Oct 262014
 

Quick Comparison EOS M, Nikon Coolpix A and Nikon 1 V3

By Noel Beharis

Dear Steve

I am a Nikon fan. I have a respectable Nikon collection starting from the Nikon F Photomic through to a Nikon D3. I also love Leicas and Hasseblads. I have collected a few of each camera brands over the years.

Recently I returned from Europe. I carried with me my Hasselblad H3d-31 II, a Panasonic GH4 for videos and the Canon EOS M which seems to be the most unloved Compact System Camera out there. Travelling to several cities over a short period of time made me realised that carrying around a Hasselblad H3d-31 was painful Carrying the Panasonic GH4 was necessary as my daughter sang at Notre Dame and the EOS M was the camera I reached for first because it was the fastest lightest camera of the group.

It’s image quality was decent with it’s APS-C sensor. The touch screen was great. Just touch the part of the screen you want the camera to focus on and presto, the meters on that spot and takes the image. Very quick. I used it almost exclusively with the Canon 11-18 lens (18-28 equivalent). When you want the whole scene, it took it all in with a minimum of fuss.

As for image quality, I will let the images speak for themselves.

Canon EOS M Images

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It’s no medium format camera but for a travel compact with interchangeable lenses, it can take the odd award-winning shot if you try hard enough. I found using menus to navigate between P, A, S & M annoying but that is the price you pay for compact size. It could handle any situation without a sweat. Great thing about it aside from it’s image quality, there are many Gypsies that occupy the streets of major cities in Europe, no one cared about the EOS M or thought twice that I had a digital camera. If I lost it, it wasn’t that expensive. These Gypsies have expensive tastes and they will follow you if they see you with a Leica. The practical side to owning a Leica is that you need to think as Noah did. If you don’t travel in pairs, you just don’t travel. You need that other person to have your back while you are shooting.

They are frightened though of the H3D because it would cause significant damage if I used it in the same way one uses a Baseball bat or a Cricket bat (I do live in Australia. We play Circket. Losing a Leica because you came out second best to the Gypsy lunging for your camera while you are taking a photo of St Charles Bridge in Prague or Montmarte in Paris is definitely not Cricket. Thankfully, it didn’t happen to me. In case you were trying to guess, I went to Paris, Stuttgart, Berlin. Prague, Chania, Thessalonika and Helsinki. From 2400 photos, there are a few images to go through.

Given the number of cities I visited, I came home with a back ache carrying cameras. I nearly had heart failure when there was no overhead luggage space on the aircraft and my camera bag, Hasselblad and all when in the cargo hold. I thought it was lost forever. It wasn’t. I was shocked. I was ropeable and none of my family wanted to be with me until my camera bag with all the cameras returned to me intact. At least I had travel insurance but still, Hasselblads are not the easiest things to replace. Neither are aching backs!

Where do my Nikons come into this? I needed something that could do the work of bigger cameras and fit in my pocket. I also needed to cut down on what I carried with me. I needed to be light and nimble. The camera had to be fast and pack a punch quickly. Much that I like the Leica M, manually focussing a moving target is not one of those things often done quickly. You need to anticipate the moment. Sometimes, you can be tone deaf to the moment. Further, your average relative that wants a happy snap gets impatient waiting for you to set the camera up. Traffic and bystanders often get in your way. That fleeting moment you want, the kiss on the footpath or the growling cat at the zoo just won’t wait for you. The EOS M has its limitations. Although it’s small, it has this large lens protruding from it which makes it difficult to put into a jacket pocket or place in a small compartment in your back pack It’s autofocus system is OK but it’s not what I would call lightening quick. I would still take it with me wherever I went but I needed something really small and fits into my pocket that was quicker.

Enter the Nikon Coolpix A and Nikon 1 V3.

The Nikon Cooplix A should really be named the Nikons 28TiD. It is its digital successor. It’s a fixed 18.5mm f2.8 (28mm equivalent) APS C pocket camera that is small enough to fit in your trouser pocket. I packs a wallop when it comes to image quality. After playing with it for a week there was nothing this camera could do wrong in my eyes. I wish I discovered this camera before I went to Europe. That said, it’s autofocus system is quicker than the EOS M but as I discovered, it is no match for the Nikon 1. I missed the odd photo opportunity. Nevertheless, I could take it with me on my lunch break anywhere and discretely shoot any subject I wished without attracting the attention the Hasselblad did. By the way, I love that H3D.

Although the 28mm equivalent is not a 18mm equivalent lens the EOS M carried, I find 28mm is my preferred focal length for walking around. I know 35mm is a classic focal length is well “classic”. I found the 28mm focal length more flexible for most walk around subjects including capturing that decisive moment. I can more easily take one or two steps closer when compared to taking 2 steps back into the Seine river.

I attach some of the iconic subjects of my home town Melbourne Australia.

Nikon Coolpix A Images

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I haven’t pitted the EOS M against the Coolpix A because I think they are different cameras. The EOS M is a more flexible package but it is bigger than my Coolpix A. Since acquiring the Coolpix A, I would consider leaving the EOS M at home. It will capture the images the EOS M could miss (but not necessary would miss). I think it is capable of some spectacularly sharp images with a film like rendering of colour and image quality.

I am happy to dive into the details of the camera but suffice to say it’s a DSLR APS-C equivalent camera that has a fixed 28mm equivalent lens that fits in your pocket that is not much bigger than an iPhone 4 and smaller than an iPhone 6plus. It will do everything the DSLR does at the same speed. It just primarily menu driven.

Why then, after purchasing the Coolpix A did I want the Nikon 1 V3? I just wanted one. Aside from that, I would call this the Ferrari of the pocket camera world. I have a D3. It’s about as quick but not quicker than the Nikon 1. The Nikon 1 is about getting the photo. It will shoot so fast that if it existed on that fateful day the naked little girl in vietnam that ran from the Napalm attack was captured by that famous photographer photojournalist, it would have captured 100 + frames before the little girl ran out of the frame. You would have seen every moment from her clothes catching fire, the explosion forming behind her and every half step she took towards the photographer as she tried to escape the cataclysm. Maybe that’s why that one image is special. Because the rest is left to the imagination.

Seriously, this camera may only have a one inch sensor but if you are not cropping the image, I can’t say I would notice the difference. Yes it has noise in the shadows. Yes doesn’t allow a crop of the image to be as clean as a larger sensor camera. Yes it may be overshadowed by other compact systems but none of the other are as discrete, fast, and have an image that is quite like the Nikon 1. Viva la Difference. It may not produce the best possible image you could get but it will get the photo every other camera would miss. It never misses. If I were a photojournalist, this is the one I would take with me into the field. I can shoot silently and still get up to 60 frames without autofocus and 20 frames with it. It’s not a point and shoot. It’s the gatling gun of the compact camera world with near APS-C image quality. I would carry two bodies, one with the 32 f1.2 permanently mounted to it. The other with the 10 f2.8. Basically a 28mm and 85mm equivalent set up.

No Doubt the Coolpix A has more punch in it’s colour and it’s noise is well controlled. It has a better lens and sensor combination . It’s no where near the fun to use that the Nikon 1 is. It is also a fixed lens camera. Hence, the designers can sort out the lens and sensor combination better than an interchangeable lens camera the Nikon 1 is. I would pick the Coolpix A over the Nikon 1 if I had time to take the photo. The Nikon 1 is the one I would pull off the shelf because I know I will have time to take the image and the 19 other ones it takes before the Coolpix A has taken the first one.

After purchasing the Nikon 1, I had to see what it was like compared to the Coolpix A. I attach photos of the same subjects with the Nikon 1 of Melbourne on a warm spring day (see below). I used the standard 10-30 zoom. The Coolpix A was set to vivid colour. the Nikon 1 was set to standard. Although I used vivid colour in the second last Nikon 1 photo of the building (the Rialto tower). I do not think it adds much in the same way it pushed the colour in the Coolpix A. I think the lens and sensor combination in the Coolpix A overshadows the zoom on the Nikon 1. Message to Nikon, build a better standard Nikon 1 10mm lens that is faster than 2.8.

thank you again Steve for being patient with me. I love your website.

I hope my email interests you enough to write about these cameras for me.

Best wishes

Nikon V3 Images

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Oct 242014
 

Bicycling to Spain, an account with Hasselblad Xpan shots

By Dirk Dom

This is the Hasselblad Xpan, sorry, it’s a bit dirty

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Today I looked again at the Xpan shots I took on my bicycle ride from Antwerp to Spain from two years ago, not that I ever got there.

The reason I looked was that I shot Kodak Ektar on that trip and Matthias, my Australian friend, has discovered Ektar and he told me this film was so special. Two years ago I wasn’t very experienced with shooting digital and I had forgotten how Ektar looked. Well, it looks different. I like it.

Looking back at the eighty shots I took then, the film indeed captured very nicely, I think you couldn’t emulate these with digital.

The Xpan is an extraordinary camera, it’s the most fun camera I have, as much fun as my digital Olympus PEN. It shoots 24 x 65 mm panorama’s on 35mm film. I have the 45mm lens, which is about equivalent to 24mm on full frame.

Well, here goes:

I left home, fifth of July, at about 8.30. my friend Hugo had called me half an hour before to wish me all the best. The secret for such a trip is not to think about the 2,500 kms ahead, but be relaxed and just start. Ten minutes into the trip a woman on a bicycle pulled up to me: “What an nice Koga!” And I told her I was on my way to Spain. It was the first of countless contacts which made the trip so worthwhile.

Namur, the river Meuse, start of the Ardennes.

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I did between eighty and a hundred kilometers a day, three days riding and one day of rest. The days of rest were boring, I’ll not do that again on my next trip.

The very big advantage is that you can stop anywhere, any time and you have NO parking problems. The Xpan was in a 8mm thick neoprene sleeve which I had cut out of an old diving suit, in a box on the handlebar. I had forty Ektar films with me, 20 shots to a film. During the trip I shot 19 films, so that was more than plenty.

Poppies. Didn’t look through the viewfinder for this. Meuse valley.

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This was my first ever field of poppies, just entered into France. I had this shot scanned at 8,000PPI on a Hasselblad Imacon, that was 150 megapixel. It just resolved the grain, but the shot was’t sharp enough to go for enlargement beyond 1.5 meters. That’s the limit you run into when you shoot handheld.

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My Koga. I had 29 kilograms of luggage with me. That was ridiculous. Next time I’ll take twelve kilo’s max. I had a pair of wirecutter pliers with me which weighed over a kilo to cut the cable to the brakes should I replace it! Imagine! Stupid. The weight made me walk uphill a lot but I didn’t mind.

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Of course I took some artisty shots, too:

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I had driven through France by car countless times, on the highway. I had always longed to stop at a sunflower field and shoot it extensively. That was not possible. Now, I could take my time.

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Here, I just left my bike and walked into the field for half an hour until the composition was to my liking:

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A ray of sun on these geraniums, I postprocessed this image.

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Biking, the most beautiful thing is perhaps the ever changing skies.

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I didn’t make it to Spain; my 29 kilograms of luggage got the better of me in the Massif Central. Also, I was insufficiently trained to do the Cols in Spain. So I stopped near Avignon. It was marvelous.

Next summer I’m bicycling from Antwerp to Santiago de Compostella, 3,000 kms in six weeks. I’m taking the Xpan with me again.

Bye,

Dirk.

Jul 302014
 

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My Photo and Camera Journey

By Steven Crichton

The first act: Style and Ergonomics.

I suppose the first time I realised I had a look to my work was when a lecturer watched a group project and exclaimed “That’s a Crichton shot if ever I saw it”. I suppose it was at this point it dawned on me that I’d finally achieved the personal nirvana that so many of us dare not mention to ourselves in our work. I had a style unique to me.

I’ve been involved in photography since about 1996, when a few friends were applying to go to Art School. I looked at their portfolios and said to myself, “I can do that” and that was the point at which I paid £5 for a beaten up Fuji ST501, started to invest my pocket-money and hard-earned cash from a dishwashing job in film. I was abysmal!

I tried every technique. Read every book. I could never stick to one thing and dipped my toe into every known stylistic pattern I could achieve with a 50mm lens and a darkroom. Just the other day I found a bundle of solarised prints, no doubt borne out of a section in a book borrowed from the library on Man Ray, along with a passage in a John Hedgecoe Darkroom Techniques.

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Anyway as time went on I jumped about gear too. As I aged, my credit rating aged, my earning capacity increased and by the end of my initial film use period I was deep into a canon EOS system. With a healthy splattering of M42 adapted lenses. A Russian fisheye and a motor drive meaning I’d achieved 7th heaven for a then aspiring Skateboard photographer. However, around this time I started wearing glasses and this is where the second part of the tale comes in.

I’m left eyed. I wear glasses. Find me any camera designed for eye level use for a left eyed glasses wearing photographer! My right eye had been damaged by spray painting accident as a 5-year-old in helping dad fix the car. An incident where a man underneath a dismantled engine, holding a crankshaft doesn’t sometime have the time to realise he forgot to put the safety cap back on the spray can. I cried yellow and didn’t get the chocolate I was promised. Other than that I became predominantly left eyed and forever the last person the R&D department of every camera manufacturer would think about.

Back to the rest now.. It was about the time of starting university that I gave up taking photos as voraciously as I did before. I stopped carrying a camera and concentrated on playing the Guitar. Also as many camera toting musicians will know if gear is addictive in photography, with electric instruments my word the possibilities are endless to allow your hard-earned money pour from your pockets. Anyway, University ended, I bought a car .. cue next money / energy waste. Then I met a girl! (I had met them before, just not a significant one)

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She was an art student and did a film course. Bang I was back. Starting out with the most beaten up canon F1n you had seen. I alas didn’t get to meet Crocodile Dundee whilst using it ( I later stupidly refused an offer to buy the actual camera from the film ), but I found my love again. This combined with a purchase of a proper film scanner a DSLR and a Seagull TLR camera I dipped my toe back in. Excited as well by the advent of Flickr. A wonderful place where we can all have our backs patted and have a serious amount of paid work time wasted if your then employer doesn’t understand what you really do for a living.

Hasselblads, Contaxes, Leica R’s, Nikons (to which I stayed loyal on the periphery) , Linhof’s. Even a B17 Bomb-door Aero-Ektar mounted into a Graflex to shoot handheld. I jumped about a lot. My nose firmly planted behind the back of each of them. Glasses pressed to the side of my head. Still jumping between a lot of things as formats and my taste changed.

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Then suddenly. Something worked.

It’s that moment I hope all of you will have one day that. The camera comes up and goes down. You don’t look at the screen and you know what you saw you captured as you intended.

It came in the form of a Bessa R3a and a 40mm Nokton. Plus add into the mix Kodak UC 400 and Ilford HP5. I’d bought the hand winder, so no more poking my face winding on. I’d bought the grip to push the winder into my hand that looks like a dildo. Plus I’d actually read and paid attention to the wonderful font of knowledge that Roger Hicks and Frances Schulz bestowed upon us in their book of Exposure. ( for anyone looking at it .. take older sensors as slide film and newer ones a little more like print film)

It’s about this time things became consistent. I found my eye.. I found the lenses that fitted my thoughts. Then got an M2 then an M4-P to use in tandem. Looking back now at work from then it’s almost the same as it is now in the composure, the colour and ways I’ve torn a set of shapes my brain was faced with into a picture to draw someone in or hopefully let them see a little of what I saw in someone.

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The Second Act:

Life sometimes deal’s strange a strange hand to us and I was given the opportunity to study an Imaging masters at Duncan of Jordanstone art school in Scotland. I jumped at the chance, after being so angrily denied previously by my parents.By then video in DSLR’s had hit, I had a D90, I’d wasted countless hours reading about T stops, Focus Pulls, made dubious home-made rigs and all the like. I’d even written my own video editing software as by trade I’m a programmer. I sold almost all my film stuff keeping the M4-P and 2 lenses and hit Nikon hard for a range of lenses, tripods and bags.

The Crunch. No one tells you how much you will hate something when you are forced to do it!

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Creative work for me had been an escape. It now became a battle when I had to justify it with research and abstraction in every way. I wished people would get it ..

“If I think it’s interesting and cool and so do you, why do I need to back reference this to some made up back story or delve into the battle that art has with science”.

As you all can gather in an art school this is like presenting a lecturer with a freshly scraped up piece of roadkill. So I stopped. Completely. I graduated and stopped. 3 years passed and thankfully, the bitter taste of pressure gone, I wanted to enjoy the process of photography again.

Moving to a city such as London, you downsize, rapidly and totally. I went from a 4 bedroom house to a single room, so the loss of equipment was brutal. No more Leica’s, 1 Nikon d300s and an old F3 I had if I wanted to shoot some film. After a year of the city I left, but in the strange hand of fate kept a full-time night job with the Tate gallery, as well as my new full-time position back in Scotland at a Medical School in Dundee.

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I had money!

I mean I had the kind of money you either put a deposit on a house with or you consciously waste on every childhood dream toy you ever wanted. I drove a fast car, toted a Nikon D3s. Had the best zooms, the best primes (according to reviewers) and still had the same style! At last consistency in my work. Alas my nose and my eye hated placing a D3s shaped brick to it, but I went on.

The Final Act:

Then I sold it all. 4 backpacks of lenses bodies, supports, diopters you name it. If there was something in a drawer and it had Nikon or was “compatible” I put it in the camera bags I had and jumped on the train. 8 hours later standing in the North of Scotland I had an M9. Along with it, 4 lenses and the viewfinders needed. I genuinely felt like I had just come back home.

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A bit of time with adjusting the focus to allow for my eye being at an angle to the viewfinder and a soft release to boot I haven’t looked back. Throughout all of this time since getting it my shots look like my shots, I know what to expect and I know how it will all sit together still.

Then all of a sudden I’d expanded this kit a bit. G.A.S struck! Things like the voigt 12mm the summicron v4 etc .. all lenses that are according to the internet “sub par” on an M9. Little do they know .. I don’t shoot test charts and I actually print stuff I like out. I also work to the limits of what they can do. Then came along came Sony!

The crowning glory that Sony have managed, that is ignored by all. Is that the A7 range cameras can use every lens known to god and can nearly accommodate a part Italian Scottish nose when combined with a left eye. People bang on that lens X is awful, and continue to do so. “You need a Leica M240 or if only they had …” I say to you, when you use it does your style show through? Does it fit you? As nothing else matters. (unless it’s a biogon lens then yes they are awful… sorry Zeiss and sorry for the double standards people of the internet these are bad on the A7 ranges even adobe’s DNG light field correction filters can rescue them).

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So what do I grab now? I grab what works. I don’t assume a lens will deal a magic blow and I don’t assume the camera has an automated mode that makes me a grand master selling work for more money than I earn in a year. I grab the M9 or the A7 dependent on weight/laziness/feeling/weather and go out and shoot.
Probably by this time you are all very bored with this and looking for a conclusion. Well it’s in the Title; Style and Ergonomics.

If you can get a style stick with it, keep on working with it. If you can find something that fits you as a human, even if it’s not resolving 100000 lph or has a dash of vignetting and aberration, you will use it more than the 20kg Zeiss Otus that your wrist screams at. For me it’s a badly worn M9 and an A7 with a ragtag bag of lenses and I’ll be keeping it that way for years to come.

http://www.zuikomedia.com/

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Jul 222014
 

The new Hasselblad CFV-50c CMOS Digital Back. 

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The new CFV-50c from Hasselblad. A 50 MP CMOS digital back with ISO up to 6400 for the iconic V system. Hasselblad is promising amazing IQ and colors in any light, which is unheard of when it comes to Medium Format as they have always been very limited in this area. While not cheap, the new CFV-50c is not nearly as expensive as I expected it to be, coming in at $14,900 US. Now yes, that is insanely expensive but I expected Hasselblad to come in with this at $25,000. With their Stellar and Lunar Sony bodies coming in at such insane prices, the thought of a full on Hasselblad NEW CMOS 50MP digital back for such an Iconic camera line had me thinking $25-$35k. So $15k, that is about the cost of a Leica M and a 1-2 lenses. ;) Add in a used V series camera setup with lens and you will have a classic, iconic and gorgeous modern day masterpiece. Old with the new. Modern meets classic. I love it. So who makes this sensor? Well, the one company who keeps pushing the limits..SONY. There are even rumors that Sony will be releasing a Medium Format fixed lens MIRRORLESS camera soon. ;) 

You know, there was a time when Hasselblad stood for many things including quality, precision, build, design, soul, magic and originality. Their classic V series of medium format film cameras have always been the gold standard for MF shooting. I have lusted over a 501CM camera for many years, and have only shot with one for one day of my life. It was a very nice experience. The negatives that came back from that camera were gorgeous as there really is nothing quite like a medium format negative. Rich, full of texture, full of soul and life. Using the camera was an exercise in slow, steady and using my brain. Looking through the finder was a very cool experience that felt natural to me.

Sadly, over the years the Hasselblad system started to fade as digital came into play and soon, many of these classic systems started to appear on e-bay for peanuts. Many dropped the system as they no longer used film. Some tried out the digital back that was released a while back, the CFV 50 (minus the C) with good results, but it was limited to ISO 800 and CCD.

This week, Hasselblad has launched the new CMOS digital back for the V system…

Lately it seems Hasselblad has been focusing their energy and time on silliness such as the Lunar and Stellar cameras, which are rebranded high prices Sony bodies that are now out of date. Many have lost faith in the once mighty Hasselblad, writing  them off as a company who would soon be history, or become a spoof of its once former self. Now it seems they are giving something back to all of those who own and use the classic V system. Well, not GIVING, but making it available…at a price.

YEP, this week Hasselblad has announced the CFV-50, which is a new digital medium format back that can be used on all classic V system cameras. Yes, that 501 you have in your closet? You can now add a state of the art digital back to it and use it once again, just as you did in the glory days of film. :) OMG, I so want one. In fact, I would love to have the system just as shown below. This is a new CMOS sensor guys, so much more usable than the CCD sensors in previous digital backs.

The stock image of the new CFV-50 on a 501CM. What a combo!! 

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Unfortunately for me, I do not have a spare $20k or so lying around to create something like that but maybe..one day. For me, something like what you see above is sort of a “Holy Grail” setup. Modern Medium Format Digital connected to the most gorgeous and classic medium format FILM camera ever made. It is a thing of beauty and while not a camera for daily use, it would be one for SPECIAL use. I can not wait to see examples that come from this beauty. Hasselblad will NOT be recreating the camera body of course , so you must have a classic V model to use the back. I think this may just drive up prices on the used market for them. You can see a list of compatible models HERE.

From Hasselblad CEO Ian Rawcliffeon the new CFV-50 Back:

“We have experienced a substantial resurgence of interest in our iconic V cameras – users love the traditional ergonomics and the unique appearance. Our research has shown that although we no longer manufacture V models, there is a big demand from our dedicated V System users who want to be able to continue to use their classic cameras but also desire access to our latest technology.”

Research:

See more at the Hasselblad site HERE.  Compatibility page is HERE and Planet V page is HERE. 

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Tech Specs:

Sensor type: CMOS
Sensor size: 50 Mpixels (8272 x 6200 pixels)
Sensor dimensions: 43.8 x 32.9 mm
Image size: RAW 3FR capture 65 MB on average. Tiff 8 bit 154 MB
Capture rate: 1.5 capture/sec. 35 captures/ minute (based on a SanDisk Extreme UDMA7 120 MB/s)
Single shot
16 bit colour
ISO 100, 200, 400, 800, 1600, 3200 & 6400
Longest shutter speed: 12 minutes
Image storage: CF card type II (write speed >20 MB/sec) or tethered to Mac or PC
Color management: Hasselblad Natural Colour Solution – One generic profile
Storage capacity: On average 60 images on a 4GB CF card

Battery type: Sony™ InfoLithium L NP-F series
Colour display: 3.0 inch TFT type, 24 bit colour
Histogram feedback: Yes
IR filter: Mounted on sensor
Feedback: IAA – Instant Approval Architecture: provides acoustic and visual feedback
File format: Lossless compressed Hasselblad 3F RAW
Software: Phocus for Mac and PC (included)
3FR files are also supported directly in Apple and Adobe environments
Macintosh: OSX version 10.5 or later. PC: Windows XP, Vista, Windows 7 (32 and 64 bit), Windows 8
Camera support: Hasselblad V System cameras manufactured since 1957. 2000 series cameras and 201F with C lenses only. 202FA / 203FE and 205FCC camera models need a minor camera modification to use F/FE lenses. All other cameras with Hasselblad V interface.

Host connection type: FireWire 800 (IEEE1394b)
Battery capacity: Sony™ InfoLithium L, up to 8 hours of shooting capacity
Operating temperature: 0 – 45 °C / 32 – 113 °F
Dimensions: 90 x 92 x 57 mm [W x H x D]
Weight: 530 g (Excluding battery and CF card)
Package contents: Hasselblad CFV digital back with protective cover, adapter cables, rechargeable battery with charger, EL camera battery adapter, FireWire cable and 8 GB CF card. Focusing Screen (Split image / Micro Prism) with dual format markings.

May 022014
 

Skagit Valley Tulip Festival, Fuji Velvia 50 / Hasselblad 2000 FC/M

By James Stevenson

Hi Brandon and Steve,

I’d like to share some photos taken a few weeks ago at the Skagit Valley Tulip Festival, near Mount Vernon in the US Pacific Northwest.

I’ve been looking for the right occasion to shoot Fuji Velvia 50 ISO slide film with my Hasselblad camera for a while, and this seemed the perfect day for it.
I’ve only dabbled with slide film before, nothing really prepared me for just how vibrant and rich the colours would be. Velvia is celebrated for these characteristics; bold colour, punchy high contrast and near-invisible grain. It’s not a film you would use for portraiture, but it’s unique in its rendering of colour in landscape and nature photography. The scans required little to no post processing, and no colour adjustment.

Whilst I do also shoot with digital cameras, there’s something tangible about the process of shooting film and using this beautiful old equipment that I find compelling. There’s always a new film to discover, each with its own distinct, qualities.

I’m grateful that film photography is still alive and well in 2014, and that there’s a good colour lab near my home in Vancouver. I hope this is just the beginning of a lifetime of shooting and discovering this wonderful medium.

All taken with a Hasselblad 2000 FC/M, Zeiss 110mm f/2 and 80mm f/2.8 lenses. Scanned with VueScan on an Epson V700 with third-party mounts.

Best regards, Keep up the great work on the site!

James Stevenson
www.jamespstevenson.tumblr.com
https://www.flickr.com/photos/jamespstevenson/

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Feb 172014
 

Myanmar in Transition

By Nikko Karki © 2013

www.nikkokarki.com

http://blog.nikkokarki.com

Adorned with thousands of temples, nestled in the Mandalay region of northern Myanmar, Bagan’s arid landscape has been preserved as if in a time capsule for the past 1,000 years. After remaining closed to the outside world, Myanmar is now open for business, bolstering Bagan as its flagship tourist destination. The children growing up in Bagan will witness unprecedented changes in their local economy and social landscape in the upcoming years.

How will tourism development in Bagan mirror Myanmar as a whole?

Now that the floodgates are open to flocking tourist populations, how will the region and its people react to an infusion of social and economic influences?

Hasselblad 500c  – Carl Zeiss 120mm f/4 – Kodak Portra film

Nikko Karki © 2013 Myanmar Transition 01

Photographer’s note:

I went to Myanmar with an old film Hasselblad, a digital Canon DSLR and an open mind. I had heard warnings about the political past and chose to ignore the history as it’s clear the country is on the brink of a new era. During my trip, I felt a strong connection with the people who welcomed me with open arms. Traveling with only a small pack containing all my gear, I was free to roam around the countryside on foot, taking time to talk with people, observe and feel the strength and beauty of this incredible country. I’m so grateful to the people of Myanmar for this experience and hope to return again one day soon.

Nikko Karki © 2013 Myanmar Transition 02

Nikko Karki © 2013 Myanmar Transition 03

Nikko Karki © 2013 Myanmar Transition 04

Nikko Karki © 2013 Myanmar Transition 05

Nikko Karki © 2013 Myanmar Transition 06

Nikko Karki © 2013 Myanmar Transition 07

Nikko Karki © 2013 Myanmar Transition 08

Nikko Karki © 2013 Myanmar Transition 09

Nikko Karki © 2013 Myanmar Transition 10

Nikko Karki © 2013 Myanmar Transition 11

Nikko Karki © 2013 Myanmar Transition 12

Nikko Karki © 2013 Myanmar Transition 13

Nikko Karki © 2013 Myanmar Transition 14

Nikko Karki © 2013 Myanmar Transition 15

Nikko Karki © 2013 Myanmar Transition 16

Jun 102013
 

USER REPORT: The Noctilux of Hasselblad, the Zeiss 110 f/2 Planar by Jerry Bei

Hi Steve:

While I am waiting for the arrival of my Leica M typ 240 that I would like to share my recent experiences with a legendary Hasselblad lens, the Carl Zeiss 110mm F2.0 Planar lens. I am a big fan of super shallow Depth-of-field and bokehlicious images, I believe with the correct use of aperture that one can enhance the subject of the photo. The Hasselblad medium format film camera has been my companion for quite some time now, it is the “perfect” MF camera for me and part of this is due to the superb qualities of those Carl Zeiss lenses. After owning and shooting with a variety of these lenses, there is always a lens in back of my mind.

The Hasselblad 110mm F2.0 Planar lens is indeed a “dream” lens, just like the noctilux of Leica which outputs incredible bokeh and unique characteristics. I have been searching lens on the internet for quite a while since there are not too many of them available at once. There are basically two versions of the lens: the F and FE models of the lens. The F lens can only be used on focal plane Hasselblad bodies with built-in camera shutter and the FE version has some electronic parts specially designed for FE series Hasselblad bodies such as the 203FE, which demands a higher price tag for its more modern electronics. My lovely 2000 FC/M camera that I did my street photography work with has broken down due to focal plane failure so I upgraded to a more recent model, the 201F with a cloth focal plane shutter rather than fragile titanium ones in the 2000FC/M. It is the perfect match with the Hasselblad 110mm F2 lens and this combination works like a charm.

The first thing you notice when you are holding the lens is quite heavy, coming at 750 grams, which is significantly heavier than my Hasselblad 100mm F3.5 C lens. The F version of this lens were produced between 1991-1998 and the construction consists of 7 elements/5 groups with the aperture ranges from an insane F2 to F16 in 1/2 stop increments. Keep in mind that F2 in the Medium Format world is approximately similar to F1 in the 35mm format, which produces incredibly shallow paper-thin DOF. In practical use, the lens at the start was very challenging to use, especially for living subjects on the streets that I like to photograph but once you get used to it then everything becomes easier. Just as a side note, I would recommend for Hasselblad users to change their focusing screen to either Matte or Matte D with increased brightness/clarity when working with this lens, which helps significantly in practical use. The filter size for this particular lens is in bayonet mount (Bay 70) and I would recommend the 77mm UV size adapter since this is a much affordable option.

The performance of the Hasselblad 110mm F2.0 Planar lens is truly remarkable, it deserves to wear the crown of super-fast lenses in the Medium Format world. The rendering is typical Zeiss with tendency to the warm side with vivid colours and the out-of-focus areas are pleasing to the eye with smooth bokeh. The images coming out of this lens are very sharp, probably not as sharp as the Hasselblad 100mm F3.5 lens since that one is the sharpest but the 110mm lens possesses very unique and special characteristics. If you like super-fast lenses and looking for a unique lens in the medium format world then the Hasselblad 110mm lens cannot be missed.

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My website

My Flickr

Feb 012013
 

HAS

Using the Hasselblad 200 FC/M for Street Photography by Jerry Bei

“UFO” Kodak Ektar 100

UFO

Hi Steve:

I am a street photographer based in Sydney and I have a strong passion for photography in general. I used the Leica M9 and MP as my main tools for street photography in the past couple of years but recently decided to acquire something different. The temptation of medium format have always been there but I could not justify the cost of digital medium format cameras, at least for now.

Hasselblad has always been my dream medium format camera and luckily I got the chance to buy a Hasselblad 2000FC/M camera body with a A12 magazine at a very reasonable price that got me started into medium format. The world of medium format film photography was new to me so I had to learn everything from the start. I got a grasp of how the Hasselblad V system works very quickly since I had quite a bit of experience shooting film before.

“J&M” Fuji Pro400H

J&M

First thing I noticed when holding the camera is its superb build quality, I have held many Leica cameras before but this thing is different, it is built like a tank; heavy and solid. The Hasselblad 2000FC/M with a lens attached is significantly heavier than my Leica M9 with a 50 Summilux ASPH combo but still lighter than a full-frame DSLR setup.

“Black Riders” Ilford HP5+

Black Riders

The viewfinder on the Hasselblad V system is like nothing else I have experienced, big and beautiful. It is almost like a live-view 3 inch LCD screen in the modern days but even better since it is all optical rather than electronic. Viewing through the viewfinder is a pleasure and truly a treat to eyes. I have upgraded the original stock viewscreen to a even brighter Accute Matte D screen that helps to achieve faster and more accurate focusing for street photography.

The Hasselblad V system is equipped with a waist-level viewfinder and it is perfect for street photography. You can simply hold the camera at your waist aimed at your subject and most people don’t even know that you are taking a picture. It’s discreteness is perfect for the streets. The shutter click sound is no where as quite as a leaf shutter or Leica quietness but it is still a pleasure to hear the mirror flipping when the shutter fires.

“Circus Lady” Kodak Portra 400

Circus Lady

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“Gossip Girls” Kodak Portra 400

Gossip Girls

One of the big advantage of the Hasselblad system over other medium format film systems is its inter-changeable backs, which allows swap between different films on the go. There are several different types of film magazines available that can shoot different number of exposures. The most common is the A12 magazine, which allows photographers to shoot 12 frames of 6×6 exposures of 120mm film. You simply insert the dark slide to remove the film back and apply another back loaded with the film you desire. Therefore, you don’t have to wait until all exposures to be finished and able to shoot B&W or Colour during the same photo-shoot.

The lenses are made by Carl Zeiss thus equates to superior image quality. There are several different types of lenses for the V system, some with lens built-in Synchro Compur shutter like in C and CF lenses and some without that uses the in-camera shutter like the F lenses. My Hasselblad 2000FC/M can uses all three types of lenses since it has a built-in shutter and a top shutter speed of 1/2000 second. The optics are all made by Carl Zeiss and has the typical Zeiss quality with its renowned 3D rendition. Some people buy the system because of their famous lenses. There are also difference in lens coating and are noted by the T* sign. The lenses I used are the Carl Zeiss 150mm F4.0 CF T* lens which is equivalent to 94mm in 35mm format, which is the perfect lens for head and shoulder portraits. I am also using the “magical” lens in the Hasselblad world , the Carl Zeiss 100mm F3.5 C T* lens that is equivalent to 63mm and it is a mysterious lens that is rarely used but contains some magical qualities. One day I hope to get the “Noctilux” of Hasselblad, which is the Carl Zeiss 110mm F2 lens that will produce stunning bokeh!

I loved shooting with 35mm film on my MP, although the film qualities are presented i.e. the great exposure latitude, dynamic range and tonality but the sharpness is not up to the standard that I desired. Medium format film seems to be the “Perfect” solution for this, it has incredible sharpness, even at 100% crop looks tack-sharp amazing to me. Although with the significant gain of resolution over 35mm film but it still retains all the film qualities that makes it so attractive. There is also a great gain in shallower Depth-of-Field and the bokeh from the lenses are incredible. The frame is 6×6 which makes it a unique square shape that stands out from all other images. I have yet to print those images in large sizes but have heard that you can even blown them up to 2 by 2 meters prints, which is perfect for commercial usage.

It has been a real joy to use the hasselblad and I am still amazed at its quality. While my journey in the medium format world continues that I would highly recommend for anyone wanting try out medium format film photography : do not hesitate!

Please feel free to visit my Flickr or 500px to see more of my work:

Flickr: HYPERLINK “http://www.flickr.com/photos/jerrybay/” http://www.flickr.com/photos/jerrybay/

500px: HYPERLINK “http://500px.com/jerrybay” http://500px.com/jerrybay

 

“Father & Son” Ilford Delta 400

Father & Son

 

“Hairy Chest” Ilford HP5+

Hairy Chest 

“1958 Chevrolet Corvette” Ilford HP5+ 

1958 Chevrolet Corvette

“French Nun” Fuji Reala 100

French Nun 

“In the Wind” Fuji 400H

In the Wind

Jan 142013
 

Quick Comparison  – Leica Monochrom, Sigma DP2 Merrill and Hasselblad 39CF

by Michael Ma

Hi Steve:

Huge fan of your site. I am lucky to own two pieces of equipment that you have reviewed, so I thought I’d contribute. My Leica Monochrome just arrive today and I decided to give it a spin in terms of image quality. Both the Leica and the Merrill DP2 are reviewed in detailed on your website and they are renowned for their image quality. Since I’m lucky enough to have a loaner Hasselblad with the CF39 digital back on hand, I’ve decided to do a quick and dirty IQ comparison using the Hassey as bench mark.

Conditions:

Dim room light

1.7 meters to subject

All images had gone through only contrast adjustment, no sharpening

On tripod

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Hasselblad 39CF with 80mm CFE lens F2.8, F5.6 1/2, 1/4S

The Hasselblad yielded a pleasing overall image in terms of tone and rendering. With 39 mega pixels 49x36mm sensor, we don’t expect anything less. The 100% crop shows that even when wide open, the CFE lens is sharp and shows nice contrast. Note that the physical size of the Hasselblad image is almost twice as large than the Leica and Sigma.

Hassey picture: 

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Hassey crop (click image for full size cdrop)

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Next up is the Leica Monochrome with Summilux 1.4 ASPH latest version F2.8, F5.6

WOW, the Leica is sharp! I don’t have a M9 to test the comparison between the mono sensor and the regular CCD sensor, but the 100% crop looks sharper than the Hasselblad shot and you can see the details in the canvas texture. The image was over blown in exposure but the details are still nicely preserved. Very impressive!

Leica picture

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Leica Crop – (Click image for full size crop)

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Finally comes the Sigma DP2 Merrill.

I couldn’t believe my eyes when I saw the pictures. It is clearly the most rich and detailed of all three. The photo was shot with the lens wide open at F2.8. Astounding details and color. Now look at that 100% crop. The texture of each brush stroke is so vivid. Beats the Hasselblad hands down.

DP2 Merrill

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DP2 Crop

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Conclusion? Well this is a very clumsy test. But besides the poor testing conditions I think there’s a story to be told here. All three are great camera systems. The Hasselblad is older and the lens probably could have used with more stopping down. But this is also a 9000 dollar set up (used price). The Monochrome setup is 12K all in (when bought new). The Leica lens is incredibly sharp and the Monochrome retains so much details in the shadows. But the ultimate winner here is the Sigma DP2. At a tiny fraction of the price of either the Hassey or the Leica, it delivers the best results in color, details, and contrast.

Michael Ma

Jan 122013
 

12 Months, 12 Lenses and Cameras

by Bjarke Ahlstrand – His website is HERE

Hail and happy new year!

2012 was a very exciting (camera) year for me — I often considered the many new promising cameras, especially when browsing through Steve’s blog, but eventually found out that the smaller sensors and formats are not my thing, even though OM-D, Fuji X-pro etc. look amazing, especially ISO wise. Heck, even the new 5D Mark III which I purchased for “professional” purposes bored me… So in stead my focus, desire for — and collection of old “exotic” glass just grew and grew as did my fascination with the medium format, and lately large format (4×5″) film. I’ve always shot digital, so building my own darkroom and starting to develop my own film was quite a challenge, but fortunately I have quite a few skilled old school friends who helped me along the way.

And now, as 2013 is upon us, I’m trying to “scale down” my 2012 collection of images, which also happens to be quite a challenge, considering the many good times spend with a variety of excellent cameras (some bought, most borrowed from my best friend who works at a camera store). But even though I loved fooling around with the technical Linhofs and Sinar Norma 4×5″, The Zeiss Ikons, Voigtländer Bessa, The Rolleiflex and Yashica TLRs, it always seems like my (camera) heart belongs to my Leicas (M6 + M9-P) and Hasselblads (digital H3D-39 and analogue 500C, SWC and Xpan). And the lenses, those wonderful lenses…

Anyways, here are 12 of my 2012 shots. The first 6 months are in black and white and the last 6 are in color; some shot with wonderful analogue oldies and some with digital razor-sharp aspherical ones, dating from 1939 till today…

JANUARY 2012 · LEICA M9-P & 35 MM SUMMILUX F/1.4 (PRE-ASPH)

My colleague, Claus, from whose father I purchased an excellent 1960’s 50 mm Summicron.

2012_01_leica and 35 summilux_claus the co-worker

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FEBRUARY 2012 · HASSELBLAD SWC & ZEISS BIOGON 38 MM F/4.5 · P45+ DIGITAL BACK

- My youngest clone, Viggo, running uphill while I press the shutter on the wonderful SWC from 1974. The 38 mm Zeiss Biogon (=24 mm in full frame terms) is the sharpest, non-distorting and most excellent wide-angle lens I’ve ever owned and shot. There’s no framing or focus assist when I shoot with the SWC, but I now it so well, so I just point and shoot (and prey :-).

2012_02_hasselblad swc and zeiss 38 biogon_run to the hills

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MARCH 2012 · LEICA M9-P & 50 MM JUPITER-3 F/1.5

- My lens soulmate, Klehmann, knowing my craving for fast lenses, strongly suggested that I tried one of the old russian Jupiters, so I purchased this one eBay. It’s broken, so it only works on 1 meters distance and then it’s 4 cm off, so it took some time to adjust to. But it’s wonderful with its drop-like bokeh, even when something wicked is climbing the trees in Copenhagen (=my oldest clone, Hjalte).

2012_03_leica and 50 jupiter_in the trees

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APRIL 2012 · LEICA M9-P & 90 MM ELMAR F/4

- I often wonder which images old lenses have captured through out their life time. This 1939 portrait lens is no exception. It survived the second World War, the following cold war and eventually ended up in my hands for a mere 100$. It’s rather battered and its resolution is not the highest of my Leica glass, but it does well when it sees a burlesque Australian freak performer. I wonder how many of those it has seen the last the last 73 years…

2012_04_leica and 90 elmar 1939_freakgirl

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MAY 2012 · LEICA M9–P & 50 MM SUMMILUX ASPH F/1.4

- This lens never fails me. Since I departed with my 75 Summicron (I traded it for the 75 Summilux which I like better), it’s definitely the sharpest in my Leica arsenal, even wide open. I really like the 35 mm on the Leicas, but I often find myself automatically bringing this one and my 21 mm Summilux as both are excellent performers and a nice compact travelling kit. The guy on the image recently had a pacemaker inserted which I was quite fascinated with.

2012_05_leica and 50 summilux_pacemaker man

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JUNE 2012 · LEICA M9–P & 100 MM CANON SCREW MOUNT F/2

- My favourite music festival is the annual Copenhell (Copenhagen Hell) as it’s crammed with hard-hitting metal and a cool audience. This year I spotted a Crow-like character and this was actually the first shot I took with my newly purchased 1960’s Canon screw mount lens. 100 mm is an odd size on the Leica, frame wise, but the old Canon lens actually handles very well and I love its f/2 abilities and only shoot it wide open.

2012_06_leica and canon 100 mm_the crow at copenhell

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JULY 2012 · HASSELBLAD H3D-39 & 100 MM HC F/2.2 · Pro-Foto Flash

- My wonderful offspring just before harvest, captured two minutes before the sky cracked, through 39 megapixels of digital Hasselblad magic and the Fuji built HC 35 mm f/3.5 which translates roughly to a 22 mm lens in full frame terms.

2012_07_hasselblad h3d-39 and hc 35 mm_harvester of sons

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AUGUST 2012 · HASSELBLAD 500C & 60 MM ZEISS DISTAGON F/3.5 · KODAK EKTACHROME E200

- Astronaut Neil Armstrong died late August, and the boys and I decided to suit up and pay homage to the space traveling Hasselblad shooter. I found an old, long expired dias film, which I inherited from a retired pro, and we sailed to the Trekroner Island just outside of Copenhagen. Apparantly the 50+ year old film magazine has a marvelous light leak which I absolutely love it. And the colors… those expired dias film produce something truly unique. And with my Imacon Flextight scanner I end up with 50 megapixels resolution, which is not bad at all for a very old camera.

2012_08_hasselblad 500 60 mm zeiss distagon_astronaut armstrong jr

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SEPTEMBER 2012 · LEICA M9-P & 50 MM NOCTILUX ASPH F/0.95

- A self-portrait of myself and my new better half, shot on my roof top during stormy rainbow filled September weather (just before our very first kiss as a matter of fact). That Noctilux is unbeatable, although mine is 2 cm off focus wide. The girl is pretty nice too, I think :-)

2012_09_leica and 50 noctliux_new girl on the block

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OCTOBER 2012 · HASSELBLAD XPAN & 45 MM FUJI F/4 · KODAK EKTACHROME E100

- Ever tried a double full frame rangefinder? Enter the XPan, an interchangeable lens 35mm rangefinder camera system with true panoramic capability. Made by Fuji in Japan, its like a Japanese Leica in Hasselblad styling — only its true panoramic double-width full frame (24 x 65 mm). Despite its small size, the 45 mm is actually a medium format lens, making it a 24 mm in 35 mm terms. And again — those old expired dias film — if you have some in the freezer, please send them to me in Copenhagen!!

2012_10_Hasselblad Xpan and 45 rodenstock_ruth at fence

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NOVEMBER 2012 · HASSELBLAD H3D-39 & HC 100 MM F/2.2

- A razor-sharp Yoda-like-orc shot at f/2.2 medium format which equals something like f/1 in 35 terms (check the sharpness in his eyes, it’s unbelievable). The HC 100 mm is my favorite medium format portrait lens. It renders out of focus smoothly and is one of the sharpest lenses, even wide open, I’ve ever tried.

2012_11_hasselblad h3d-39 and hc 100 mm_orc yoda

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DECEMBER 2012 · LEICA M9-P & 21 MM SUMMILUX ASPH F/1.4

- I shoot a lot of concerts. So do a lot of other photographers, but the Canon & Nikon shooters always stare, when I pick up my manual focus only camera and try to nail the performing artist at f/1.4, hehe. This was also the case when Rob Zombie recently played in Denmark together with Marilyn Manson. I recently brought along the 5D Mark II and the new 24-70 zoom, but it just wasn’t me anymore, I guess I love the manual framing and focus hassles too much :-)

2012_12_leica and 21 summilux_rob zombie

 

Nov 052012
 

A Film Legacy by Jason Howe

Hi Steve

I’d really like to share a recent discovery with you, I am posting the full version on my blog HERE but I know this will reach far more people if you show it so thanks so much for helping me achieve this.

I’ve featured my own work on your site several times before but on this occasion I’d like to present the work of a deceased doctor and amateur photographer from New Zealand called Roland G Phillips-Turner who in the 1950’s and 60’s travelled around remote regions of New Zealand’s North Island doing medical research and documenting his travels with his Leica M5 and Hasselblad 500c.

A Film Legacy

I clicked on the email attachment, whilst the image of assorted camera equipment wasn’t the best the list was clear enough….. Leica M5, 35mm Summicron f/2, 90mm Elmarit f/2.8 all caught my eye, words that meant nothing to me only a couple of years ago were now very much etched in to my photographic brain. Other lenses in both M & R mount were listed amongst a myriad of Leica equipment. The email arrived via the father of a friend, word of mouth regarding my fondness for all things Leica had ensured it found its way to me, good fortune indeed. I phoned the contact number and made arrangements to view the items at the earliest opportunity and in doing so acquired not only a wonderful collection of vintage Leica equipment but also the opportunity to show the world the photography of Roland G Phillips-Turner, his film legacy so to speak.

As I carefully packed away the equipment, the daughter and I began to chat about her late father and his photographic exploits, as I listened intently my connection to this newly inherited equipment grew stronger with each spoken word. All vintage equipment comes to you with a history, more often than not it’s imagined on the part of the new owner, to actually know the story behind it makes it very special indeed. With this history comes what I would almost describe as a sense of duty, one I would come take very seriously, lenses have since been serviced and as I write this the M5 is at DAG in the US receiving the attention it deserves. Indeed, upon its return from CLA the 35mm Summicron f/2 (Pre Asph) v.1 made its debut for me HERE.

I’d describe myself as a rational person, I don’t believe in such things as fate and destiny, but I have to admit it has crossed my mind when it comes to this equipment. From opposite sides of the world, separated by two generations and via a huge slice of good fortune this equipment has landed in my possession, the survival and continued use of this Leica equipment is now ensured.

In addition to the equipment I was also entrusted with his slides, these have only been seen by the family prior to this post.

 

Image 1 – Hasselblad 500c – KODAK EKTACHROME

I was so pleased to find this amongst the negatives, after some research I’ve been able to establish that it was taken at Marokopa Falls in the Waikato, New Zealand. It was also fascinating to discover that the photographer used the Hasselblad 500c for the medium format work. I had also purchased a 500c from the USA a month or so before coming across the slides, just another wonderful coincidence.

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Image 2 – Hasselblad 500c – AGFACOLOR DIA

Kuia with a moko – “Kuia” being an elderly woman, grandmother or female elder and the “Moko” is the Maori facial tattoo.

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Image 3 – Leica M5 – KODAK KODACHROME

Image taken with the Leica M5 and most likely with the VISOFLEX that was also included within the set of equipment.

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Image 4 – Hasselblad 500c – KODAK EKTACHROME

Deer Hunters in the Urawera’s, a rural scene that is no doubt still repeated in the present day.

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Image 5 – Hasselblad 500c – AGFACOLOR DIA

In this image Mount Ngauruhoe appears to be active. You may recognise this volcano as Mt Doom from the Lord of the Rings Trilogy.

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Image 6 – Hasselblad 500c – AGFACOLOR DIA

Traveling amongst the indigenous people in these rural areas whilst doing his research must have been the most incredibly rewarding experience. Add to that the opportunity and ability to photograph them and it really must have been a joy on many levels.

Final Thoughts

In years to come will people have similar experiences to the one I have just shared with you? What is the likelihood of my photographs being rediscovered 40 or 50 years from now? You would have to say, highly unlikely! Film has made this discovery possible, it has preserved these images beautifully and ensured their survival to date.

Boxes of slides, stored in an attic, a garage, who knows where, you open it, hold it to the light and instantly you can see the magic, will people recover digital images from old hard drives in this way? I can’t see it myself……..only film can make this possible. I already had an affinity with film, this experience has strengthened that bond still further, I never say shoot film over digital, I always say shoot both. There is true value in both media.

The images posted here are indicative of the collection I have been entrusted with and I will continue to share them over the coming weeks and months, I hope you’ll join me and follow these posts with interest.

Cheers

Jason.

Sep 022010
 

An Alternative View of the Leica S2

By Kurt Kamka

Photography either as a profession or as a hobby is one of those avocations that frequently end up being all about the buying, selling and trying out of gear. It’s the endless pursuit of the perfect lens, feature set or upgrade that is just one purchase away.

Like modern Sisyphus’, for many, the trying out of gear becomes the obsession. And, with a steady stream of new products to feed the addiction, the next new product introduction becomes a highly anticipated, hallowed event.

Raise your hand if the gear acquisition bug has ever bitten you. I know it’s bitten me, so I’ll raise both of my hands.

With so many systems and options available, a trend in recent years that, depending on your point of view, either adds to the addiction (or is the perfect antidote) is the introduction of lens mount adapters. Lens mount adapters allow you to mount alternative lenses (other manufacturer’s lenses) on a variety of camera mounts.

If you like manual focus and can work with stop-down metering, lens mount adapters can open up a whole treasure trove of classic, beautiful and even bizarre lens signatures for you to work with as you explore different looks for your images.

I first started experimenting with lens mount adapters when I was using a Canon 1DS and discovered that a Leica to Canon EOS mount adapter was available for the 1DS. I had to cut the mirror on my camera to prevent the mirror from getting hung up on the lenses I wanted to use, but it allowed me to mount Leica R lenses on a Canon body.

Over the years, I’ve used a wide variety of Leica, Zeiss, Voigtlander, Hasselblad on Canon, Nikon and Leica bodies.

So when I recently heard that a Hasselblad to Leica S2 adapter was available for the LeicaS2, I knew I had to give it a go. Mostly, because it would allow me to mount one of my all-time favorite lenses, the 110mm f2 Carl Zeiss Planar, on the S2.

Leica S2 with the Hasselblad  110 f/2 lens attached via an adapter

I like the image characteristics a larger medium format sensor like the S2 provides with a narrower depth of field … especially with faster lenses. So I found a dealer friend who happened to have an adapter and was willing to lend it to me during an S2 test drive.

As an f2 lens, the Zeiss 110/2 lens is wonderful for available light photography. I was pleasantly pleased to find that as a relatively small lens (manual focus lens design) when compared to the larger AF lenses in the S2 line-up, the Zeiss 110/2 was easy to handhold on the S2.

The Zeiss 110/2 has a distinctive lens signature that provides rich, high-contrast images and smooth bokeh. It is a match well-made for larger medium format digital sensors including the S2’s.

Leica S2 with the Hasselblad  110 f/2 lens attached via an adapter

I was also delighted to discover that the S2’s large viewfinder makes manually focusing the 110/2 no more difficult than manually focusing any other fast lens on a Leica M body.

As a result … I had a blast during my S2 test run. The accompanying shots are from a walk around the Wisconsin State Fair on a Saturday. I wandered around the fair for a little over three hours with just the S2, the Zeiss 110/2 lens and a hand strap.

The upside to this adapter madness? The realization that there a few more lenses (like those in the Hasselblad V line-up) that are “available” for use with the S2 … at a more reasonable price and with a distinctly different look than the growing set of optical marvels designed for the S2.

It might be another reason to choose an S2 or reconsider what you are currently using on your camera system of choice. Especially should you find that you find that you already have a few leftover lenses sitting around collecting dust.

Kurt Kamka

www.kurtkamka.com

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