Tag Archives: Hasselblad
Since I discovered that my Tiffen dark orange filter fits perfectly on my Hasselblad’s Zeiss lens I’ve been experimenting with getting a nice, dark sky effect (without using post-processing). First, you need a deep blue sky to get a dark and dramatic tone. Second, the filter factor seems a bit too extreme for this #21 filter. Most guides have recommended giving 1.5 to 2.5 extra stops of exposure when using this filter. My experiments have shown that one stop is enough to compensate for the filter placed on the end of your lens. For instance, two extra stops on my 8×10 setup seemed overexposed. Over the weekend, I shot a roll of Fuji Neopan Acros 100 film in the Hasselblad. I bracketed my shots and have found that I’m happiest with just one stop of extra exposure when using the filter with Fuji Acros. I developed these in Rodinal 1+50 at 20C for 13.5 minutes.
The midtown sky behind the Chrysler building was a bold and clear blue for this shot and this is the exact effect I was looking for out of a dark orange filter.
The sky was less of a dark blue here and there were wispy clouds framing the building. Still an improved look over a bland, white sky I would normally get with no filter and B&W film.
The sky surrounding the Untied Nations building on the East River was an intense blue and I waited a bit for the thin clouds to line up with the building. Another good effect.
This shot is just me goofing around while deciding if I wanted to walk over to the UN building or not. The orange filter provides a nice contrast boost on the buildings here, but very little darkending of a light blue sky.
The bottom line is that I need less extra exposure than the manufacturer suggests and if you want a dramatic sky and properly exposed buildings, it helps to have a nice deep blue sky day. Now I’m just waiting for another fluffy cloud day in the city…
I reunited with an old friend last night. For months, my Hasselblad has sat on a shelf, watching me play with the 8×10. In fact, I have only shot the Hasselblad twice since getting the 8×10 in working order. I’ve been more than a bit obsessed about getting everything right with the larger format, and as a result I had forgotten how much medium format film is the perfect sweet spot for photography. Medium format cameras are super portable and easy to carry around the city, yet MF negatives yield so much more information than 35mm negatives.
Last night when Kate and I were walking to the sub I remarked that my small bag and tiny carbon tripod (compared to my wooden Berlebach tripod for the 8×10) felt like I was carrying a point and shoot in my pocket after dragging around LF gear. But the Hasselblad is no point and shoot. It’s a great camera that takes no time to set up and the results are fantastic.
I had been wanting to take a good 8×10 night shot of the Standard Hotel in the Meatpacking District, but hadn’t really checked out which spots I wanted to shoot from. So rather than drag the 8×10 outfit over there and not find a nice angle, I decided to test it out with the smaller camera. Not too bad for test shots…
And moving just a bit further back I was able to get some nice headlight trails:
Oddly, I had to stop and think about developing times for 120 film after being so used to developing sheet film in trays. I developed the Acros 100 in HC 110 Solution B for at 20C for five minutes. I don’t quite have the hang of scanning 120 film with the V700 however. This was the first roll of 120 film I scanned with the new scanner and it was a bit of a pain to align correctly.
Last week I posted some long exposures from a roll of Fuji Neopan Acros 100 and the Hasselblad shot during a night shooting in Gowanus, Brooklyn. Here are a few more from the same roll.
The shots below were developed in Kodak Xtol Developer (stock solution) at 20C for 8 minutes.
Night Long Exposure of Gowanus Canal with Downtown Brooklyn in Background, Fuji Neopan Acros 100
This was a difficult exposure, because the canal itself was so dark and the sky was lit up brightly in the background. I split the difference and chose to properly expose the dark canal.
Long Exposure of Random Office Chair and Street Art by Gowanus Canal, Brooklyn, Fuji Neopan Acros 100 Film
This was an almost 3 minute exposure, because there was very little available light and I really wanted to bring out the detail in the shot.
You can see the bushes moving about in the wind right behind the boat sign on this shot. If I recall it was a short exposure (30 seconds) because of the strong street light just above it.
On Wednesday night, I met up with good pal Barry Yanowitz in Gowanus for some night time shooting. He had his Rollei loaded with Fujichrome T64 color slide film (of which he gave me a roll and I can’t wait to try out) and I had my Hasselblad loaded with Fuji Neopan Acros 100 black and white film. It was nice to catch up with him and also to discover that the canal waters had receded to their normal levels after Hurricane Sandy’s rude visit. We each shot one roll of film during the evening.
The shots below were developed in Kodak Xtol Developer (stock solution) at 20C for 8 minutes. I’ll post a few more next week.
I took these shots almost two months ago and promptly forgot about them. It’s a shame, because just recently I read that the Brooklyn Navy Yard’s Admiral’s Row was finally turned over to the city and seven of the nine buildings will be bulldozed (if they are not already) to make way for a supermarket. They are in severe disrepair and have been for many years, but it’s a shame to see such beautiful old buildings neglected to the point where they are decaying husks overgrown with weeds and vines.
No one has lived in the houses since the 1970s and the Navy Yard was closed in 1966. Thankfully, the Navy Yard complex itself is home to many industries, artisans, and artists these days. The Navy Yard Museum is a fascinating (and free) museum; definitely worth a weekend visit.
All of these photos were taken with my Hasselblad on Fuji Reala 100 film.
Last night I took my Hasselblad and Toyo 45AII to the Brooklyn Bridge. It was cold and rainy, but my new camera bag made it much easier to carry all that gear.
Medium ALICE Pack
I remember using an ALICE (All-Purpose Lightweight Individual Carrying Equipment) pack back in my military days and thought it just might make a good bag to carry my gear in. It’s actually perfect (and super cheap!). I put two lenses in two of the three outside pockets. The other pocket held my focusing loupe, light meter, and flash light. Inside my Toyo 45AII, five film holders, and my Hasselblad 501cm fit perfectly. Now I just need to find a better way to carry my tripod.
The bridge still had a good amount of pedestrian and bike traffic, but the rain held off most of the usual crowd. Using the 4×5 camera on the bridge was interesting. I had a lot of onlookers and people asking questions. I let a German family look through the ground glass and they got a kick out of that.
I developed the film last night in Kodak Xtol Developer 1+1 solution. I haven’t noticed much of a difference between undiluted Xtol solution and a 1+1 solution, so I’ve switched to using the 1+1 to make my developer soltion last twice as long.
Long Exposure of Brooklyn Bridge Tower, Fuji Neopan Acros 100
Long Exposure of Brooklyn Bridge Tower in Mist, Fuji Neopan Acros 100
When I went down to Zuccotti Park last week, I also shot a roll of Kodak Portra 400 with the Hasselblad. Unfortunately, it looks like I have a light leak on one of my film backs. You’ll notice a slight haze on the left of some of these shots. It’s a film back I picked up cheap at Adorama and rarely use, but I need to reseal it before I use it again.
As much as Kodak Tri-X 400 is my go to 400 speed B&W film, Fuji Neopan Acros 100 is my go to 100 speed B&W film. I can’t imagine anything else for my medium format B&W work.
The Fuji works so well during the daytime that I never have to worry about the light. If it’s sunny and early in the morning or afternoon, then the Neopan is perfection. Recently, I was in the Meatpacking District (on the way to The Highline) with the Hassselblad 501cm and I just happened to have a roll of Neopan in my bag.
This roll was developed in Kodak Xtol developer at 21C for 7.5 minutes.
Love Stories Suck, Meatpacking District, Fuji Neopan Acros 100
I walked past this little piece of graffiti and kept thinking about it. So I asked Kate (ever the good sport) to pose beside it for a picture. Yes it’s kind of cheesy, but it was one of those photos that would have bugged me if I didn’t take it.
I’ve had a tripod for ages and, until this weekend, have only used it twice. Despite the bulk and weight of my Hasselblad, I shoot handheld comfortably to speeds of 1/60 of a second and use a 400 speed film to get dusk shots.
For months though, I’ve been admiring the night work of a few Flickr contacts (Daniel Regner, Andrew Mangum, Bryan Vana, and Michael Wriston). With every new night photo of theirs I hit the Favorite button and marvel over that little extra something that a long exposure photo at night possesses. Their night photos are full of mystery and possibility. It’s as if time has stopped and anything (or absolutely nothing) can happen in that frame. And frankly, they also make it look like fun. Often someone else will be there capturing a shot of the photographer taking the shot; this behind the scenes photo will sometimes show up in the comment section.
Inspired by these intrepid nighthawks, Saturday night I loaded up my Hasselblad with Fuji Neopan Acros 100* and grabbed my tripod. I had a cable release (unused until then) in my camera bag already, so with camera, film, light meter, tripod, cable release, and watch I was ready to tackle long exposures.
I walked down to Brooklyn Bridge Park, set up my gear, and realized it’s really not that much work to do long exposures. I set the lens on the Hasselblad to Bulb setting, took a meter reading (between 2 and 3 EV), calculated a 30 second exposure at the tick between F11 and f16 and then hit the plunger of the cable release. I hadn’t brought a flashlight so my watch was useless. Luckily, I had my cell phone, which has a timer function on its clock app.
For my first experience with long exposures, I’m pretty happy with the results. These were developed in Kodak Xtol at 22C for 6.5 minutes.
*I chose Fuji Neopan Acros 100 to use because it has no reciprocity failure until 120 seconds.
You don’t normally think of black and white film as the perfect way to capture the last summer weekend at the beach, but I happened to have a roll in my bag and wanted to play around with silhouettes. Luckily the roll was 100 speed Fuji Neopan Acros instead of my usual Kodak Tri-X 400. With the maximum shutter speed of 1/500 of a second on the Hasselblad, I was just barely able to take these shots in extremely bright conditions. With a 400 speed film, I would have had to pull the Tri-X 400 two stops (develop at 100 ISO instead of the box speed of 400 ISO) or use a filter. These shots probably would have benefited from a filter anyway, but I didn’t have one with me.
I was happy with every shot from this twelve shot roll; here are a handful.
I developed this roll in Kodak Xtol developer at 22C for 6 minutes.
And of course I had to capture my favorite subject.