It’s been a long, long time since I last shot slide film. 2006, to be exact; I stopped for two reasons: one, I was shooting (and developing) through about a third of my pay every month in film; secondly, scanning was beginning to take up all of my spare waking hours. And even then, I was never that happy with the results. But then, every so often – and I was a much, much worse photographer back then (not that I’m that good now, mind you) – you’d get one slide back that was so immersive, so detailed, so crisp that it was like peering into a little world of its own. And then you’d feel the itch to do it all over again. Sometimes this would happen a few times per roll, and then you were well and truly done for.
No words today, just a series of images for you to enjoy. Various architectural details from my last trip to Amsterdam, shot with the Hasselblad 501C, 80/2.8 CF T* on Fuji Acros. Some of you may recognize these images from the November print sale; others may be enjoying a large print on their walls MT
These images were made during the October 2013 Making Outstanding Images Workshop in Amsterdam; I will be holding three more of these in Melbourne, Sydney and London later this year. Click here for more info, and to sign up.
The second part of the monochrome photoessay from Prague was shot on film, with a Hasselblad 501C and my favourite B&W film – Fuji Acros 100. To be honest, given the tight quarters, I’d have preferred to have had something either a little wider or a little longer – preferably both – to give me some additional ability to add context, or compress (especially with buildings clinging to hills in the background). Nevertheless, we make do with what fits inside our camera bags – after making provisions for film, I didn’t have any space left for lenses!
Sometimes, the film photography gods deign to make life easy for you: you happen to be in the right place at the right time, with the right light, interesting subjects, lots of opportunities, carrying the right camera and lens combination, just enough film to get you through a day with a roll left over as insurance, and even airport security guards who’ll hand check your film so they don’t have to make multiple passes through x-ray machines. The last European trip and workshop tour was one of those occasions for me. I went with my usual small digitals (OM-D, Ricoh GR) for teaching, and the Hasselblad 501C with one magazine, a few boxes of Acros 100, and the 80/2.8*. And I came back with a huge number of keepers. It’s interesting to note that despite its size, shutter noise and conspicuity, the Hasselblad never attracted negative attention – usually curiosity or nostalgia. In that sense, it’s actually an excellent street photography tool in the modern age. No more words are required, I think – other than for me to say ‘enjoy!’ MT
*Some of the rolls were pushed to ISO 200 due to lack of light; with Acros this also has the benefit of deepening your shadow tones. There doesn’t seem to be any grain penalty that I can discern, though – anything up to ISO 800 is fine, but the shadows just keep getting denser and denser. Digitized with a D800E, 60/2.8 macro and my custom rig.
One of my favourite buildings in the country is the Tuanku Mizan Zainal Abidin Mosque – also known as the Iron Mosque due to its stainless-steel clad structure. It’s a very modern building located in the administrative capital, Putrajaya, that still manages to integrate traditional culture and religious cues into its design. These, together with its scale, location on the Putrajaya lakefront and sight lines, make it quite a spectacular building.
Contrary to popular belief, I do shoot pedestrian subjects. Quite often, actually; it’s one of those ways you can condition yourself to see differently and pay more attention to light, form and composition. At the end of a long assignment some time ago, I took one of the Hasselblads, the 120/4 CF Makro-Planar and a few rolls of Acros out with me for a quick excursion to the Kuala Lumpur Orchid Park; I’d evidently gone at the wrong time of year since nothing much seemed to be in bloom. Still, I came back with a few interesting images from that outing – and all in all, was pretty satisfied with the output especially given that I hadn’t shot any film for going on two months at that point in time*.
*Work really does get in the way sometimes.
Following on from the previous post on my recent acquisition of a medium format digital system, I thought it’d be appropriate to share some of the results from the first serious shoot I used it for a little while back. I found that the system was much more sensitive to camera shake than expected; mirror lockup was an absolute necessity, though the Gitzo GT1542 carbon traveller and Arca-Swiss P0 head both performed very well and offered more than sufficient rigidity. (In hindsight, I should probably have bought the cup feet for the tripod to prevent it sinking into the mud though.) Though you can’t see it at this size, the frames with mirror lockup are distinctly crisper at the pixel level than those without.
Earlier in the year, many of you saw me post the image of the Hasselblad 501CM hanging off a tripod at 90 degrees near the surf line. Several asked why on earth would I need to turn a square format camera sideways; apart from the obvious answer of ‘to shoot vertically!’ there’s definitely more than meets the eye. Firstly, Hasselblad did actually produce an A16 645 format magazine for the V-series bodies; they’re relatively rare nowadays and must obviously be used with the correct focusing screen to ensure accurate composition. In addition to being better suited to the typical print rectangles, you also get 33% more images per roll of 120 (16 instead of 12, as the name suggests). I was using something a little more exotic; though like the A16, it isn’t rotatable and so requires you to turn the camera through 90 to shoot verticals. It’s not very convenient, to say the least.
The second portion of this photoessay concludes (part one is here) with a plenty of images and couple of final thoughts: firstly, another huge thank you to the client for giving me this opportunity – he’s a reader of this site too – very rarely do professional and personal creative goals mesh with such rewarding results. Secondly, I think there are a couple of things I need to look for in future assignments: it’s a bit abstract, but basically one needs to have a subject with potential and a client who’ll trust you enough to let you run with it – without either, the ensuing images will always be a compromise. MT
If ever I had a dream assignment, this has got to have been one of them. (And the job isn’t quite finished yet; there are a few other outstanding items that need to be taken care of.) Imagine being presented with a scene of near-infinite photographic opportunity by a client who says ‘I hired you because I like your work, and I don’t want to restrict your artistic vision – so go ahead and shoot as you see fit.’ Then throw in the ability to shoot with the system(s) of your choice – including film – and a couple of good lunches to boot. And a chauffeured 7-series to and from the location. I swear a) I’m not joking, and b) this doesn’t happen often, but hey: if it did, we certainly wouldn’t be able to appreciate it.