Photoessay: Paradise Lost, part III

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Today’s images are I think a little darker and sadder than the previous two (part I, part II) – but not quite over the edge into full-blown depression. I see it as being analogous to one of those portraits where we want to enhance the lines on the subject’s face. I can see the final presentation of this series going in waves, with grouping and pacing a mirror image to the way we have different moods depending on the day – though I feel the impact of this particular set is lost in color, and mixing the two is somewhat odd unless the presentation medium is conducive (e.g. separate gallery areas, or sections in a book – but not as a continuous scroll or all at once. The ‘break’ is required to prevent a jarring visual discontinuity. What do you think? MT

This series was shot mostly with a Hasselblad 501CM, CFV-50C digital back, 4/50 C T* and 4/150 CF T* lenses. Postprocessing follows the Monochrome Masterclass workflow.

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FD Shooting with the legends: The Hasselblad 501CM

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There are two cameras that are synonymous with 6×6 medium format film: the Rolleiflex TLR, and the Hasselblad V series. (I may well do a piece on the former in the future). Today’s subject, however, is one of the final incarnations of the V line – the 501CM. I suppose you could think of it as the distilled essence of the V series – unlike the 503s, it lacks TTL flash metering; unlike the 200-series, it still relies on a lens-based leaf shutter and remains completely mechanical. But at the same time, the camera has interchangeable focusing screens and the gliding mirror geometry of the 503CW to prevent vignetting with longer lenses. (I have a brief intro to the Hasselblad V series here.) It’s my pick of the bunch because a) I have no intention of using it with TTL flash, and b) I’d rather not have to rely on electronics in any way – there are modern digitals for that…

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