In an era dominated by digital speed and convenience, my decision to continue photographing wild horses using film—and to remain fully committed to a pure analog workflow—may seem unusual, even impractical. But for me, it’s not about resisting technology. It’s about preserving a deeper connection to the subject, the craft, and the moment.
Wild horses are raw, untamed, and timeless. They deserve to be captured in a medium that reflects those same qualities. Film slows me down. It demands patience, awareness, and intention. There’s no LCD screen, burst mode, or instant gratification—just the rhythm of breath, light, and trust in the process.
Every step of my workflow, from loading the film to developing the negatives and making prints in the darkroom, is done by hand. This tactile approach mirrors the elemental beauty of the wild and helps me engage with the scene on a far more emotional and intuitive level.
In this article, I’ll share the 35mm and medium format cameras and lenses I use in the field—and why they’ve become essential tools in my pursuit to create honest, soulful portraits of wild horses.
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My 35mm and Medium Format Film Setup for Photographing Wild Horses
Table of Contents
I create handmade black-and-white silver gelatin prints in the darkroom of Missouri’s wild horses using a pure analog workflow. I use three different analog film camera systems to make my wild horse prints. For 35mm, I use the Canon EOS-1V 35mm camera and the Canon EF 600mm f/4L IS III USM, Canon EF 100-400mm f/4.5-5.6L IS II USM, and Canon EF 24-105mm f/4L IS II USM lenses. I use two different medium-format camera systems. I use the Pentax 645NII medium format auto-focus camera with the Pentax 150-300mm F5.6 and 300mm F4 lenses. I also use the Pentax 67II medium format manual focus camera with the 165mm F2.8 lens. I typically use the Pentax 67II camera with the 45mm F4, 75mm F4.5, or 165mm F2.8 lenses for the wild horse landscapes.
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35mm Camera System
- Canon EOS-1V 35mm Film Camera
- Canon EF 24-105mm f/4L IS II USM Lens
- Sigma 120-300mm f/2.8 Lens
- Canon EF 100-400mm f/4.5-5.6L IS II USM Lens
- Canon EF 600mm f/4L IS III USM Lens
Canon EOS-1V 35mm Film Camera
The Canon EOS-1V 35mm film camera is no longer made and is only available on the used market. I own two new 1V cameras in the box as backups when and if my primary camera fails or wears out. This should cover me for the rest of my working career.
Canon’s final no-compromise 35mm flagship SLR, the magnesium alloy Canon EOS-1V is a benchmark in professional 35mm SLR camera history. It has a lightning-fast autofocus system with 45 AF points that can be customized to the needs of the user. Seven super-sensitive cross sensors detect vertical as well as horizontal lines of subjects, and the central sensor works even with working apertures as low as f/8, so that you’ll retain autofocus function using f/4 lenses with 2X teleconverters. The EOS-1V is made in Japan to the highest possible manufacturing standards, and its shutter is specified to withstand 150,000 cycles (>4000 36-exposure rolls of film).
The EOS-1V’s control layout shares the lineage of the original EOS-1, and users of the 1, 1N, & 3 will find the operation intuitive. The EOS-1V’s sealing is the best in Canon’s 35mm SLR history; together with “L” telephoto lenses, one can shoot in the worst of conditions. The 100% accurate glass pentaprism viewfinder is as bright and contrasty as any autofocus camera, and custom functions allow personalizaton of autofocus, metering, operating systems, etc. You can also link the EOS-1V to a PC for transfer of data and remote control operation.
- Canon’s final 35mm format flagship SLR camera
- Magnesium-alloy body & chassis
- Extensive rubber sealing; 72 gaskets throughout
- Shutter specified to withstand 150,000 cycles
- 45-Point autofocus system
- Incredibly fast drive with optional PB-E2 booster; 9 frames per second in predictive AF, and 10 fps in One Shot AF
- Brilliant quality, 100% coverage viewfinder with glass pentaprism
- Shares the proven control layout shared in the EOS-1
- PC Link software for data transfer & remote control
- 20 built-in Custom Functions plus 31 additional Personal Functions (a total of 63 individual settings) with optional accessory PC Link enable photographers to customize the EOS-1v for specific applications.
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Canon EOS-1V Specifications
| Type | 35mm SLR |
| Lens Mount | Canon EF |
| Focus Modes | One shot AF, Predictive AF with AI Servo, Manual |
| Focus Type | Area AF with 45 focusing points |
| Focusing Range | EV 0-18 @ ISO 100 with f/1.4 lens |
| Exposure Modes | Program AE, Shutter priority, Aperture priority, Depth-of-field AE, E-TTL Flash, A-TTL Flash, TTL Flash & Manual |
| Exposure Metering | * 21-Zone Evaluative Metering * Partial Metering (approx. 8.5% of viewfinder at center) * Center Spot Metering (approx. 2.4% of viewfinder at center) * Focusing Point-linked Spot Metering (approx. 2.4% of viewfinder) * Multi-spot Metering (Max. 8 spot metering entries) * Centerweighted Averaging Metering |
| Metering Range @ ISO 100 with f/1.4 Lens | EV 0-20 |
| Shutter Speed | 30 to 1/8000th Second + Bulb with flash sync at 1/250th second Flash sync up to 1/8000th second with EX flashes |
| Exposure Compensation | ±3 EV in 1/3 EV increments |
| Exposure Bracketing | ±3 EV in 1/3 EV increments |
| ISO Range | 25-5000 (DX) 6-6400 in Manual setting |
| Built-in Flash | No |
| Film Wind | Auto single shot, Continuous up to 3.5 frames per second(up to 10 frames per second with BP-E2/NP-E2) |
| Focusing Screen | Interchangeable EC focusing screens (includes overall matte Ec-CIII) |
| Diopter Correction | Adjustable from -3 to +1 Additional diopters available (E) |
| Self Timer | 10 or 2-Second delay |
| Remote Control | Remote switch RS-80N3, or Timer remote controller TC-80N3 |
| PC Terminal | Yes |
| Depth-of-Field Preview | Yes |
| Mirror Lock-Up | Yes (with custom function) |
| Multiple Exposure | Yes (up to 9 exposures per frame) |
| Viewfinder Info | Aperture, Shutter speed, Manual mode, Standard & flash under/over exposure scale, Exposure compensation, AE lock, FE lock, High speed sync, Flash ready, In focus, Depth of field AE, Frame counter, Focus point selecton mode & AF mode |
| LCD Information | AF Ellipse, AF Points, Spot metering circle, Manual exposure setting, AE Lock, Flash readiness, Unsuitable FE lock warning, High-speed sync, Shutter speed, FE Lock, Bulb, Focusing point selection mode, Depth-of-field AE, Aperture, Exposure compensation/flash exposure compensation, In-focus indicator, Exposure level scale, Exposure level indicator, Flash exposure level & Frame counter/countdown indicator |
| Color | Black |
| Power Source | One 2CR5 6-Volt lithium battery |
| Dimensions | 6.3 x 4.7 x 2.8″ (160 x 119 x 71mm) WxHxD |
| Weight | 2.10 lbs (953g) |
Pentax 645NII Medium Format Camera
The Pentax 645NII is a medium format SLR film camera introduced in 2001 as an upgrade to the Pentax 645N. It is part of the Pentax 645 system and is designed for 120/220 roll film, producing 6×4.5 cm negatives. The camera is highly regarded for its robust build, user-friendly ergonomics, and automation features, making it a favorite among professional and advanced amateur photographers.
I love using the Pentax 645NII for my wild horse photography. I photograph the wild horses of Missouri and their environment. It is a challenging and exhilarating adventure that continues to inspire me to keep pushing forward.
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Key Features of the Pentax 645NII
Film Format & Lens Mount
- Uses 120 or 220 roll film, capturing 15 (120) or 30 (220) exposures per roll.
- It uses the Pentax 645AF mount, compatible with Pentax 645 manual-focus and autofocus lenses.
- It can also use Pentax 67 lenses with an adapter.
Autofocus & Metering
- Features TTL phase-matching autofocus (single and continuous AF modes).
- Manual focus mode available with a bright, easy-to-focus viewfinder.
- 6-segment, center-weighted, and spot metering modes for exposure control.
Shutter & Exposure Control
- Vertical-travel electronically controlled shutter with speeds from 15 sec to 1/1000 sec, plus Bulb mode.
- Automatic, Aperture-Priority, Shutter-Priority, and Manual exposure modes.
- Exposure compensation: ±3 stops in 1/3-stop increments.
Film Handling & Motor Drive
- Automatic film loading, advance, and rewind.
- Shoots at 2 frames per second in continuous mode.
- Mid-roll rewind option.
Viewfinder & Display
- Large, bright pentaprism viewfinder with 95% coverage.
- LED display inside the viewfinder showing essential settings (shutter speed, aperture, exposure compensation).
- LCD panel on top plate for quick access to settings.
Flash & Connectivity
- Hot shoe and PC sync port for external flashes.
- Flash sync speed: 1/60 sec.
- Compatible with Pentax 645 dedicated flash units.
Build & Ergonomics
- Durable, weather-resistant polycarbonate and metal construction.
- Well-balanced grip, making it easier to handhold compared to bulkier medium format cameras.
- Weighs approximately 1.4 kg (3.1 lbs) without lens.
Power & Battery
- Powered by 6 AA batteries or an optional external power pack.
645 film (56 x 41.5mm) has 2.6 times the area of full-frame 35mm (36 x 24mm), or a 0.62 crop factor.
I am using the following lenses for my wild horse photography:
- SMC Pentax FA* 300mm F4 ED [IF] (~180mm) (most used lens for wild horse portraits)
- SMX Pentax FA 200mm F4 [IF] (~125mm) (recently acquired lens, still testing)
- SMC Pentax-FA 645 150–300mm f/5.6 ED [IF] (~90mm-180mm) (group shots, wider perspective/environmental wild horse portraits)
- SMC Pentax-FA 645 45–85mm f/4.5 (~28mm-52mm) (landscapes/environment)
- SMC Pentax-FA 645 80–160mm f/4.5 (50mm-100mm) (wild horse landscapes and environmental images)
645 to 35mm Lens Equivalent Chart
| 645 Lens | 35mm Equivalent (0.62 crop factor) |
| 35mm | 21mm |
| 45mm | 28mm |
| 55mm | 35mm |
| 75mm | 45mm |
| 80mm | 50mm |
| 120mm | 75mm |
| 135mm | 85mm |
| 140mm | 87mm |
| 150mm | 90mm |
| 200mm | 125mm |
| 300mm | 180mm |
| 400mm | 250mm |
| 600mm | 375mm |
645N vs. 645N II
Several people emailed me asking about the differences between the 645N and 645N II, so I created this quick summary to help illustrate the main differences.
The Pentax 645N and 645NII are both advanced medium-format SLR cameras, with the 645NII introducing several enhancements over the 645N:
Mirror Lock-Up (MLU): The 645NII features a mirror lock-up function, allowing the mirror to be raised before exposure to minimize camera shake—a valuable addition for long-exposure photography. The 645N lacks this feature.
Shutter Speed Increments: The 645NII allows shutter speed adjustments in 0.5-stop increments, providing finer control over exposure settings. The 645N offers full-stop adjustments. This feature is very important for me since I am limited to ISO 200 (HP5 film) and often work in challenging low-light conditions.
Exposure Compensation and Bracketing Steps: The 645NII enables exposure compensation and auto-bracketing in 0.5-stop increments, offering more precise exposure control compared to the 645N’s full-stop increments.
Custom Functions: The 645NII introduces 10 customizable functions, allowing photographers to tailor camera settings to their preferences. These functions include imprinting characters on negatives, setting shutter speed steps, and adjusting the metering timer.
Data Imprinting: Both models can imprint exposure data on the film edge; however, the 645NII offers additional information and a smaller character size for the imprinted data. I love knowing what focal length and aperture I used for each exposure.
Self-Timer Delay: The 645NII provides a customizable self-timer delay, allowing users to set the delay time to 12 seconds or 2 seconds, whereas the 645N has a fixed delay time.
Metering Timer Duration: The 645NII allows users to set the metering timer duration to 10, 20, or 30 seconds, offering flexibility in exposure measurement.
Finish and Aesthetics: The 645NII features a new exterior finish, providing a different tactile feel and appearance compared to the 645N. I find the 645N II feels better in my hands in the field.
While both cameras share core functionalities, the 645NII offers additional features and refinements that enhance user control and customization. These may or may not be important for your scenario, but now you know the main differences and can make an informed decision.
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Pentax 67II Medium Format Camera
The Pentax 67II medium-format camera is a real photographer’s camera. It has everything a professional photographer wants and nothing that it doesn’t. The layout, dials, and buttons are thoughtfully implemented, and the camera, while heavy by today’s standards, feels good in my hands. I like the weight.
I use the Pentax 67II and the 45mm, 75mm, and 165mm lenses to create my nature and landscape photographs. I primarily use the 165mm F2.8 lens to photograph Missouri’s wild horses. I also have the 55-100 and 90-180 zoom lenses that I keep with me and use when I can to allow for more flexible compositions. The 165mm F2.8 lens works well with the 1.4X teleconverter. As shown in the print below, the bokeh with the 165mm F2.8 lens is incredible.
The Pentax 67II medium format camera offers two zoom lenses, providing versatility across a range of focal lengths. When considering the crop factor for 35mm equivalency (approximately 0.5x for the Pentax 67 format), these lenses provide a broader perspective compared to 35mm full-frame systems:
SMC Pentax 67 Zoom 55-100mm F4.5:
This wide-angle zoom lens covers focal lengths equivalent to approximately 27.5mm to 50mm in 35mm terms, making it ideal for landscapes and general photography. With a maximum aperture of f/4.5, it delivers flexibility and creative options. It weighs 1210 grams.
SMC Pentax 67 Zoom 90-180mm F5.6:
This telephoto zoom lens provides a 35mm equivalent focal range of approximately 45mm to 90mm, which is well-suited for portrait and telephoto work. Its maximum aperture of f/5.6 ensures sufficient depth of field control, and at 1,160 grams, it offers reasonable portability for a zoom in this system.
Each camera and lens I carry into the field has earned its place through experience, intuition, and trust. These tools are not just technical instruments—they are extensions of how I see, feel, and respond to the wild horses I’ve come to know over the years. In a world where photography is often reduced to speed and efficiency, I choose slowness, craftsmanship, and presence.
While I use the Canon R5 mirrorless digital camera as my primary tool for filming the wild horses—and have relied on it extensively to document their lives—I share this to make an important point. I have access to the latest digital technology and know its capabilities firsthand. Yet, when it comes to creating my most personal and meaningful work, I continue to choose film. For me, film is not a limitation—it’s a deliberate choice, a medium that aligns with the spirit of the wild horses and allows me to express something deeper, more timeless, and more human.
My commitment to film and a fully analog workflow goes far beyond nostalgia. It’s a conscious choice rooted in respect—for the subject, the moment, and the enduring power of the handmade print. In a world saturated with instant images, I choose a slower path—one that invites reflection, intention, and presence. Through this process, I don’t just create photographs—I create quiet expressions of reverence and connection, each one a tangible record of time, place, and feeling.
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