My photographic approach is in flux but always involved slow pace, slow cameras, finicky composition, and careful metering
I prefer fixed lenses to zooms and eschew extreme focal lengths and needlessly high ISO settings. I enjoy frontal views and strict geometry — this, possibly, a lingering result of two decades of living and working in the Netherlands long ago, surrounded by Dutch portaiture and marveling at the ever-present horizon and leisurely cycling along the squared-off fields and linear channeled waterways of the Dutch countryside.
When photographing people, I value the intimacy of eye-contact and, with it, mutual recognition and acknowledgement, and prefer the chest-level viewpoint and normal perspective afforded by my old square-format, twin-lens Rolleiflexes. But, alas, film is expensive nowadays, and processing, scanning, and printing even more so.
When it comes to architecture, I once preferred my analogue Nikons and rectilinear and PC lenses and, better yet, my folding field camera, a couple of fine German lenses, and a brace of roll-film backs loaded with black/white, color negative, and slide (diapositive) film.
Nowadays, however, I dream of someday having access to the speed, light weight, and advanced sensor of an up-to-date digital camera plus a few high-quality lenses. In the meanwhile, I make due with my decade-old, endearing but infuriating and malfunctioning, Fuji X100.