FOMATIK // Issue 003

Hard to believe I’m three months into this newsletter. Thanks to those of you who’ve joined me so far, I hope you’ll stick around while I balance life and keep finding new ways and new things to shoot. This month I’m keeping it simple with a quick gear issue. Nothing too heavy, just a mix of what I’ve got at home and a couple of “wish I had” or “can’t believe that exists” items.

Every day I look up at the shelves in our family room and see a not-so-small collection of Kodak Brownie cameras. They’re all in different states of condition, but between my wife and I, we’ve put film through each of them. Most are 120 format, though one holds onto a metal spool we have to preserve, modern 120 doesn’t fit without it. That means pulling out the dark bag, re-rolling onto the old spool, and then loading the film back into the camera.

That particular Brownie is reserved for black-and-white only, and when we used it, we’d hand-process the rolls. It’s been years since the last time, but I still remember the quiet rhythm of rolling film onto spools. Blind to the process, working only by feel, either in a pitch-black room or inside the dark bag. There’s a Zen to it, almost meditative.

The Brownie line itself was built as an early consumer camera for the people. Think of the 35mm disposable cameras of the 80s and 90s and you’ll have the right idea. Simple, accessible, with a tiny viewfinder centered above the lens. Framing isn’t perfect—you always need to leave a little extra room unless you want to chop off heads or tree tops. But that’s part of the charm.

Camera straps are one of those deeply personal choices. Some photographers swear by wide, embroidered straps that make a statement. Others stick with the thin, stiff webbing that comes with the camera body. Then there are the minimalist purse-like straps, or even full-on body harnesses designed to keep heavy gear tight against you.

For me, the winner has been the OP/Tech USA wide neoprene strap. It’s nothing flashy, but it changes everything. The neoprene absorbs weight and flexes just enough that even when I mount the 500mm monster lens, carrying it around doesn’t feel like punishment. It’s comfortable, reliable, and has earned a permanent place in my kit.

When I get a new camera body, the strap comes with it—or I pick up another one. No sponsorships here, just genuine appreciation. If you’re curious, I’ll drop a link so you can check them out yourself.

Finally, let’s talk about some upcoming and current gear that’s caught my eye. If you’ve read the free article I shared when you subscribed, you already know Nikon plays a big role in my story. I’ve spent years with the N90s and D90, but mirrorless is where I’m headed next.

The full-frame Nikon Zf is the camera that keeps pulling me back. It’s a nostalgic throwback wrapped around modern specs—the top plate is covered in dials instead of screens, and the leather-like body finish comes in a range of colors. Nikon recently added a silver finish to the lineup, making the choice even harder. My wallet, of course, just shakes its head and says, “tough luck.”

The other big announcement is Nikon’s new ZR, a 6K cinema camera that accepts Z-mount lenses. I’m not a filmmaker and probably won’t ever put one of these on my wishlist, but it’s incredible nonetheless. For context: RED is a company known for compact digital cinema cameras and one of the best codecs in the industry. Their bodies run close to $30,000. Nikon just packed that codec into a camera based on the Z6iii, and it’s coming in just over $2,000. That’s a massive shift.

For me, I’ll stay on the photography side of the fence. But if you’re dreaming of filmmaking and looking to step up from your phone, this is a new player worth watching.

Thank you again for reading this little newsletter, and for being part of this dream of shooting with purpose—not just snapping shots on a phone. When you head out this month, be deliberate with what you shoot. We all have endless digital memory, but that doesn’t mean every frame has to be throwaway. Slow down. Think about the light, the composition, the moment. Then take the shot. Make it count.

AI can’t match the imagination and vision you bring to a scene. That’s yours alone.

FOMATIK runs on film, GFuel, and late nights. If you’re into this, grab me a roll:
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