorgeous.

Despite its size, it feels familiar in the hands, like an oversized SLR. I use it when I want that “medium format look” turned up to 11. Whether it’s portraits, landscapes, or editorials, this camera delivers presence in every frame.

1. Leica M6

35mm Rangefinder

Features:

TTL spot meter integrated in a fully mechanical body
Compact and discrete with classic rangefinder focusing
Compatible with legendary Leica M-mount lenses
Full manual exposure with red LED meter indicators

Pros:

Unmatched build quality and precision mechanics
Quiet, vibration-free shutter—perfect for street and travel photography
Compact and unobtrusive, yet still delivers pro-level results
Viewfinder is bright and uncluttered, especially with 35mm and 50mm lenses

Cons:

Meter is spot-style and can be tricky to master
Expensive both for the body and lenses
No automation (no aperture priority or auto-focus)

Why I Love It:
The Leica M6 didn’t click with me right away.

Coming from the Nikon FM3A’s intuitive match-needle and center-weighted metering, the M6’s spot meter felt unforgiving. I’ve missed more exposures than I care to admit while learning its quirks.

But over time, it has taught me how to slow down, read the light, and trust my instincts. Once you learn to work with it, the camera disappears—leaving nothing between you and the moment.

The feel of the film advance, the near-silent shutter, the pure tactile pleasure of using it—there’s just nothing else like it. It’s not just a camera, it’s an experience. And lately, it’s the first one I reach for.

Final Thoughts

Each of these cameras has earned its place in my top five not just because of specs or image quality, but because of how they feel to shoot.

They’ve each taught me something about slowing down, being present, and trusting my eye. Whether I’m composing a 4x5 landscape or grabbing the Leica M6 for a walk around town, they all bring a unique rhythm to my photography.

Got a favorite from the list—or one of your own? Let’s talk film.