Well, I'll not say it's boring, but it is quite a change for me.
I've rarely photographed (some might say slightly obsessively) the same thing twice - it's just not really in my remit.
Certainly I'll visit the same places and re-photograph them, but the same thing?
Certainly I'll visit the same places and re-photograph them, but the same thing?
Well no.
But this thing was different.
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| Hasselblad SWC/M |
It's quite unusual to find a large piece of deep water marine equipment just sitting on the ground, waiting for something to happen, but such was the case with this.
You maybe saw it recently in the post about Frankenstein.
I've no idea quite what it is, but one thing is for certain - it's from some Brutalist Planet, where things are made tough and look the same too.
To my eye there's something that I find fascinating about it and I can't quite place it.
Is it because there's an air of Chris Foss about it?
If you're not aware of Foss, he's a SF book illustrator, whose amazing flights of the imagination made a deep impression upon the (slightly) young Sheephouse.
Look him up - there's plenty of examples around - and then tell me if you think our subject wouldn't be out of place in one of his paintings!
So yeah, maybe that's why it caught my eye - it's just a shame it has been fenced off.
It wouldn't look out of place in the foyer of the V&A as an example of Design and Functionality, but instead here it is, sitting by the gates of a scrapyard waiting for the end.
I'll be sad to see it go.
When I was thinking about (and photographing) the Frankenstein piece, this, to me, became an allegory for The Modern Prometheus.
Something created by man, not 'beautiful' in the conventional sense, but BEAUTIFUL in its own right, yet now cast away.
I'll be sad to see it go.
When I was thinking about (and photographing) the Frankenstein piece, this, to me, became an allegory for The Modern Prometheus.
Something created by man, not 'beautiful' in the conventional sense, but BEAUTIFUL in its own right, yet now cast away.
Stupid I know, but I like to think that maybe Mary's spirit was governing things.
Anyway, enough of my musings, without further ado, here are:
Some Photographs Of The Same Thing
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| Rolleiflex T |
First up is the one I posted before.
This was taken with my Rolleiflex T - a camera that seems to (strangely) get a fair amount of stick, and yet, what's not to like: it has a single-coated Zeiss Tessar, optimised for f11 and the typical Rollei practicality, where everything has been thought through incrediblty well.
That it sat in their line-up inbetween the Planar/Xenotar configured top of the range boys and the lowly Rolleicord, seems to be largely ignored these days.
A lot of vendors sell Rolleicord Vbs for a heavier premium (because they're 'newer') and yet, optically many would argue the Tessar has an edge over a Xenar.
Don'tcha just love old optical terms!
As with most (well, in my experience) TLRs (apart from the likes of the 3.5/2.8 E's and F's) the lens works best in the happy smiley people range - i.e. from about 3 feet to about 15 feet.
It's not really a landscape camera though it DOES produce excellent results used as such.
Actually, for all that, the majority of landscapes I've taken have used a TLR and I've never really complained about the results.
It's not really a landscape camera though it DOES produce excellent results used as such.
Actually, for all that, the majority of landscapes I've taken have used a TLR and I've never really complained about the results.
However, when I invested in my Hasselblad system I truly realised what I had been missing!
Still, this being said, I've no complaints with the T.
It has been a good friend for years.
What the shot clearly shows is that it is entirely easy to operate a Rollei handheld in low-light situations - this was just about sunrise on a Winter's dawn and 1/30th at f5.6
What the shot clearly shows is that it is entirely easy to operate a Rollei handheld in low-light situations - this was just about sunrise on a Winter's dawn and 1/30th at f5.6
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| Hasselblad 500 C/M, 60mm Distagon |
I was so enamoured with it, that I went back the following week, this time with the 500C/M and the 60mm Distagon affixed.
I love the 60mm Distagon - it's an incredibly sharp lens with virtually no distortion.
Here's what Zeiss say in their literature:
Distagon T* 60 mm f/3.5 CB
The Carl Zeiss Distagon T* 60 mm f/3.5 CB is versatile wide angle lensto be used with all current Hasselblad cameras. The stunning optical performance recommends this lens for a wealth of demanding tasks in commercial, advertising, and industrial photography, to name just a few.
Detailed interiors with people,groups in particular are a hallmark of this lens. In candid wedding photography the Distagon T* 60 mm f/3.5CB is an indispensable tool that can be used wide open whenever ambient lighting conditions ask for it.
I found it rather telling that in a visit to the Helmut Newton Foundation in Berlin, alongside his trusty Rollei, there was also a 500C/M with a 60mm C Distagon attached.
Nuff said.
It doesn't seem to be a too popular lens in the Hasselblad V line-up - no idea why.
The film was HP5 at EI 200 and exposure was definitely happening - it was bleedin' BALTIC . . . nah, 1/30th at f4.
Still thinking about it, I went back AGAIN the following week.
What with everything being fenced off and all that, I felt I needed something longer.
And what did I have?
Yep, the 150mm Sonnar.
I've detailed it many times before - it's a bargain of a lens for a Hasselblad - sharp as a tack, creamy out of focus and relatively useable at f4.5 maximum aperture.
The beauty with all the Zeiss Hasselblad lenses is that you really can shoot them wide open and get very useable and distinctive results, so even though I was shooting unfiltered Ilford SFX at EI 100 and was operating pre-sunrise (the exposure was 1/125th at f4!) I was still confident in my ability to photograph things relatively wide open
. . . and that was just my trousers . . . nah, just joking.
I had a break of a week or so, but I found it was still on my mind; so, not wishing to leave things out, I headed back yet again.
This time I was toting the SWC/M with that luscious 38mm Biogon.
It is a lens that can really do wonderful things to light, and I'm not sure what it is - it just seems to be a great translator.
Suffice to say I love it - it may not be the ideal lens for everyone, but I find if you get yourself into the Super Wide Zone mentally, it is all you could wish and a whole lot more.
The film I took with it, was FP4+ as it is all I had left - not exactly ideal for the light levels I was encountering..
I tried to approach each frame like I was making a sequence of photographs - I'll let you see the rest next time, but in the meantime, the pictures of the Marine Monster will have to suffice.
And that was the last of them - should I go back with every other camera and lens I own or would that be over-egging the pudding?
The latter methinks.
So, job done.
Hope you like the photographs . . . and if you don't, well I can dig it (as they used to say).
They're all 800dpi scans off of prints as usual - Ilford MGRC for speed and convenience.
However I will say that as scans of prints I think they're fairly ghastly.
Certainly in the SWC/M shots the slight vignetting from the lens (the weather was so terrible and I was getting 1/15th of a second at f5.6!!) has been heavily over-emphasised.
The prints whilst not brilliant - more works in progress - look considerably better than the scans - but then again isn't that always the case.
Anyway, 'nuff excuses - over and oot the noo!
TTFN and don't forget to post those letters.
The film was HP5 at EI 200 and exposure was definitely happening - it was bleedin' BALTIC . . . nah, 1/30th at f4.
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| Hasselblad 500 C/M, 150mm Sonnar |
Still thinking about it, I went back AGAIN the following week.
What with everything being fenced off and all that, I felt I needed something longer.
And what did I have?
Yep, the 150mm Sonnar.
I've detailed it many times before - it's a bargain of a lens for a Hasselblad - sharp as a tack, creamy out of focus and relatively useable at f4.5 maximum aperture.
The beauty with all the Zeiss Hasselblad lenses is that you really can shoot them wide open and get very useable and distinctive results, so even though I was shooting unfiltered Ilford SFX at EI 100 and was operating pre-sunrise (the exposure was 1/125th at f4!) I was still confident in my ability to photograph things relatively wide open
. . . and that was just my trousers . . . nah, just joking.
 |
| Hasselblad SWC/M |
I had a break of a week or so, but I found it was still on my mind; so, not wishing to leave things out, I headed back yet again.
This time I was toting the SWC/M with that luscious 38mm Biogon.
It is a lens that can really do wonderful things to light, and I'm not sure what it is - it just seems to be a great translator.
Suffice to say I love it - it may not be the ideal lens for everyone, but I find if you get yourself into the Super Wide Zone mentally, it is all you could wish and a whole lot more.
The film I took with it, was FP4+ as it is all I had left - not exactly ideal for the light levels I was encountering..
I tried to approach each frame like I was making a sequence of photographs - I'll let you see the rest next time, but in the meantime, the pictures of the Marine Monster will have to suffice.
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| Hasselblad SWC/M |
And that was the last of them - should I go back with every other camera and lens I own or would that be over-egging the pudding?
The latter methinks.
So, job done.
Hope you like the photographs . . . and if you don't, well I can dig it (as they used to say).
They're all 800dpi scans off of prints as usual - Ilford MGRC for speed and convenience.
However I will say that as scans of prints I think they're fairly ghastly.
Certainly in the SWC/M shots the slight vignetting from the lens (the weather was so terrible and I was getting 1/15th of a second at f5.6!!) has been heavily over-emphasised.
The prints whilst not brilliant - more works in progress - look considerably better than the scans - but then again isn't that always the case.
Anyway, 'nuff excuses - over and oot the noo!
TTFN and don't forget to post those letters.
