Aug 282015


A year with film – Leica, Contax, Nikon, and Hasselblad

By Adam Laws

I hope your well and have a cup of tea close by, it’s pretty miserable here in London. It’s been awhile since my last submission and I thought I would write to you about my year of analogue photography with a Leica, Contax, Nikon, and Hasselblad.

Since my last post on portraiture with the Sony A7 ‘apparently’ I have been going all hipster though I must say without the beard by shooting analogue.

The majority of my work is still shot on my Sony A7.

Sony images 1, 2 and 3 – 

Sony 1

Sony 2

Sony 3

However I have been supplementing my digital work with far more analogue images, furthermore I generally shoot all my personal snaps now on film. I don’t believe film is better in any way but I do believe without trying to sound all hippy film gives a more organic image. Most importantly I enjoy the process of shooting film more, and surely fun is the most important element in the creative process.

So I’ve gone through some cameras this year, which I will elaborate on why giving a brief synopsis/feel of the cameras.


I bought a Leica M6 TTL with a .85 viewfinder and 50 ‘cron. Leica’s are beautiful aren’t they? The lore written about them makes them sound at times like unicorns at times, as such I romanticized owning one.

My thoughts on owning one – Well they are beautifully built. Solid and satisfyingly weighty. I did struggle with ownership, which ultimately made me sell it after a few months. This is not the cameras fault but more the time in my life I purchased it. Soon after I started my part-time photography degree, I needed to shoot an element of film in a studio and the Leica with its limited flash sync was not ideally suited to this task.

I also struggled with the notion of how expensive it was. Don’t get me wrong it is a beautiful piece of machinery, which evokes an emotive response and for that I totally appreciate why individuals buy them. However for the less money I could purchase a Hasselblad 500cm, Nikon FM2n, and Contax G2 all of them with glass and have change. Is a Leica M6 better than all 3 of these cameras? And would I have less fun shooting these cameras. So I sold the Leica to find out.

Leica images 1, 2, and 3

Lecia 1

Lecia 2

Leica 3


This camera is a beast. Well it terms what I’m used to. The sound of the low thud of the shutter makes me smile. I do struggle with its size. I’m used to traveling light so having a big medium format camera is somewhat strange for me. It also interesting shooting back to front, something I am still getting used to.

The best thing about the camera, even more so than the negative size it produces is the reaction I get from the model. As soon as a model sees this camera in my experience they instantly get more serious about the project.

Hasselblad 1, 2, and 3

Hasselblad 1

Hasselblad 2

Hasselblad 3

Nikon FM2n

This is becoming one of my favourite cameras I own. The bright viewfinder, the solidness of the camera, and the big manual dials. It does not feel as good as the Leica, not as well made or smooth. I would say the camera is more utilitarian workhorse. I use it with an awesome Nikkor 50mm 1.2, which is a joy to use.

Generally this camera is loaded with FP4 film shot relatively wide own in a studio environment, where I would be using the model light as a source of light in-between shots with Sony or Contax G2. I have started taking this camera on the street with me when I fancy shooting B’n’W.

Nikon 1, 2, and 3

Nikon 1

Nikon 2

Nikon 3

Contax G2

The Contax is pretty much always in my bag. It can do everything my Sony can but it uses film. Unlike the Nikon this is normally loaded with colour Portra. The focus is always accurate and makes a great travel companion.

The contax does feels better in my hand than the Leica ever did. This is due to the thumb rest situated at the back of the camera. In addition the dials are a step up from that of the Nikon, but the camera feels very electronic with autofocus sounding something like Robocop. I also use this as a secondary studio camera generally mimicking the settings I had with the Sony to have a comparative organic film image.

Contax 1, 2, and 3

Contax 1

Contax 2

Contax 3


Generally there isn’t one. I think ultimately as long as you enjoy the process of creating images that is the most important element.

Sometimes there is a more suitable tool for the job, but that doesn’t also mean it is the most fun way to complete the job after all.

For me I like the organic images, the slower pace of shooting, the challenges asked of you using antiquated cameras, and thought processes that go through your mind.

I have enjoyed playing about with different formats and cameras. I think it’s always a great idea to play around with as many cameras as possible that way you know what you like and don’t. In addition the challenges posed by new equipment makes you think about your photography, which is never a bad thing.

You can view more of my work on my website:

However I regular update my Instagram with my newest work:

Aug 212015

A Farewell to the Month of May, Bluebells and my Rolleiflex

By Ibraar Hussain

Hi Steve and Brandon,

Thought I’d share a few pictures with you which I took in May – a month I always love and look forward to as it’s when the weather is fantastic,  The tree’s have young leaves and everything is so bright and airy, and it’s a time when in some woods at home the English bluebells are in bloom.

I love this time of year and try to capture the Bluebells in all their glory as they carpet the clearings and patches of woodland bringing magic with them. They’re only fleeting though and after a couple of weeks they’re gone, not appearing again until the following Spring. I visited a few woods around Epping Forest, but the most amazing carpet was to be found in Wanstead park in East London which is a part of the Epping Forest. The Best time to capture these is at dawn or sunset when the sun is low and warm and illuminates these magnificent flowers and fills them with light, magic and drama.

I took my Rolleiflex 3.5F and a Rolleinar I and II close up lenses with a roll of Fuji NPH 400 Negative Film which has a wide Latitude/Dynamic range.
The Rolleinars are tricky as my eye sight isn’t the best at close up (need to get my eyes tested) and using a Waist level Finder while kneeling in bracken, brambles and stuff isn’t fun – But they’re great for portraits and head shots and give massive amounts of shallow depth in the photos when shot wide open.

I have just bought a Fuji TX-2 aka Hasselblad X-Pan II – a format I’ve been wanting to try for years, so my lovely Rolleiflex 3.5F complete with everything is having to be up for Sale to fund the purchase, and I think this was a fitting adieu to this legendary camera which I have used extensively the last few years and which has been with me to the Mountains of the Hindu kush, Karakoram and Himalaya.

One day I shall buy myself another, and for the time being my favourite Square Format photography will be performed with my Rolleiflex SLX II which I still have.

17063236933_24db05fb93_o 17065061173_1688eac104_o 17500813189_08d0140edf_o 17660764566_7025ea9b51_o 17685766021_1253f679ed_o

Aug 112015
Jungle Bike 001


Tethered in Thailand: Phase One portfolio shoot

By Andrew Paquette –

In 2006, I picked up a Nikon D70 to take photographs of my paintings. At about that time I became curious about the creative potential of photography. In 2013 I picked up a Nikon D800 and some Zeiss lenses with the goal of using the gear purely as photography equipment, with no secondary artistic purpose in mind. The photos would be the product, period.

It was interesting to make compositions in camera instead of on paper or canvas because there are many differences in how it is done. For one thing, every element of a photo had to be present and doing the right thing in the right way when the shutter release was pressed. When making comic books, illustrations, visual effects shots, paintings, or drawings, any element of the image could be tweaked any way I liked, regardless what was in front of me. This was not an insignificant difference. Also, much of the appeal in the type of visual art I practiced came from my drawing and colour matching skill, both of which are irrelevant to a camera because a camera will always ‘draw’ an image perfectly and capture whatever colours are present. This opened the door to paying attentions to different creative issues, like content, story, lighting, texture, and so on.

By the present year (2015) I had practiced enough that I wanted to make a sports and fashion photography portfolio. Sports because I like to capture dynamic action and fashion because it reminds me of painting. The sports photos I had covered because I had plenty of shots from the Dutch Streetball Masters basketball tournament. The fashion portfolio however, promised to be more of a challenge.

The planning of this project was more extensive than I expected, but it had to be done and in the end it helped a great deal. The first step was to have an idea of what I wanted to shoot. To do this, I decided on three themes. The first set of photos would emphasise a model in several settings at a luxury hotel. For the second, I wanted a model to be a quiet magnet of attention surrounded by a busy and chaotic city. The last group would follow a model as if she were a college student on holiday in a rural part of Thailand. These themes allowed for different clothing styles, locales, and personalities among the models.

The next step was to figure out how I was going to find the people I needed to do this. After some searching on the Internet, I found the Fame Management Agency of Bangkok. They would supply models, stylist, MUA and hair stylist, catering, transportation, and coordination. With this done, I needed to pick the models, locations, and then make colour comps to give the stylist an idea of what I wanted to accomplish. In addition to these, I also found images of clothing, hair, makeup, and lighting to use as a style guide for each of the shots.

Figure 1 color comps


It took me about three weeks of evenings and weekends to make the sketches for the three shoots I had in mind, all based on location scouting done on Google Earth and street view mode. In the end I settled on three scenes for each shoot for a total of nine different shots. If I got a minimum of one good shot from each, the project would have been successful in my eyes. I hoped for more, but that was my minimum measure of success.

As the schedule developed for the shoot, I saw that I had enough time to squeeze in more shots. First, the stylist had found more outfits than I needed for one of the shoots, and then for the same shoot I had found more locations than I could deal with in one day. To accommodate this, I extended shooting by one day in that location. Then, I found a good Yoga asana performer and added one day to shoot her performing yoga asanas. Finally, PN Studio, the studio providing lights to the shoot, agreed to find a Thai boxing ring I could use for a boxing shoot. With that done, I now had six shooting days out of fourteen. The balance of that time would go to troubleshooting as needed on location.

My first day in Bangkok was tough. After about 36 hours without sleep by the time the plane landed, I had to quickly drop my bags at the hotel and then rush over to the Fame agency to meet with the producer and stylist there, Jha and ‘BM’, respectively. After that I had to go to the lighting rental place and meet with them. The entire trip was like this because, as it turns out, six days of shooting out of fourteen is actually quite a lot. For instance, once I was on the ground, I had to personally check every location to verify they would work. This meant re-scouting all of them and this meant a couple of days spent driving around checking out these places.

The locations proved to be the biggest problem for various reasons. On the first day, a location I had selected was suddenly unavailable so we had only a few hours to find a replacement. Luckily, a woman named Sirirat Traisupa from the Shangri-La Hotel was able to accommodate us by providing a couple of locations within the hotel. Another location that we got permission to use actually kicked us out halfway through because some other person didn’t want us shooting there. It was a public park, but he didn’t like the idea of a fashion model wearing fashion-y clothes in his park. That almost killed the entire day after only three hours of shooting, but our lighting assistant, ‘King’, found a wonderful alternate right around the corner. It looked nothing like what I’d planned, but we improvised and got some of my favourite shots of the trip there. The rural shoot didn’t present any permission problems, but the giant-sized biting ants didn’t endear themselves to the models, and the lighting assistants probably would have preferred carrying their equipment shorter distances in an air-conditioned environment. Another shot from this area that didn’t go as planned was one of a half-height orange telephone booth in the middle of the jungle. In street view, this looked like a great shot that would be interesting to western audiences not accustomed to seeing working phone booths in the middle of nowhere, but I discovered that the booth is almost sitting directly on a very busy rural road. The other side was jungle, but to get the shot I wanted, someone would have to be in the road and that would have been too dangerous. As an alternative I found another phone indoors and shot that.

The shooting went pretty well, but I had a serious technical problem with my Mac PowerBook: I simply did not know how to use the touch pad. I have used PCs for thirty years, but bought this, my first Mac, specifically for this shoot so that I could shoot tethered. For the most part it worked out fine, but my attempts to zoom in on images in Capture One seemed to drive the lighting assistant crazy because I could only do it occasionally by accident. This is because I was trying to use the spread finger gesture familiar to me from the iPad, but should have used the two finger drag gesture for this device. Unfortunately I didn’t discover it until all the shoots were over. If the assistant’s English had been better, he may have been able to explain the problem, but as it was it was just frustrating for both of us.

English language proficiency in general caused some communication problems from time to time. If I had known this would be an issue I would have hired a translator for the shoot. I was told that several of the people on the shoots would speak English so I didn’t have to worry about it, but in practice their pronunciation was very hard to understand just as they had a hard time understanding me. One of the models (Aim Nizayeva) once worked as a Russian to English translator, which really helped on her shoot but only in reference to directing her. The lighting assistant also spoke English, but only with serious effort could we communicate. On this issue, the best shoot was the yoga shoot. The reason is that the model, Betty Nitade, spoke flawless English and Thai. The lighting assistant at the studio (different from the other lighting assistants I worked with) couldn’t speak English at all, but Betty translated all of my instructions perfectly and I got exactly what I wanted with minimal fuss.

In comparison with my sketches, only one of the photos resembles the sketch that inspired it but all of the sketches were useful because they solidified in my mind what I wanted to get. This made it easier to communicate to the team and to make whatever adjustments were needed.


Camera: Phase One DF+, IQ250 digital back, Schneider-Kreuznach 80mm LS lens and SK 28 mm LS lens.

Lights: Broncolor 2400w/s heads and 1200 w/s heads, plus reflectors, beauty dish, grid, and miscellaneous light shapers

The photos:

Figure 2 Overpass 80mm, ISO 100 f/9 1s

Overpass 001

Figure 3 Balcony 28mm, ISO 100 f/8 1/10s


Figure 4 Cafe 001 80mm, ISO 200 f/4 1/100s

Cafe 001

Figure 5 Cafe 002 28mm, ISO 200 f/4.5 1/50s

Cafe 002

Figure 6 Jungle Bike 001 28mm, ISO 200 f/5 1/80s

Jungle Bike 001

Figure 7 Jungle Bridge 003 80mm, ISO 100 f/5 1/160s

Jungle Bridge 003

Figure 8 Jungle Doors 28mm, ISO 100 f/5.6 1/250s

Jungle Doors 001

Figure 9 Pier 004 80mm, ISO 100 f/2.8 1/40s

Pier 004

Figure 10 Pier Boxing 001 80mm, ISO 100 f/5 1/250s

Pier Boxing 001

Figure 11 Tea 001 80mm, ISO 200 f/8 1/30s

Tea 001

Figure 12 Yoga 001 80mm, ISO 100 f/6.3 1/160s

Yoga 001

Figure 13 Yoga 002 80mm, ISO 100 f/5.6 1/250s

Yoga 002

Figure 14 Yoga 005 80mm, ISO 100 f/5.6 1/250s

Yoga 005

Figure 15 Boxing 001 28mm, ISO 400 f/11 1/400s

Boxing 001

Figure 16 Boxing 002 28mm, ISO 400 f/10 1/500s

Boxing 002

Figure 17 Boxing 003 28mm, ISO 400 f/10 1/500s

Boxing 003


Photography: Andrew Paquette

Stylist: BM

Models: Aim Nizayeva, Pair, Bow, Betty Nitade

Makeup and hair: Wuttichai Jaiyong and others from the Bobbi Brown agency/Thailand

Clothes by: Tandt Bangkok, Nicha, Greyscale Shirt, Thanaporn Lanthong, Anchana Veeradaechapol, Soraya Kwanharn, Purinutt

Lighting assistants:

Producer: Jha

Agency: Fame Management Agency

Lighting rental: PN Studio

Studio rental: Pirate Studio

Boxing gym: Jitti gym

Jul 232015

Getting Acquainted with the Mamiya 7

By Andy Gemmell

Hi Brandon

After “scratching my itch” with the Leica Monochrom, I sold it 18 months ago and decided to give “film only” a go for a while. At the time I wanted to also try a medium format option and coming from a rangefinder and wanting to enjoy a camera which I could still carry around easily the Mamiya 7 seemed like a great choice. The Mamiya lenses are also superb and although possibly over shadowed by Zeiss and Pentax to some extent….they really shouldn’t be!

The camera itself is in a 35mm “style” of layout (conventional winder, back door loading of film, shutter dial on top of the camera, etc) and although not built of metal or alloy it is still well built and sturdy and could take some knocking around. One of the big benefits of this MF set up (unlike the Hasselblad V series) is the shutter mechanism (quite a s mouse) and ability to given no mirror to shoot handheld down to 1/15th (and possible even lower!) without disturbing the image. The lenses though are not fast and come in at 4 to 4.5 depending on what one you are using. I have the standard 80mm f/4 and the 50mm f/4.5 (keeping my Zeiss 25/28mm finder from the M days to use with this lens).

Unfortunately for various reasons I have not been out and about shooting as much as I’d like to, though have run a few roles of Tri-X and Portra through the Mamiya in street photography situations in Melbourne where I live. I personally haven’t really gelled with it, to be honest and it may be not having used it enough. Also coming from the MM as a much smaller 35mm option the adjustment is more than I had imagined. All up though I’d highly recommend it as a serious option to consider in the MF film world.

Have a great weekend!


Starting Blocks – Tri-X 80mm

Rest – Portra 400 80mm

Sundays at St Kilda – Portra 400

Breakfast on Spring Street – Tri-X 80mm

Spare Change – Tri-X 80mm (testing it too the limits in very dark alley at f4 and 1/15th handheld)
The Jetty – Tri-X 50mm

Morning Gold – Portra 400 50mm


Jul 032015
Pentacon Six TL 6x6

Film Friday 6×6 images

By Dierk Topp

Pentacon Six TL 6x6

Hi Steve,

This is a small collection of analog images made with the Pentacon Six medium format camera, made in the GDR, German Democratic Republic, long time ago.
I used the Zeiss Flektogon 4/50mm  and the  Zeiss Sonnar 180mm/2.8 with the Kodak T-MAX 100 and Agfa Ultra 100 color negative. Scanned the negatives with Epson Photo 2450 scanner and digital processing with Lightroom and Nik Silver Efex.

You may find more of my analog and digital images here on flickr

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

Pentacon Six 6x6, Zeiss Sonnar 2.8/180mm, Kodak T-MAX 100

I could not resist to make a  triptych from these images

Pentacon Six

Pentacon Six

this series is in memoriam of Ansel Adams


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


analog 1992

analog 1992


analog 1992

analog 1992

The next images are from La Palma, Canary Islands

6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm


6x6 analog, Petacon Six, Zeiss 50mm

6×6 analog, Petacon Six, Zeiss 50mm

…and last but not least stitched panorama shots, that I made in 1995 in Hamburg
I planed to mount the prints but never did, now with stitching software it is easy and perfect

stitch of 3 images

stitch of 3 images

Pentacon Six 6x6, Zeiss Flektogon 4/50mm, Agfa Ultra 100 color n

…and again, as it is at the top of this post, this is the camera (with the 80mm Biometar)
it is blurred, but I have only this one. I sold it to Hong Kong long time ago.

Pentacon Six TL 6x6

thanks very much for your time and attention


Jul 012015


Phase One basketball

By Andrew Paquette – See his website HERE!

Three years ago I bumped into an outdoor basketball competition in Rotterdam while testing my new Zeiss 15mm Distagon lens. After getting a lucky shot of the winning basket at the end of the day, one of the organizers invited me to shoot more games the following week in Den Haag. Since then, I’ve been shooting the Netherlands Streetball Masters tour every year. This year I attended games in Amsterdam, Breda, and Weert.

In previous years I had used a Nikon D800 and a Sony A7r for the shoots. The two cameras had a variety of lenses mounted on them, each of which produced at least one decent shot. The most consistent performer was the Zeiss Otus 55mm, used on the majority of keeper shots. The least consistent was the Nikkor 85mm 1.4G, possibly because the Streetball games take place on small half courts, making the 85mm usable only for shots of players at the farthest end of the play area or torso shots. This year, I planned to bring the D800 + 55mm Otus and an A7r with the Zeiss 135mm mounted on them. However, I had some new gear and wanted to give it a stress test. This year I used a Phase One DF+ with an IQ250 back. I had already used it to take some action photos of parkour athletes in Rotterdam, and thought it might work out for outdoor basketball, though I wouldn’t have any control of the players and there would be no do-overs, unlike the Parkour shoot.

One of the reasons I decided to invest in the Phase One system was the high flash sync speeds (up to 1/1600th of a second). To test that, I brought two ProFoto flash heads to the parkour park, hid them from the camera, then tried to get as much frozen mid-air action as possible. It took a couple of hours to coordinate the athletes so that they all were in the right part of the frame at the right time, but it did work. Other shots that did not require the coordination of all four athletes were much easier to manage.

Figure 1 Parkour at Ahoy! Rotterdam, Phase One DF+ IQ250 and SK 28mm LS lens. ISO 200, F/7.1, 1/1600s and 2x ProFoto B1 500w/s flash heads


I was a bit worried about using the Phase One kit to shoot the Streetball event because the camera has a much lower framerate than the 35mm cameras (1.2 f/s compared to 4 f/s on D800 and A7r), but I wanted to know what the extra dynamic range of the medium format back would capture. This was related to something that bothered me on previous shoots in Holland where the sky is almost always white or grey due to cloud cover. This has a tendency to result in a lot of clipped highlights unless the camera is pointing below the horizon. In some landscape photos taken with the Phase One, this wasn’t an issue, thus presenting the possibility that the camera could deal with an irritating problem experienced on previous shoots.

Figure 2 Windmills, Phase One DF+ IQ250 and SK 80mm LS lens. ISO 100, F/22, 1/320s


I was tempted to take the D800 and a Zeiss Otus 55mm with me as a backup but went without to keep the weight of the kit down. The lens I used the most was the Schneider Kreuznach 80mm leaf shutter lens, but I took a few images with the SK 28mm LS as well. All of the photos were processed in Capture One Pro. I brought one ProFoto B1 flash and a 2’ softbox. The flash was only sometimes useful because I couldn’t guarantee it was always pointing in the right direction as the players ran all over the court. This was expected, but it was still disappointing that the light was only useful if the players were within about two meters of it and on the right side of the court.

I prefer shooting the DF+ to the Nikon or Sony. There are several reasons for this. In no particular order, they are: the extra-large viewfinder, simple menu layout on the IQ250 back, iPad connectivity (the A7r can also do this), and ergonomic design. It is heavier and larger than the other two cameras, but easier to hold and use than the Nikon, even when both have heavy lenses mounted (the 2.2 pound Zeiss Otus on the Nikon and the 2.4 pound SK 28mm LS on the P1). With the D800 + Otus combination, my wrist would consistently start hurting after about three hours of carrying it. I have never experienced any wrist or hand pain when using the DF+, even during an eight-hour shoot day for one of the Streetball games.

Figure 3 Weert 1, SK LS 80mm, ISO 400, f/6.3, 1/1600

Weert 1

Figure 4 Weert 2, SK LS 80mm, ISO 400, f/6.3, 1/1600

Weert 2

Figure 5 Breda 1, SK LS 28mm, ISO 100, f/4.5, 1/1600

Breda 1

Figure 6 Breda 2, SK LS 80mm, ISO 200, f/2.8, 1/1600

Breda 2

Figure 7 Amsterdam 1, SK LS 80mm, ISO 200, f/5, 1/1600

Amsterdam 1

Figure 8 Amsterdam 2, SK LS 80mm, ISO 200, f/5.6, 1/1600

Amsterdam 2

Figure 9 Amsterdam 3, SK LS 80mm, ISO 100, f/5, 1/1600

Amsterdam 3

Figure 10 Amsterdam 4, ISO 200, f/5.6, 1/1600

Amsterdam 4

Figure 11 Amsterdam 5, ISO 200, f/7.1, 1/1600

Amsterdam 5

See more at Andrew’s Website HERE!

Apr 172015


Mamiya 6 with Rollei Crossbird

By Frank Stelzer

Hi Steve, Brandon,

Being a long time follower, I thought I submit a story for your Film Friday series. I have been enjoying your site since 2010, when I was soaking in your Leica M9 and lens reviews all night. It was the first time that I got to know about Leica in detail; what they are, what you can do and what you cannot do, and I have been infected with the Leica virus ever since. I also value your Daily Inspirations and Film Friday series as platform to get to know other approaches, techniques and cameras.


Quickly about myself, I have been fascinated with the process of making photographs since I was a teenager. My first equipment has been a viewfinder film camera in the 1980’s. I basically clicked what I found interesting enough to preserve as a memory. In the late 90’s I made the move from an Olympus mju-I to a film Pentax SLR and a monster 28-200 3.8- 5.6, because I thought, the bigger the camera and the lens, the better my photos. Little to nothing I knew about film sizes, f-stops and most importantly light. This changed gradually over the past 15 years, but there is still so much to learn. Somewhere in between I jumped on the digital bandwagon, enjoying the instant gratification of seeing the image immediately.


I don’t remember since when I had this growing curiosity about medium format film, maybe it was your GF670 review. But it really accelerated after getting Jonathan Canlas’ book “Film is not dead” two years ago. Since then I gathered information about MF from almost everywhere.
I thought a portable camera would be nice, so I can easily take it with me when travelling. This sort of narrowed it down to a couple of rangefinder cameras: Fujifilm GF670, Mamiya 6 and 7.  I went for the Mamiya 6, which ticked the boxes in my book. It just feels right in your hand. The grip is fantastic, letting your hand mold around it nicely. Not only while shooting, but also when just walking around with the camera in the hand and the strap around the wrist. That’s one of the differences which made me go for the Mamiya instead of the Fujifilm GF670. One reason I preferred the Mamiya 6 over the Mamiya 7 was the retractable lens of the former, making it easy to put into a messenger bag (with Hadley Pro insert) without getting too bulky.

I only got the 75mm lens. There are also 2 more lenses (50mm and 150mm) available for the Mamiya 6, making it a nice system. There is a dark slide in the Mamiya 6 that you have to open and close manually when changing lenses when there is film inside the camera. This could lead to missing shots if you forgot to open the dark slides after a lens change. But for me it was not a problem with one lens only. The RF patch had a bit less contrast for my taste, which made focusing taking a bit longer at times. I did not consider 645 format at that time, since I was intrigued by the bigger 6×6/6×7 format.


When my wife and I visited Australia last year, I decided to try Rollei Crossbird film for shooting some urban landscape. I never did cross-processing before, but I was curious to see what color-shift effects I would get. This film is marketed especially for cross-processing, but at the end you can take any film and cross-process it. As it seems, this film has a tendency to develop a green cast and also some visible grain. Nothing you can’t do with a digital camera and Lightroom, but definitely more fun. I am more than happy about the result I got with the Mamiya 6 and Rollei Crossbird. It’s sounds strange, but limiting yourself can be quite liberating. When shooting digital, there are endless post-processing options, that it’s easy to get carried away if you don’t know exactly what you are aiming for.


Many people say that shooting film is a different experience compared to a digital camera. And I totally agree with them. I take more time thinking about the composition and exposure settings. Then there is the uncertainty and waiting for the film getting developed. Well, you could put tape on your DSLR’s screen and wait a week or so putting the SD card into your computer, but it’s not the same thing. Don’t get me wrong, I don’t mean to start any film vs. digital discussion. For me it’s both film and digital. Since I am an amateur, I have the freedom to decide depending on my mood, whether to go out with film or digital camera. I enjoy both. We live in a time where we have all these many different photographic tools and formats available, where everybody can find something according to his/her own interest and budget. The good thing about film cameras is that you can sell them almost at the same price you bought them, because they don’t depreciate anymore. This makes it easy to try different formats and systems until you find the one you like most.


I should mention that I sold the Mamiya 6 meanwhile. Not because I didn’t like it, but because the shooting experience was very similar to the Leica, both being rangefinder cameras. I wanted something more challenging for my medium format adventures, so I traded it for a Hasselblad 503CX. Admittedly, it’s a not as travel-friendly as the Mamiya 6. In fact, it is a completely different beast and lets me discover photography from another angle. But that might be another Film Friday story.

My social media links:






Apr 102015

Medium format goes medieval: comparing a Nikon DSLR with the latest from PhaseOne

By Andrew Paquette – His Website is HERE

A couple weeks ago I started making plans to do a photo shoot at the ruins of a local castle. I intended to bring my D800 and a Zeiss 55mm Otus as the primary rig, along with an A7r with a Zeiss ZA 135mm for action and close-up shots. However, a few days before the shoot, my wife and I were talking about medium format systems, the photographer Jason Bell, and then PhaseOne medium format cameras. To find out more about PhaseOne, I performed a few searches on the Internet, but didn’t get very far with pricing information because every page led me to a form that I could use to get a free test drive of a PhaseOne system. I was primarily interested in knowing what a refurbished system cost, but since I had to fill out the form to find out, I filled it out. A few days passed, and then on the day before the shoot, I got a call from PhaseOne. Would I like to borrow a camera for a test drive? The rig suggested by the salesman was the 645DF+, the IQ250 50MP digital back (their first CMOS sensor), and a Schneider Kreuznach 80MM f/2.8 leaf shutter lens. This is the exact same rig Bell mentioned when talking about one of his shoots. Curious to see how it would work out, and with a little trepidation that GAS syndrome may have just had a peek in the room, I decided to try it out.

Dungeon corridor, shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8

Settings: f/2.8, 1/5 ISO 400
Considering the slow shutter speed here, I really should have shot this at a higher ISO

Dungeon corridor


Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.2, 1/60 ISO 400

Robin in red

The primary reason I was curious about medium format in the first place had to do with my discovery that almost all of the photos I like the most were shot on medium format systems. In one case, a photographer had one shoot of many on her site that I liked a lot, while the rest were good but not as creatively inspiring. That one shoot was done with a PhaseOne. The more I looked, the more references to medium format and PhaseOne I saw. What finally decided me to look into it was a photographer who wrote how he had tried and tried to make images that had qualities he associated with his favourite photographers, like Annie Liebowitz, but couldn’t do it until he switched to medium format. Until then, he thought there was some problem with the way he was taking the photos, setting up the lights, or editing them in software. It wasn’t any of those things—it was the type of camera he used. After switching, he was able to get the look he wanted.

The D800 and the Zeiss 55mm Otus is a very nice combination for DSLR shooting. Short of the D800E or D810, it is about as good as it gets. The lens is the second-highest ranking lens rated by DxO labs (after the 85mm Otus), and the camera is one of the highest rated among DSLRs. The Phase One is similarly one of the best offerings from a brand that is popular among professional photographers. From my perspective, I wanted to know if the image quality difference would be noticeable, and if it would be worth the huge price difference between the two systems. Lately I have been gravitating toward portraits and fashion, both of which genres seem to benefit from medium format cameras.


This purpose of this article is to provide some information about how a high end DSLR system compares to a well-regarded medium format system, for those who are considering a switch. This is not meant to be a definitive scientific test. There are plenty of examples of beautiful work by professional photographers on the PhaseOne website, as well as on Nikon’s and Zeiss’s websites. These are great for showing the best possible results from the most highly regarded photographers, but it is hard to know from these gallery images what went into the shoots. What I found difficult to find were articles that compared DSLRs and medium format cameras by shooting something outside the range of normal technical tests, which are usually just a couple of distant buildings, a girl in the forest, and head shots of the camera salesmen at Photokina.


When I rode the train up to the PhaseOne dealer, I was fantasizing about getting some pretty amazing shots simply because I was using a PhaseOne. That said, I knew the possibility of that happening was remote. The D800 and Otus are an excellent combination and I had been using them for a year. Comparing that to an unfamiliar system automatically puts the PhaseOne at a disadvantage. Another problem is that the DSLR is much more useable in low light than the PhaseOne—or at least most medium format cameras, which operate best at 100 to 200 ISO (with 400 ISO the maximum). The IQ250 back I was using was different because it could go up to 6400 ISO. Despite this, I was thinking of the PhaseOne as a system that required studio lights, as opposed to the D800, which worked fine without them. I was planning on using a reflector and sunlight for the shoot, and had no room in my transportation for lighting gear. I hoped this wouldn’t compromise the PhaseOne too much, but that was what I had to work with so I’d just have to see how it turned out.

At the store, the salesman gave me a quick tour of the camera. During this short tutorial I shot a couple images of objects in the store. What I saw really surprised me: there were prominent green and magenta bands running along the edges of many white objects in the scene. Most of the Zeiss lens line have very little fringing problems, and the Otus has none. I literally hadn’t seen fringing for months because I have been using the Otus as my go-to lens. Even when I use other Zeiss lenses, like the ZA 135mm f/1.8, I rarely have fringing issues. Seeing fringing on the first couple of shots taken with the PhaseOne was disheartening, but on the other hand, the system I had in my hands was the same one used by the royal family’s photographer. There had to be a way around it.

Because of my concerns about the lighting and the lens, I was prepared for the test to go either way, but was rooting for the PhaseOne, if for no other reason but that it is always fun to discover a way to improve the quality of one’s images. It was a fairly dark day, so most of the shots were made with the camera mounted on a tripod.


Ergonomics… The 645DF+ felt great in my hands, the menus on the touchscreen were easy to understand and big buttons were easy to press without accidentally pushing something else (as I do more often than I like with the D800 and A7r). The optical viewfinder was like looking into the detachable Zacuto viewfinder I use on my Nikon, but integrated with the camera and brighter. The live view screen was very nice, slightly higher resolution than the LV on the D800, and most importantly, the IQ250 has the built-in ability to transmit the live view and preview photos to an iDevice. I tested this on my iPad and it worked very well, using the free app provided by PhaseOne, Capture Pilot. This app can also be used as a remote trigger for the camera. This functionality makes focus checking trivially easy compared to the D800 (and probably the D810 as well) because of the much larger iPad screen. Overall, I felt that the camera was easier to hold, to carry, and to use in some ways than the D800. The only exception to this are the aperture and shutter control dials, which are smaller and thinner than their Nikon counterparts. This isn’t a big deal, but I found them more difficult to find and use than on the D800, probably because I’m not used to them.
The case this camera came in was much bigger and heavier than it needed to be for a camera that felt to be about the same weight as the D800 + Otus. As for overall dimensions, they weren’t much different there either. If I were to get one of these, I’d probably opt for a backpack instead of the gorilla-proof case I was handed for the tryout.

Image quality… Overall, I liked several of the shots from both cameras. In all but one of the examples where I shot exactly the same subject with both cameras, I preferred the PhaseOne result. I shot the PhaseOne in aperture priority mode because I wanted to avoid an excessively shallow depth of field in shots with multiple actors. This worked against the PhaseOne because I was able to use much faster shutter speeds with the Nikon. I initially had the impression that the Schneider-Kreuznach lens was softer than the Otus because the images themselves were softer overall, but the slower shutter speeds almost certainly allowed enough motion to lose some sharpness compared to the Nikon.
Despite the slight softness to images shot with the PhaseOne, in all but one example where I shot the same scene with both cameras, I preferred the PhaseOne because of the superior colours and tonal range. Both camera/lens combinations produced nice images, but the colours that came out of the PhaseOne were noticeably stronger.

I’m not totally convinced that the PhaseOne is hands-down better than the Nikon/Otus combination, but am willing to give it the benefit of the doubt until I have the opportunity to test it again*. I do know that the colour from the PhaseOne system and richer tones are very appealing compared to the more limited range available in the Nikon system.

*Update: I have retested the Phase One system and answered some of the questions left with the previous shoot.

1) The colour differences between the two systems are partly attributable to having used Capture One to process the Phase One shots but Lightroom for the Nikon shots. Despite this, the greater dynamic range of the IQ250 over the D800 is obvious.

2) The CA problem with the SK lens is very real but goes away at higher f-stops. I did some shots of dark tree branches against the sun at f/2.8 (heavy fringing) and f/5 (no fringing) as a test. If shooting at less contrasty subjects, the bigger apertures can be used. The Otus remains the winner in this category.

3) The SK lens is very sharp when setup properly. It really doesn’t like low light situations, and ‘low light’ for the Phase One is a lot brighter than for the D800. I had been setting the Phase One to match the Nikon settings—a big mistake because medium format requires more light than a 35mm.

4) The Capture Pilot utility is really awesome to use. It helps get steadier shots, and allows high resolution exposure and focus checks in the field.

Below are some more of the images from the shoot (and at the end, a couple of bonus shots from the more recent test):

Brigands. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/6.3, 1/15 ISO 200


Dejeuner sur l’herbe (Luncheon on the grass). Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/2.8, 1/223 ISO 200

Renaissance battle_4

Thom. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.5, 1/111 ISO 200


Merlyn. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/9, 1/7 ISO 100

Merlyn 1

Merlyn. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/125 ISO 125

Merlyn 2

Unruffled. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/5.6, 1/100 ISO 1200


Sparring. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/30 ISO 125


Triple portrait. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/4, 1/200 ISO 125

Triple portrait

Robin. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/3.5, 1/100 ISO 200

Robin at the window

The new test shots were made primarily to check CA and sharpness of the SK lens. All were shot with the 645 DF+, IQ250, and SK 80mm LS lens. Here they are:

Sunset fence 014

mirrored wetlands


Apr 072015

Back to Film

by Jay

Hi Steve!

First I want to say thank you for all the great work. Your site has been part of my daily inspiration for some time now so I thought it would only be right to make a small photographic contribution. My name is Jay Lynn and I got my start in photography as a junior in high school back in 1985.

My school had a school newspaper and if you were selected to be on the paper’s staff you got out of school three hours early everyday to sell ads to local businesses and follow-up leads on local interest stories. That was too good an opportunity for me to pass up but I had one problem. The paper had plenty of stand out writers and my writing skills were average at best. Just as I was about to resign myself to not making the staff, the faculty coordinator asked me if I had any experience with photography. I did not but I knew that my father had an old Pentax ME Super along with a few lenses that had been sitting in a bag in our basement for years. I had never so much as picked it up but I sure wasn’t about to blow my chance to get out school early.

What followed was a steep learning curve but I got the hang of it and when I got my first good roll of film back from the lab I was hooked. I went on to “upgrade” to a Nikon FG and eventually began developing my own film. My passion continued unabated throughout college until I joined the Marine Corps and became a Marine officer. After the events of 9/11 and the subsequent invasions of Iraq and Afghanistan, I just could not justify making time for photography amidst the constant training and combat deployments. Of course there were so many moments that I experienced during those deployments that would have been amazing photographs but for obvious reasons I could not even allow myself to think about that. In those environments you have to be 100% focused on the job at hand. Still, the passion never died and every time I had a photojournalist embedded with my unit I did find some time to talk photography and admire their gear and their photos.

Leica M6 with 90mm f/2.8 Elmarit M and Kodak Porta 400


In 2011 I was assigned to the Marine Forces headquarters in the Pacific, which is located in Hawaii on the island of Oahu. For the first time in over 10 years I picked up a camera again. So much had changed with the progression of digital photography since I had last enjoyed photography but so much remained timeless. I bought a Nikon D5100 and a few lenses to get back in the game. Within six months I sold the D5100 and purchased a D7000. Ergonomically the D7000 just worked better for me and I got a lot of mileage out of that camera. Being in Hawaii affords me an opportunity travel throughout Asia and to photograph a lot of amazing landscapes. In 2013 I jumped at the chance to purchase a D600 for use with wide FX lenses and that has been my primary digital body ever since.

I love digital photography and about half of my work is digital. But as much as I enjoy the convenience of digital I really began to miss the tactile aspects of film photography and the deliberate nature associated with the process of shooting a role of film. The other thing that had changed since I took my break from photography was that all the film cameras and older lenses that I had lusted after in high school and college were now readily available for next to nothing on online auction sites or even for free in some instances. So I bought them all! Well, practically all of them. And I do love them but I noticed that I was spending more and more time shooting the old manual cameras like the FM2 or the F2 versus the more modern film cameras like the Nikon F5 or F6. I have a Mamiya 6 rangefinder that I travel with a lot and I really began to appreciate the process of using a manual focus rangefinder over the more automated cameras. You know where this is going, right? Yup, you guessed it.

Leica M4 with Zeiss 35mm f/2.8 C Biogon T* ZM and Kodak TriX 400


In October of this past year my wife and I took a three-week backpacking trip through Vietnam. I used that trip and the need to travel lightly to justify buying two Leica film cameras, an M6 that I used primarily for color film and an M4 loaded with Kodak TriX 400. With the addition of the wonderful Zeiss 35 f/2.8 ZM and a Leica 90 f/2.8 Elmarit M, I was set. I knew that I wanted to take portraits, landscapes, and street photography while in Vietnam. I carried only the two Leicas and the Mamiya 6 for the duration of the trip and I have absolutely no regrets. This was a huge step for me because I am usually the guy who brings along the proverbial kitchen sink “just in case”.

Mamiya 6 with G 75mm f/3.5 and Kodak Portra



Traveling with light gear that I could carry in a small, inconspicuous sling bag was such a liberating experience and I am so happy with the results. I really do believe the adage that the unobtrusive nature of the Lecias allows for more candid shots because your subject is not intimidated by a giant camera and lens combo. I also love the all manual approach that the Leica rangefinders require.

It makes me think more about what I am doing and it also makes me feel like I am more involved in the decision-making cycle that occurs before the press of the shutter button. I especially enjoy the M4 which I do not use with a meter. I practiced estimating exposure for weeks before the trip and got comfortable enough determining exposure that I never regretted not having a meter when using the M4. I am attaching just a small sample of the nearly 1000 images I made during the trip. One from each camera. Of note, I have more “keepers” from this trip than I have ever had since I began shooting film again. I have to believe that the process of using all manual film cameras has something to do with this and that this translates to digital photography as well and will ultimately make me a more discerning photographer. Enjoy the photos and keep up the great work.


Mar 172015


2014 in Twelve images

by Bjarke Ahlstrand

Hi Steve,

Another year has passed, and at least from my perspective 2014 was extremely busy. I fulfilled a dream of mine and opened a rock bar, Zeppelin (, + my very own photographic haven/store, One Of Many Cameras (, here in Copenhagen, where I live. The camera store, which deals with both new and 2nd hand stuff gave me even further possibilities to explore the photographic medium and although it hasn’t exactly cured my GAS, it helps that I can just borrow stuff from the shelves now and then :-)

I only shoot manual lenses as they fit my shooting style the best, and I spend most of my photography time on celluloid, expired chemistry and especially large format portraits, but that ol’ Leica M9-P of mine is still my favourite digital camera (since I can’t afford or justify a Monochrome, hehe), but I also adore the little MicroFourThirds camera which was given to me as a x-mas present by my One Of Many Cameras partner Daniel because of its portability, since the large format cameras are a bit bulky to drag around. My work can be seen here: and

Anyways, here goes — once again — 12 images, 12 cameras, 12 months – this time for the year 2014.


January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photograhic fibre paper used as a paper negative · ISO3

2014_01_8x10_scan_deardorff v2_270mm_boyer saphir paris f63_iso3_after

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photographic fibre paper used as a paper negative · ISO3

I’ve been working on a book/exhibition the last couple of years. It’s gonna be called “After” and will feature 130+ portraits of my girlfriend, all shot immediately after we’ve had sex. There will be no pornographic content or nudity but “raw” portraits that try to capture that very special moment just “after”… I went about it in a dogmatic way, so I decided that all had to be shot within a five minute time span and I would max make 3 exposures. It was very challenging as many of the shoots were rather trivial when it comes subject, and location of course, but I managed to use a great variety of cameras and now in the final editing stages of the book, I believe it turned out okay. The book will be published around May/June if everything goes as planned. For this particular shot, Katja laid still for 8 seconds while I captured the light.


February · Leica M9 · 50mm Summilux Asph @ f/2.8 · ISO200


Still love the Leica, still love rock ’n roll, and I still have a record label, so I actually managed to shoot quite a few album covers in 2014, this being one of them. With vinyl making a serious comeback it’s a joy to shoot band pictures again. The band is called Lucer and they play high-octane rock. Be sure to check them out on Spotify –– or even better, on vinyl.


March · Goecker Studio Camera · 270mm Dallmeyer 3B Petzval · Expired Ilford Multigrade photographic paper used as paper negative · ISO3

2014_03_8x10_paper negative scan__Goecker Studio Kamera_Dallmeyer 3B_iso3_Street

I bought an old wooden large format studio camera, dating back to 1913 and it came with a wonderful Dallmeyer Petzval from the 1860s’ so I decided to drag it outside our little camera store (which is also a studio) and test it out. Two teenagers were walking down the street, but I convinced to them to stand still for 1 second while I used my hand as a shutter. Notice the Petzval curve, it’s absolutely wonderful. Oh yeah, the logo of One Of Many Cameras is actually the Petzval lens design from 1840 – both my partner Daniel and I even got it tattooed, so I guess that lens is rather special to me.


April · Fuji GX680III · 125mm GX f/3.2 · Ilford Delta 100

Picture 521

Even though I love large format and the creative possibilities it gives regarding perspective and focus, it’s not exactly portable. Enter the Fuji GX680III, a high-end medium format camera from the final days of the professional analog era. It has a small bellow and therefore tilt-shit capabilities and you can cram 8 images on a 120-roll film, so economically speaking, it’s quite okay (compared to large format). You can shoot the camera handheld – and those Fujinon lenses — whauh. This one in particular, it’s perfect. My youngest clone was shot wide open at f/3.2. Love the bokeh.


May · Kodak DCS PRO SLR N · 55mm Nikkor f/1.2 · ISO160

2014_05_Kodak DCS PRO SLR N_55mm Nikkor f12_iso160_Mikkel Munch Fals

I don’t want to (re-)start the whole CCD vs. CMOS war, I’ll just conclude that you’ll find on the CCD-side when photographic civil war begins. I haven’t owned a DSLR since I sold my 5D Mark III and I swore I’d never go down that road again… But then I was presented with this Kodak beauty, the first full frame pro digital camera, which cost a fortune back when it was introduced, and having never shot Nikon glass before (!) I couldn’t resent the 55mm Nikkor f/1.2. The 3 included batteries last only 5 minutes each, the camera breaks down constantly, has many quirks and is hardly usable above ISO400… But that Kodak CCD sensor is absolutely wonderful… I get the same feeling as when I look at images from my Leica M9-P and Hasselblad H3D-39. If I’m working digital (and not doing video), I’ll definitely go for a CCD-camera.


June · Leica Monochrome · 50mm Apo-Summicron f/2 Asph · ISO320

2014_06_LeicaMonochrome_50apo Summicron_iso320_beach

Had the chance to spend a day with the APO-Summicron. Took it to the beach along with a Monochrome. Nice combo. Stupid price tag, though.


July · Leica M9–P · 35mm Summilux f/1.4 Asph FLE · ISO160

2014_07_LeicaM9P_35mm Summilux_ISO160_Barcelona

Took my two clones to Barcelona for our summer vacation, alongside a couple of Leica’s and the Fuji GX680 monster. I keep coming back to the Leica, it’s “like home” every time I shoot it. The swimming pool was nice, too.


August · Sinar P2 · 36cm Voigtländer f/4.5 · Impossible Silver Shade 8×10” Polaroid


Having a record label is nice because you get to meet some really cool people, in this case the Swiss noise-rockers Herod who performed here in Copenhagen, and stayed at my place for a couple of days. I dragged the boys to my attic alongside my Swiss 8×10” large format Sinar camera, and shot an 8×10” Polaroid polaroid. The lens was stopped down at f/5.6 (which is like f/1.4 in 35mm terms regarding depth of field), but with the help of the movements of the camera, I was able to get all 4 members (relatively) sharp.


September · Kodak Master View 8×10” · Rodenstock 210mm Sironar f/5.6 · Ilford Direct Positive Paper · ISO6

2014_09_8x10_directpositivepaper_Kodak master view_210_mm_sironar s_iso5_undergang

Another band photo, this time around it was the death metal act Undergang, who were about to embark on a 5 week US tour and needed a band photo for their upcoming LP, so of course we went to a cemetery. I brought an antique Kodak Master View 8×10” large format camera and some Direct Postive Paper, and I snapped this ghoulish portrait with the Rodenstock lens shot wide open. Again with the gigantic negatives (1 x 8×10″ negative = 1 roll of 35mm film), the depth of field is extremely shallow, only a couple of millimeters but that old Kodak large format camera with its bellowsmovements made it possible to get them all “pretty sharp”. I made the vocalist only show the white in his eyes for the second I exposed the Direct Positive Paper, which indeed is a fantastic medium when working with the large format, since it’s like a Polaroid (positive) and you can handle it under red/safe light which makes it much easier than the negatives.


October · Sinar P2 5×7” – 21cm Voigtlander Petzval · Expired Ilford photo paper

2014_10_5x7_Sinarp2_21cm_Voigtlander_iso2_when the silver runs dry

One Of Many portraits of my favourite subject(s) – my clone, Hjalte. Almost 16 years old, he looks nothing like the child I’ve been documenting for many years now, as he’s growing rapidly, physically as well as mentally. Teenagers are hard to shoot since they’re pretty demanding, and pretty pimple ridden, but I’ve been experimenting quite a bit with expired analog materials and decided to try to drag the absolutely last silver out of some photographic paper which expired the year Hjalte was born (1999). He sat still for around 4 seconds while I underexposed and then the negative laid in the (also expired) chemistry for around half and hour before it was fully developed. I love it, one of my favourite portraits of 2014.


November · Sony A7S · Leica 75mm Summilux f/1.4 · ISO1600

2014_11_SonyA7S_75 Summilux_iso1600_Ruth Storm

Yes, I love old cameras (and especially lenses) but of course I also embrace new technological wonders –– like the Sony A7S. Most of my work is shot at extremely low ISOs, but the A7S opened new doors for me with its extreme low light capabilities. I’ve shot portraits for record covers at ISO 100.000 (!) which look fine on print – and my Leica lenses all perform wonderful on that little Sony. And the ones that can be hard to focus on a rangefinder are easy to nail spot on with the focus peaking turned on. Sometimes I wish the A7S had just a few more pixels as 12mp isn’t a lot for print/pro work, but I use it mostly for videos anyway, and there it reigns supreme.


December · Panasonic DMC-GF5 · 1″ Taylor-Hobson f/1.9 · ISO1600

2014_12_Panasonic DMC-GF5_1inch Taylor-Hobson f19_iso1600_trine tree

Yeah, I prefer large format and medium format, and full frame digital sensors. But lately, I’ve come to love a small, not-very-special little Panasonic pocket camera (DMC-GF5) – due to one fact: its MicroFourThirds sensor and the c-mount adapter that came along the little x-mas presents. That combo opens totally new doors when it comes to lenses and look. Old 16mm film lenses (c-mount) shine on that little digital sensor (the ones that cover it that is) and since the camera is very cheap (and lenses, too) I bring it everywhere for snapshots that otherwise were reserved for my iPhone. Here you see the newest member of the Ahlstrand-clan, Trine The Cat, climbing unto a x-mas tree. Nothing fancy, just one of those “family shots”, but I really dig the look of that tiny 1960s 16mm film camera lens, which I just had CLA’ed by my friend, Professor Olsen (repair-guy at One Of Many Cameras).

That’s it. Enjoy.

Mar 022015

Travel Photography with Medium Format Color Film

By: Logan Norton

As someone who has done quite a bit of photography oriented travel, I have experimented with many different gear configurations in search of the most suitable solution for my travel needs. I have found that using medium format (120/220) color negative film (c-41) offers me the most versatility while ensuring that I can achieve the “look” that I desire. I know that many of you will probably have serious doubts about the practicality/convenience/wisdom of this choice, but I can assure you that I have tried just about every other format and, for me, this is the one that fits the best.



Knowing that the digital vs. film debate will inevitably arise from this post is, I would like to address that a little before we get any further. This is not meant to be an endorsement of film over digital. I don’t believe there is a universal truth that one format is better than the other. They are both tools with advantages and disadvantages and the beautiful thing is that they both exist. You have a choice as to how you will achieve the goals you seek through the use of one or the other, or both. I have taken a Nikon D800 and a Think Tank bag full of lenses on a two week Costa Rica trip. I’ve spent a week shooting in Austin, TX with a Fuji X100s and I took a Leica M9 and a 1950’s 50mm summicron on a roadtrip up the west coast for two weeks. Recently I spent a couple weekends in San Francisco with nothing but a Leica MM Monochrom and a 35mm cron and these days, the majority of my shooting is done with a Leica M2 loaded with Kodak 400tx and an older 35mm summicron – a setup that I love for its simplicity.




The point I am trying to make here is that I have enjoyed an assortment of equipment configurations, both film and digital, and I have been able to create wonderful images with each, despite that fact that all of them have unique challenges. Anytime you seek to find the most appropriate tool for a specific job you have to weigh the negatives against the positives for each option. I spent quite a bit of time doing just that before a recent trip to San Miguel de Allende, Mexico. I wanted to simplify my travel setup; I didn’t want to carry multiple cameras with different film format, battery or memory card needs. I wanted something that would not distract me from enjoying the process of traveling and photographing.


The first question was film vs digital. I realized that I didn’t want to be tempted to spend my evenings poring over the thousands of images I had downloaded into my computer, or to spend my lunches thumbing through pictures on my camera screen. It was important to me that I enjoy the experience of traveling while also taking pictures, rather than being preoccupied with the pictures I was taking on my travels. I also knew that I didn’t want to be reliant on batteries as I often spend long days shooting without any opportunity for charging. Another consideration was that a huge amount of travel photography occurs during the brightest part of the day in very changeable light conditions. Film is able to handle these changes more consistently and pleasingly than any digital format I have experimented with. The latitude that film allows, along with its ability to smoothly control transitions between shadows, mid-tones and highlights makes it a more effective tool for mid-day shooting, in my opinion. I also considered the difference in the way I work with film as opposed to digital. With digital I have a tendency to shoot everything knowing that I have virtually unlimited capacity for recording.




When I’m using film, however, I find my process slows substantially. I search each setting/situation for the right moment, knowing that my shots are limited. I find that film forces me to really get into each moment and to stay there longer, something that I find incredibly important when I travel. In the end, these considerations led me to choose film as the medium for my travel photography needs.

Next I had to settle on the format. 35mm would allow for smaller, lighter gear and many more shots per roll. Medium format would give me incredible dynamic range, detail and latitude while forcing me to be extremely critical while shooting. In the end, the technical advantages of the medium format option won out over the convenience of 35mm. I knew it was going to be medium format film, and because I was going to the amazingly colorful town of San Miguel I knew I wanted color film. I chose to bring Kodak Portra 400 as my only film stock as it affords exceptionally smooth renderings at low iso while also providing excellent push-ability, fantastic highlight retention (imperative for the bright Mexican sun), and great colors. It also translates very well to black and white Continuing my theme of keeping things simple, I chose a Fuji GW670ii rangefinder camera for the trip. These “texas leicas” are all mechanical so there was no battery life to worry about. Since rangefinder cameras are mirrorless, they are nearly silent in operation and they allow the user to utilize slower shutter speeds with less vibration than slr cameras. These cameras all feature a fixed 90mm Fujinon lens that is incredibly sharp with fantastic bokeh characteristics and color rendition.



Armed with my newly simplified kit I headed off to San Miguel de Allende for 12 days of exploration and shooting. I would be lying if I said I didn’t immediately question my decision upon leaving the rest of my gear behind, but after the first day I was convinced I had made the right choice. The Portra performed as well as I’d hoped in capturing the beautiful colonial architecture and brightly colored haciendas of San Miguel. When shooting in the mid-day sun I was able to rate it at 100 iso without any need to pull the processing when I got home (which was critical while using the Fuji which has a top shutter speed of 1/500) and it produced amazing results pushed as high as 6400 iso at I spent countless hours walking San Miguel’s beautiful cobblestone streets, sampling the local cuisine, meeting locals, and capturing amazing images. I found it to be one of the most welcoming and warm environments for travel that I have ever experienced. My days were spent exploring the magnificent el Charco del Ingenio Botanical Gardens; the el Tianguis Tuesday Market, a huge bazaar that features a little bit of everything; and the central square known as El Jardin that sits right next to the beautiful Parroquia de San Miguel Arcangel cathedral, the main architectural landmark of the city. During my trip I was privileged to witness two daylong celebrations in and around this immaculately maintained square, as well as a traditional Mexican wedding at the church. These events provided further insight into Mexican culture and afforded me some amazing photographic opportunities.




Spread around the city are a number of other spectacular cathedrals, as well as a number of other squares where people gather. I could not help but fall in love with the uniqueness and beauty of the city and its people; and I returned home with 53 rolls of film filled with amazing memories from my time there. I cannot wait for Ultimately I was incredibly happy with my decision to simplify my travel photography setup. I believe that the careful process of selecting the right tools afforded me the ability to be in the moment more during this trip than any other before it.

Feb 262015

Using Sony NEX cameras as a digital back for 4×5″ Sinar

By Dierk Topp

What do you get:

The possibility of the use of most of the movements of a large format 4×5″ camera!
And to get very high resolution images (300 MPixel or more) for very large prints. I printed up to 2m wide, I love to “walk” around with my eyes on high res prints :-)

Where and for what can it be used?

for any static object, ideal for studio work and stills
the weight of my set up with tripod is about 10kg, not usable for hiking (the gear of Ansel Adams was 20kg and more, as far as I know)
Therefor for landscapes I use the normal technique shooting hand held or with a tripod and just shift the whole camera.


you should have some experiences with large format and/or want to learn more about it
you have to invest some time for set up and camera alignment
you want to slow down for taking pictures

How do you use it?

set up the camera on a tripod
set the camera on all manual and RAW
use the ground glass of the Rhinocam for rough positioning (the normal ground glass of the Sinar is useless, it is not at the position of the sensor)
move the NEX into position
use the display of the NEX for first focusing
move the camera to the outer edges of the Rhinocam and control the framing of the whole image
use the shift and tilt mechanics of the camera for the desired plane of focus
control the framing again
use the focus lope for exact and final focusing
stop down the lens and do a test shot of an important area for exposure control
adjust flash and or aperture or exposure time for outdoor shots
if necessary, do a test shot with gray card or Colorchecker for color management

You may just shoot the 6 or 8 images by using the movements of the camera within the Rhinocam and get a high res image. If you want or need higher resolution, you move the camera closer to the object. In order to cover the same scene you have to shoot extra rows and columns by shifting the camera rear standard in x and y direction and will end up with 20 or 30 images. The parallax is no problem, as all the images are coming out of the same image circle! Using large format you will know, that the lenses have a huge image circle, in which you may shift the film or today the digital camera.
For example the image circle of the Rodenstock Sironar-N 150mm is 214mm at f/22! (more here: )
More on Schneider Symmar lenses is here:

Sorry, if this is not clear enough, but I tried my very best (and sorry for any strange English :-) ).
The different image sizes of the following images below depend of the use of this shift technique and multi row shooting.

What gear do I use?

a Sony NEX camera (I use the NEX-6)
a 4×5 Sinar P (or Gandolfi Variant) with standard back mount
I prefer the Sinar P, as all movements are geared and can be controlled perfectly
a Rhinocam adapter (there are other adapters, that could be used as well, but I only know and use the Rhinocam today)
a large format lens with 150mm or more for infinity shots,
for studio or close up shots 120mm or less is possible
a good tripod with a good head (Manfroto 055 with Arca Swiss Monoball P0)
two soft boxes for studio work and a remote flash trigger
the X-rite Colorchekcker or gray card for perfect color management
a software for stitching images (ICE from MS for Windows, PTGui, PS or many others)

How much does it cost?
Here are my “investments”:

the price of a APS-C NEX depends on the model and condition
the Sinar P was about 650€ used in perfect condition
the price of the Rhinocam depends on where you buy it
the price of my Schneider Makro-Symmar HM MC 120mm/5.6 was 350€ (like new)
the price of a tripod and head depends on many factors (if you don’t have a tripod)

you may find more images in my Sinar album at flickr:
and the Gandolfi album:

There is not much more to say. Here are some of my results:
all images are multi row and multi columns stitches images. That is the reason, why the image sizes vary.

Table Top Examples

This is about my standard set up. Only the flash trigger is not mounted. With flash trigger you can only use the camera in landscape orientation as the trigger will hit the ground glass, when you try to rotate the camera into portrait orientation.

in this case the rear standard of the camera is tilted by about 15°, as you can see it on the scale at the bottom of the image

lens used: Schneider Makro-Symmar HM MC 120mm/5.6

This is the result
Sinar 4×5″ with Rhinocam adapter and Sony NEX-6, Schneider Makro-Symmar HM MC 120mm/5.6@ f/11
stitch of 20 images, 15.000×10.000 pixel  = 150 Mpixel

Sinar tilted, f/22

NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider Makro-Symmar HM MC 5,6/120mm @f/11,
13.000×8.500 pixel = 110 MPixel


a 1:1 crop


NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider Makro-Symmar HM MC 5,6/120mm @f/16,
12.000×7.000 pixel = 91 Mpixel


NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider Makro-Symmar HM MC 5,6/120mm @f/11,
10.000×7.700 pixel = 77 MPixel

80 MPix, stitch of 9 images

NEX-6 with Rhinocam on Sinar P 4×5″ with  Rodenstock Sironar-N 150mm/3.5 MC@f/13,
13.200×7.500 pixel = 99 MPixel


NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider APO-SYMMAR MC 5.6/210 @f/16,
13.200×6.000 pixel = 80 MPixel


This is a test image for the ultimate control of the focus plane by tilting the front and/or rear standard, the focus is exactly parallel to the surface of the book and it looks like the apple was “photoshopped” into the image, but the apple really lies on the book!

Besides control of exposure and contrast this is, what comes out of the camera after stitching the images!

NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider APO-SYMMAR MC 5.6/210 @f/8,
11.500×7.800 pixel = 90 MPixel


NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider APO-SYMMAR MC 5.6/210 @f/8,
13.300×7.600 pixel = 100 MPixel


NEX-6 with Rhinocam on Sinar P 4×5″ with Schneider APO-SYMMAR MC 5.6/210 @f/16,
19.000×8.000 pixel = 150 MPixel


another set up for the following picture

making of

NEX-6 on Rhinocam adapter on Sinar P with Schneider Makro-Symmar HM MC 120mm@f/11
stitch of 15 images, 13.400×11.500 pixel = 154 MPixel (I would like to print it in 2x2m :-) )

f/22, stitch of 15 images, 150 MPix

and a 1:1 crop


this is one of a few outdoor imagesthe set up


the result, tilted for the focus plane on the ground
NEX-6 on Rhinocam adapter on Sinar P with  Schneider APO-Symmar 210/5.6
13.600×7.800 = 106 MPixel (printed 1,80m wide)

stitch of 2x4 images

this is a comparison of two different tilt settings, where you can see, how easy it is to control the focus with focus peaking
while you tilt the camera, the focus is moving till you see the whole desired plane in focus peaking color
compare this with a dark cloth over your head and a magnifying glass on the ground glass.


and just for fun, if you want to take your 4×5″ camera into the field, there is a nice “little” box for all that stuff :-)
you may find the tiny NEX somewhere on this picture

my "new" camera bag, very handy for my nex hicking tour :-)

and an explanation, how to use this box for shooting :-)

my "new" camera bag, very handy for my nex hicking tour :-)

and last but not least my little large format camera collection
left the Sinar P, in the middle an old wooden camera and on the right the Gandolfi Variant field camera


I hope, you enjoyed it and thanks for looking


Jan 062015

My first serious landscape shots with the Linhof Technikardan 69

By Dirk Dom


So I wanted to do serious black and white landscape. After almost having gone the digital route with a Sony A7R and a Canon 17mm tilt-shift lens, I decided I’d go with film and a technical camera. I chose a 6×9 rollfilm format camera because I’d have lots of movements with ultrawide lenses and I wanted to do those shots with crazy perspective and depth of field.

It became a Linhof Technikardan 69. So far I have a 150 and a 65mm lens for it. The Linhof is extremely high quality. It feels like Leica. I got it used for a very reasonable price.


After some trying I figured out how to lug the camera around without getting tired (backpack and un- and repack every shot) and I got familiar with how to work it.

Now, it’s midwinter here in Belgium, real dark, and my folks have a place in Spain, at the Coste Blanca and there it’s sunny and T shirt weather most of the time even now; I got so fed up with the Belgian darkness and frustration not to be able to shoot (exposed a shot eight seconds at 2PM, for God’s sake) that I drove there (1860km) for a week. I’d do my first serious black and white landscape with the Linhof and see what it’s actually worth.

Well, I can tell you, it was sort of a ultimate experience. Now I understand why people lug around with 8×10 camera’s, and I wouldn’t be surprised if I eventually got one of these things. Only thing I have to figure out is how do you get such a beast and 50 8×10 plates through the airport security.

They say the main charming thing about a technical camera it that it slows you down; that’s perfectly correct, taking a shot takes five minutes at the least and even shooting a turtle on a Sunday stroll would be problematical. But the real thing is that you make the image happen in a way you don’t experience with any other camera. I’m at a loss for words here, be it said that I have a Canon F1, an Olympus PEN, a Hasselblad Xpan, a Fuji GX 617, a Mamiya C330, a Mamiya 7. All magnificent camera’s which are a profound joy to image with. But I can tell you now, that concerning the joy in picture taking not one of these camera’s comes even close to the Linhof.

This is all of course highly personal. Lots of people may absolutely hate the cumbersome technical camera workflow.

I shot one film (Eight images) a day.

Well, came back yesterday, with 40 images, developed, scanned and postprocessed today.

Here ‘s some results, scanned with an Epson V750 at 2,000 PPI, more than enough. For printing I’ll spend some weeks finetuning the postprocessing. I print 30 x 45cms.

The first day: no clouds! For good black and white you need some clouds. All shots Tmax 400, red filter. In Belgium I had some trouble focusing the 65mm, but that was due to the very low light level. Here it went like a breeze.


I had overexposed two stops the first day, (forgot to put 400 ASA in the light meter) so I had to go back. I pulled that first film two stops (20% less development time) and it came out perfect. The next day nice clouds.


I took this shot two years ago with the Mamiya 7, but this one came out nicer.


An extremely windy day. I was afraid my filters would blow out of my hands and over the cliff, let alone that my tripod and camera would fly off and I’d find it back thirty meters lower. Didn’t happen. I did lose my wire release, though, luckily I had two with me. I have to figure out which spare parts I need, like the dark slide is absolutely essential and I might drop it and not be able to recover it.

unnamed unnamed

I’m crazy about skies taken through a red filter. 150mm.


Here I used tilt for more DOF. DOF from 30cms to infinity. Yum, yum… 150mm. Try that with a camera without movements.


Film doesn’t burn out highlights. I learnt not to compare film with digital or try to emulate digital with film or vice versa. I enjoy the different media for what they render in their own characteristic way.


Plenty of mountains in the Costa Blanca, right next to the coast.


And finally, a really overcast day. I discovered these houses and waited until a little spot of sun shone on them. It took four shots and over an hour until I got it the way I wanted it.


I’m doing this multiyear project, shooting San Francisco. This Easter I’d go there for two weeks to shoot the city and its people in springtime. I’d take the Xpan and the Olympus PEN; in the Summer I’d spend six weeks there with the Linhof and some other gear. Now I’m so hyped I want to take the Linhof with Easter, too. I ‘ve never done this kind of intense shooting for a long time and I don’t know if I ‘d get fed up after a few days. In the summer I’d do different kinds of shooting and take a day off if it gets too crazy. The Linhof with Easter might get too intense because of the limited time. I have to make up my mind.



Dec 092014

An exotic modern classic, the Rolleiflex FX-N

By Brett Price

Hello Steve/Brandon,

Its been a while since I’ve submitted anything for your site, I thought it was long overdue. I recently purchased what I believe to be my dream medium format camera, a Rolleiflex FX-N and I thought I would share some photos and experiences with it since owning it for the month or so I’ve had it.

Rolleiflex FX-N

Before owning this camera my primary medium format camera was a Hasselblad 501cm which I loved but often felt as though it was the wrong type of camera for my style of shooting. It’s an excellent system, but focusing can be slow and if you use a prism of any kind it becomes rather large and cumbersome. I had a kit with a few lenses, a few backs, a waist level finder and a prism but often felt like I really only shot it with the 80mm and carried one back 99% of the time. I also rather hate the need for extension tubes to get closer than 1m which can feel somewhat limiting for someone who primarily takes portraits.




The FX-N is my perfect medium format camera because it solved most of my issues with shooting with the Hasselblad in one camera that didn’t have any negatives to me. It’s extremely small, not really needed more space than a Leica with a lens when put in a bag. It has a fast 80mm f2.8 lens, perfect for portraits. It’s quick to focus, moving from min focus to infinity is extremely easy and fast, the Hasselblad often would take 2-3 full slow turns to do that. It uses a leaf shutter, something I’ve grown accustomed to and is nice when working with flash or low shutter speed, It’s insanely quiet, almost inaudible and has no mirror slap so it can be handheld at low speeds easily. It has a built in meter, something the Hasselblad required an electronic prism for. But the main reason I sprang for it was its close focus ability, allowing me to get up to 55cm away from a subject without the need for an extension tube or magnifying filter. I hate carrying these things around, and I often feel like the sweet spot for portraits was just under the 1 meter that most cameras allow.




So now this camera comes with me everywhere I go, easily. It doesn’t sacrifice anything I find to be important in a system and will shoot the way I want it for 99 percent of anything I typically throw at it and I’ve been hugely enjoying it thus far.

I actually thought twice about writing this short review for a camera that most people would never buy. Dropping the amount that this camera cost is not something that anyone would take lightly but when I considered the long-term usage over the course of a lifetime and the problems it has solved for me in finding an all round system that I like, it seemed like a reasonable amount. I also loved the ability to support one of the last companies still producing film cameras. I sold a bunch of gear to help pay for it, and part of it was a wedding gift from my now wife. It came in just in time for my recent wedding, which was the first day I used it for. It’ll always have a place in documenting our lives together.




I think one of the things our generation forgets is that a camera used to last you a lifetime. It used to be something you would pass along through generations. I’m not knocking on digital cameras but that is certainly one quality I miss in modern cameras that digital will probably never be able to offer us again. I hope you like the photos I’ve shot with it thus far.

tumblr_ng7x4mseg11s8rmu2o1_1280 tumblr_nf480g1bsJ1s8rmu2o2_1280 tumblr_nf480g1bsJ1s8rmu2o1_1280



I have more posted on my tumblr here:

Or on instagram here:

I try to post at least a photo a day to those places if you’d like to see more.


Oct 102014


1959 Rolleiflex 2.8E – Shooting family, friends, fashion and famous!

By Andy Jackson

Hi Steve,

Thanks for all your great dedication to your site bringing us all sorts of articles, new gear, digital or film and your never-ending enthusiasm! So, about four years ago you published a Daily Inspiration from myself, shots from my Leica CL. The images were mainly of my son, who was about 2 years old at the time. After reading your write up on the Rolleiflex Hy6 (which to be honest, I didn’t even know existed!) I thought I could do a User Report on my 1959 Rolleiflex 2.8E.

My friend Ludi – this was shot on Rollei Retro 400.

Ludi 02 - Rolleiflex

I’d shot film/transparency for a long time as a photographer working on a snowboard magazine and acquiring the Leica kind of reignited the idea of shooting analogue again. This time I was more interested in shooting black and white and was partly inspired by another article on your site by Max Marinucci about home processing. My late Uncle also had an influence on me from an early age, with his camera in hand, his slides and his black and white prints of me as a kid. I’d done darkroom work at my first job many moons ago at a design company in London, so I knew how it went, but had never done it at home. Having bought the necessary bit and pieces and some chemicals (totaling €80!) I started to develop the negatives from the Leica. Yup, the same grin factor as getting my transparencies back after a snowboard shoot but with the extra satisfaction of doing it myself! Now, I’m not even going to go into the practicalities or convenience factors of digital over film, as to be honest, as you said in your article “Analog is a different beast than digital in almost every way.” If I’m processing film or going through a digital shoot on the computer I like to get ‘in the zone’ – cup of tea and some decent tunes on the stereo and off I go!

Branko from Croatia, I used the Rolleinar close-up lens for this.

Branko - Rolleiflex

My good friend Doris, a yoga teacher. We’d been for a hike on the mountain and I had the 2.8E in my bag along with a Hassy 500cm, this is from the Rolleiflex.

Doris yoga 02 - Rolleiflex

So on to the Rolleiflex! After searching around on Fleabay and websites and doing some homework I realized I was going to have to spend a decent amount of money for a good one. At the same time I bumped into a friend here in Innsbruck who’d seen some of my film shots online. He told me his mum used to be a professional photographer and that she had a few old cameras left from her working days. I asked if any had two lenses on the front, he said he seemed to remember playing with something like that when he was a kid and he’d ask his mum. Two days later he calls me and tells me she still has her old Rolleiflex. He gives me the serial number and I track it down to a 1959 2.8E. Oh yes, the Carl Zeiss Planar. He’d been online and checked out the prices, not cheap really, a good one is at least €1000. He offers to sell it to me for €250 – I can hardly contain my excitement. So, off I go to meet his mother, she’s actually thrilled to be able to sell it to someone who’s actually going to use it, it’s been doing nothing for about 40 years. As you can see from the shot, it’s in pretty good shape. I sent it in for CLA to a company in Salzburg, it needed some work, lightmeter was replaced and some bits in the shutter – €400, so in the end I still have a sweet deal and the camera stays in the area.


Preparation and handling.

The Rolleiflex is not a heavy camera. It fits nicely into my Lowepro Event Messenger 150 bag, leaving enough room for the Leica or my FM2 or OM2, lightmeter and film in the front pocket. I’ve replaced the old leather strap with a modern one, this puppy is not gonna end up on the floor. Once you get used to it, it’s a quick camera to pull out and start to shoot with. Take a light reading, set aperture and shutter speed, flip the lid and focus. So, we have aperture from 2.8 – 22 with half stops marked. Shutter runs from 1 sec 1/500th plus B. Loading film isn’t too tricky, just remember to put the paper through the bottom rollers then close the back and start winding on with the lever. There’s a mechanism that ‘senses’ when the film goes through these rollers and then the exposure window starts to register, wind on and it will stop on the first frame. Ready to rock. I’ve also acquired a Rolleinar 1 close-up lens for it, these are rare as rocking horse pooh because of the Bayonet 3 mount and some people ask silly money for them – I paid £120 for mine, I’ve seen ‘em go for a lot more.
Looking through the viewfinder you realize everything is in reverse, this takes a bit of getting used to, especially trying to keep things level. We get twelve shots and twelve shots only, so patience and practice will pay off!

I shoot the odd landscape. Dolomites, Italy.

Dolomites - Rolleiflex

Francois, from, er, France. My friend was looking after his Indian motorcycle that broke down on a run here in England. He came back to pick it up. How could I not shoot this portrait.

Francois - Rolleiflex

Shooting family and friends and others.

I use this camera a lot for shooting images of my son. Sure, I could use my 7D and autofocus as he runs about (and I do) but over the last few years he has learnt that when daddy points the two eyed black box thing at him, he must stay still! It’s not about getting the right camera for the child but training the child for the camera ;-) Sometimes he’s not in the mood for stillness, so I leave it for a bit. Using a TLR at the right time though, I think is the secret. When he’s focused in on something or climbing a tree, I just ask him to stop and look up. Nine times out of ten he does. Candid racing about shots are best suited to newer technology, what I want from my Rolleiflex is the more thoughtful images, maybe even posed, if you can call it that. I prefer to look at it as shots where I have his attention, where we have our connection. Having the twelve shots makes me choosy about when I hit that shutter, I really have to be sure it’s what I want. I usually take one shot of a ‘scene’ and leave it at that then move on. Sometimes I don’t even move on, a roll can sit in the camera for days or a week or two. There’s no rush with this camera, no incessant need to snap everything in sight, it’s way more about gathering some great memories for me, of my little man growing up.

Rolleicord. My son Noah on a rainy afternoon.

Noah - Rolleicord

If any one photo sums up why I love this camera, it’s this one. I took one shot of this scene, kept my fingers crossed that I’d nailed the focus and kept the camera steady, 1/30th of a second.

Noah bamboo - Rolleiflex

Zeiss Ikon Nettar. This camera is small when folded, very small for 6×6. Beautiful results.

Noah field - Zeiss Ikonta

Shooting friends is a little easier, they know how to sit still. The Rolleiflex instills a sense of wonder in everyone. I get the usual question – “Do they still make film for that” and the remarks about how beautiful it is. I’ve used it a lot at weddings, it’s a talking point for guests, certainly breaks the ice. Bride and Groom are always super stoked on receiving a set of hand printed images, the Rolleiflex shots are the highlight without a doubt. I’ve noticed people feel way less intimidated with the Rollei than they are with a DSLR.

Like the Leica, the Roleiflex has it’s own brand of magic dust it sprinkles on your images. The awesome depth of field, that ‘otherworldly days gone by’ vibe where your natural light shots look like from another era, which in a sense they are! 6×6 analogue is affordable for nearly all of us, whereas digging into our pocket-money for a digi Hasselblad or Leica S2 isn’t such a do-able proposition (well not for me at least!) I love the 2.8E, I love to photograph people with it, I love the results and I love the fact that I have a fixed lens (with option of close-up). It takes 25 minutes to develop a roll of film, then about half hour to hang up and dry. Scanning is painless on my Canon flatbed 9000f and results are ok – it’s no Nikon Coolscan but I get 50cm by 50cm scans out of it. My favourite shots I print in my darkbathroom ;-) but that’s another story.

Stephen Bartels, gallery owner of the same name, London.

Stephen Bartels - Rolleiflex

Sir David Rodiagn, MBE (left) and his agent Ricky McKay (right). David is a living legend Reggae DJ, radio DJ (BBC), famous throughout the world. Ricky presented him with a 50cm x 50cm framed print of this shot for his 60th birthday. Proud moment indeed.

Rodigan and Ricky 16bit

Terje Haakonsen, one of the world’s most famous snowboarders. This is part of a series I made of Snowboard Legends in 2013 and was published in a couple of magazines. This is one of my few flashed shots with the Rollei.

Terje Haakensen - Rolleiflx

Tomi Toiminnen, ex pro snowbaorder, shwoing his tattoos ‘Never Forget’ one for an old friend of his who died too young, the other for a friend of ours who lost his life in an avalanche.

Tomi Toiminnen - Rolleiflex

If any readers have ever thought about getting into analogue medium format photography but are put off by the hassle of processing their own films, don’t be! It’s way easier than you think and once you’ve successfully hang up your first roll to dry you’ll be hooked. As for colour. Well, that’s turning out to be a pricey business these days. Colour negative processing has just doubled in price here, about €8.99 per roll, so include the film cost and you’re looking at €18 at least for twelve shots (without scans). My friend has just started doing colour at home because of this and is really happy with the results, I will go the same route very soon.

I’d like to also mention two other cameras as a much cheaper alternative to a 2.8e or such like. I acquired a Rolleicord IV with a 75mm 3.5 Schneider Kreuznach Xenar for €120, see attached images for comparison. The other camera that really surprised me is the Zeiss Ikon Nettar 518/16 with a 75mm 3.5 Novar-Anastigmat – I picked this up from a local flea market for €35 in fully working order! This is a zone focus camera so I got my hand on a Voigtländer rangefinder that attaches to the cold shoe, this helps loads. The images form this camera are also sublime though a bit slower to use than the Rolleiflex, the output is worth it.

Lisa Marie, test shot for her model agency. Available light coming in through a window.

Lisa Marie - Rolleiflex

Ludi again.

Ludi 01 - Rolleiflex

Viktoria. Test shot for her agency when she was starting out two years ago. She’s all over the planet now.

Viktoria - Rolleiflex

So, in conclusion, I use my 2.8e for just about anything and everything as long as it’s not running. It’s light and very, very quiet. It can be discreet as you can just stand in the street looking down and press the shutter and no one really knows (I guess this is how Vivian Maier took a lot of her shots). There’s still plenty of specialists servicing and repairing them and has a strong enthusiast following and collectors worldwide. Shoot one roll of film on this and I’m sure you’ll be hooked. At the end of the day it’s just another tool for us to realize the images we want to create and like each of us has our own favourite bits of kit to do the job we all end up in that ‘special realtionship’ with one or two cameras. Happy shooting people

All the best,

Andy Jackson

Shoe repair dude, Goodge Street underground station, London. It was very dark.

Shoe repair dude - Rolleiflex

Paul Clements, photo journalist, Beatles and Dylan fan, guitar and sitar player at Stephen Bartels Gallery, London (with our 3 Leicas huddled together)

Paul Clements - Rolleiflex

Feeding the duck and goose on a rainy afternoon in the Lake District, Cumbria, England on a visit to my mum this year.

Noah goose - Rolleiflex

Reflection in a pond.

Noah pond - Rolleiflex

Ice cream on a Sunday.

Noah ice cream hut - Rolleiflex

Rolleicord. Kayla, my Siberian Husky and test model, never to be trusted off the line in a forest, or anywhere for that matter. Highly successful hunter.

Kayla - Rolleicord

Ingemar Backman, Swedish snowboard legend shot at the Air & Style contest here in Innsbruck. Google him for insanely high backside air shots!

Ingemar ©andyjackson

A friend of mine asked me to shoot a wedding shower for her friend. Grandma showed up and watched the proceedings from this chair. One of my favorite shots ever despite the light leak.

Grandma - Roleliflex

This is Glenn, I used to work with him on the snowboard magazine. He works in Thredbo Ski Resort in the Aussie winter then travels around Europe to visit his adoring friends. The man is a legend.

Glenn - Rolleiflex

Rolleicord. Forest scene. A much cheaper alternative but not the build or lens quality of the 2.8. Still not bad at all!

Forest - Rolleicord

. Gabrille du Ploy shot in her gallery, Zebra One, that specializes in music photography amongst other things. That’s part of the complete set of original images shot for Beatles Abbey Road sleeve on the wall. And you thought a Leica was expensive…

Gabrielle Du Ploy - Rolleiflex

Sort of street photography shot in Charlie’s mens hairdresser in Camden, London.

Charlies Camden - Rolleiflex

Alex, a yoga teacher friend of mine, we did some shots in the forest near me. A reflector was used to light the face.

Alex yoga - Rolleiflex

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved

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