B/W film in summer for urban documentary project, and come kit critique please

[koraks]

But that is not really an option

The implied necessity of photographic this event puts the whole thing into a new light. 5 pages down the road and crucial I formation pops up - why? Why not just explain what you're trying to do if you want advice? Do you actually want advice, or is this about something else?

 

[Don_ih]

Do you actually want advice, or is this about something else?

I think you already know the answer to that.

But that is not really an option.

That is always an option. Whatever you're doing, you're not putting food on the table with it - or you wouldn't be buying Hasselblad lenses. For genuine documentary purposes, a 35mm point-and-shoot does a great job - as does a phone. If there's any danger, don't take photos.

 

[RezaLoghme]

Well of course, but I want to do it.

Anyway, back to the tech aspects. I have now come to terms, if you can call it like that, with my Ilfords. They can stomach a bit of light, and, when, in doubt, I now give them that extra 0.5 of aperture, to be on the safe side. It makes them sparkle.

Speaking of which, what do you all use to semi-water-protect your cameras?

 

[Donald Qualls]

you're not putting food on the table with it - or you wouldn't be buying Hasselblad lenses.

There are still a couple press photographers using film, and a larger number of fashion photographers who haven't gone digital or have returned to film -- but generally speaking this is correct; photographers who make their living at it almost universally shoot digital these days. No marginal cost for multiple frames of the same subject, direct access to image manipulation (as opposed to processing and scanning required first) -- there are good reasons digital almost killed film twenty-some years ago. Just as photography almost killed paint portraiture in the 1860s and on.

 

[RezaLoghme]

You can easily shoot digital with a Hasselblad V system, but I did not want to bring it up in order to comply with forum rules.

 

[Don_ih]

Just as photography almost killed paint portraiture in the 1860s and on.

It practically did. Prior to the town photographer, there were plenty of itinerant portrait painters. Essentially, that profession dried up and blew away.

 

[chuckroast]

There are still a couple press photographers using film, and a larger number of fashion photographers who haven't gone digital or have returned to film -- but generally speaking this is correct; photographers who make their living at it almost universally shoot digital these days. No marginal cost for multiple frames of the same subject, direct access to image manipulation (as opposed to processing and scanning required first) -- there are good reasons digital almost killed film twenty-some years ago. Just as photography almost killed paint portraiture in the 1860s and on.

Well that, and the immediacy of digital fed into the well known neuroses of Art Directors who always want instant gratification. One wonders if today's ADs would have given Avendon or Karsh the time it took to make an astonishing 8x10 negative ...

 

[RezaLoghme]

But there is also the weakness of a film camera, the shortfalls of the film itself, the limitations of 12 photos per roll, the weight of a motorized Hasselblad. These will influence the style and the experience of the photographer, just as an iphone cam, a modern DSLR or a LF made from mahagony would.

Throughout all this, I have really learned to love my 553ELX. i am really thinking about buying another one, in black.

Interestingly, the 2 CF lenses seem to be "enough". Next weekend I will see how my old faithful 80mm C Planar stacks up against them.

 

[GregY]

Well that, and the immediacy of digital fed into the well known neuroses of Art Directors who always want instant gratification. One wonders if today's ADs would have given Avendon or Karsh the time it took to make an astonishing 8x10 negative ...

Their loss.... (the art directors).

 

[RezaLoghme]

I am taking a 553ELX, a 2nd generation WLF ref. 42315, a PME, and a 60mm Distagon CF in black, 2 chrome A12 backs ref. 30074, plus two E12s, and the rubberized wide strap ref. 59080.

That is now the new kit plan. PME on a 553ELX will be heavy like a small elephant. I have noticed during one of my recent rehearsals that I really need to work on my physical stamina and ensure that I consider aspects such as hydration, proper footwear etc.

Sounds obvious but fitness is a key point when going on such an excursion.

 

[eli griggs]

A big question I have of non-film commercial photographer's works is, are they well enough experienced with photo composition, that, without any digital editing, to be credible photographers, if restricted to the same straight analog standards, included, limited frames, limited rolls, without either or colour or b&w, the use of flash units on locations, ND, UV, Polarizers, Filters colours, including colour contrast and old fashioned "special effects" including making NG a daylight scene appear as a night shot.

Taking away all those digital filters, accessories, post editing, including manipulation of colours, density, and post production removal or addition of items or people.

I personally, have seen both analog and digital works edited into fantastic images, but with computers doing so much of "the lifting", non-analog camera images are more like productions from the movie industry.

IMO.

 

[RezaLoghme]

I fully agree. And I deliberately want to incorporate all the weaknesses you mentioned into my work. I do not like the overly polished output you rightfully described.

But lets not get into digital vs analog. My workflow for this project is clear. I am aware of all the shortcomings of analog gear, therefore I am trying to minimize my risks and have my equipment undergoing some check-ups, although this is being debated in a quite emotional manner in another thread.

I want to make sure that my stuff is "up for it" when going on a mission.

 

[eli griggs]

I then suggest you think more in terms of Hasselblad kit against "filth"

Filth breaks, damaged, impairs camera kit, including films, both original packing, in use and after removal from the camera.

You can apply this dangerous condition to Lenses, Filters, especially gels but top quality glass too.

Hood bellows, close up bellows, hand grips, and other accessories all are capable of bringing filth in contact with your camera, lenses, accessories, bags, brushes, and any other needed kit, so be meticulous in your selection of bring along cleaning kit, brushes, pointed, quality "Q" tips, photo wipes and lens cleaners like Eclipse and PEC Pads, cleaning fluids, plastic capped 120 film holders, 135 mm cans for used rolls, a few pairs of heavy mil nitrile gloves in good plastic bags or jar, watch cleaning putty, ready to write labels for each film/film canister, book.

Buy the latest Kodak Pocket Guide for coping with old-school methods and a good, light tight, black changing bag, also kept clean in a zip bag, used to buffer the bottom of your camera bag, so you never forget it.

Pampers baby wipes in the larger package, a bar of your favorite hand cleaning soap and fingernail brush, all kept in a separate liquid proof zipp bag is also a must as is a set of Vessel screwdrivers, in cross sectioned JCS sizes, 0,00,000,0000, and a couple of flats that'll come in the kit of six drivers.

A very good Ilford cleaning cloth, the orange one IIRC, is a must have, must keep clean item.

That's a lot, but all of it will be needed, and, if you can swing it, a collapsible light hood, Bellows type with the correct adapters and a mix of skylight, both warm and cool, UV, filters that you can leave on each lens as partial protection from falls.

If you have hard lens hoods, try and carry your lenses with both these and the EDC protecting filters.

Your kit that is not already damaged or impaired, should be fine, your job is to keep as much filth as you can, off or away from it as possible.

One last thing, a good quality lint brush or roller for your bags, etc is always a good extra to have to hand.

Cheers,
Eli

 

[RezaLoghme]

Thanks

 

[eli griggs]

No worries, I hope this helps.

Others should speak up, as I for example, forgot to add a Hasselblad level for the left hand mounting rail, and some Hasselblad extension tubes.

I'm sure there are other bits I've overlooked.

 

[RezaLoghme]

What would the level be good for in this case?

 

[Don_ih]

In case you need to stop and build a house to store the equipment in...

 

[eli griggs]

What would the level be good for in this case?

The level allows you to keep to the horizon, ie. perspective, aka vanishing point. so your straight verticals stay truly vertical.

Likewise, the true vertical can help you keep your perspective real, even when your looking at rolling hills or a close up of a mountain of tires.

Many photographers like to photograph on the run, without a true horizon or vertical to stabilize or make inert the image, allowing their out of kilter perspectives to impart a sense of motion and various other attributes, real or imagined.

Personally, while I've done my share of tilted shots, though never to the point that they've become a "signature mark" of my work, but I vastly prefer a true horizon vanishing point to keep my photographs true to the scene or sitter I'm photographing.

Also, a bubble level allows easer management, setup, of a monopod or tripod or even a small rope to stand on that provides counter tension to help stabilize a hand held camera wherever you can't or don't have time to set a tripod or monopod, up.

 

[RezaLoghme]

Not sure if I have time for looking at the level while in a busy protest.

 

[pentaxuser]

Not sure if I have time for looking at the level while in a busy protest.

I agree You may not have time for a lot of things that would be ideal if taking a landscape in Yosemite That why some members have suggested small pocketable cameras that are unobtrusive enough not to be even noticed

Just out of curiosity, how close in terms of time are you now to going to whatever you are going to and from your intelligence gathering what sort of "protest" do you expect to see?

Thanks

pentaxuser

 

[RezaLoghme]

I am going for 2nd location rehearsal in August (yes, really...). I have learned a lot about myself and my creative processes, as in: "I am someone whose output is very accidential and random and out of 100 there is that only one golden nugget, but that carelessness has to be engineered and planned like hell."

Therefore I will be taking the X113 and 553ELX, minimal accessories, lots of enabling / supporting gear (proper shoes/backpack/hydration etc etc), ensure proper planning (be at the right locations, transport, backup people with me, local culture/law).

The end products (photos, notes, etc) might end up in a charity auction for a cause related to that whole place, or just be recylcled into personal gifts (i.e. photo book on special paper) for people that have or have not to do with the whole thing, as "networking currency" on a very personalized level. But that cannot really be planned.

P.S.: A 553ELX + 150mm Sonnar is also something I would not want to be hit with if swung on the wide rubberized Hasselblad strap. Maybe it has to serve me in a moment of self-defence, too.

P.P.S:: I wish to be that one-camera-one-lens man (M2 and 50mm Summi) but in reality I seem to be a belts-and-braces guy.

 

[RezaLoghme]

Addendum - maybe the 601 will join the club.

 

[RezaLoghme]

Back from a protest of the very mild and restrained sort - basically people with loudspeakers and a table and leaflets and 50-60 in a semi-circle, making announcements, chanting, singing. I took my X and 553ELX. About the latter - I became HBC's reincarnation and had 12 wonderful decisive moments, but then realized that there was no film inside. The X's AF was on holiday, and after all due to the somewhat not very exciting light, the relatively sombre mood of the participants, and my general exhaustion, the whole session led to nothing, other than - again - some security guys asking me if I am "press", and requested to blur faces of the bystanders in case I should publish the photos online. I connected with them easily, but still...

The CF Sonnar is a delight. I am thinking about getting a 250mm version. It all worked much better from a distance, whereas I have to throw myself into the crowd with the 35mm equivalent of the Leica X. Why are they so cheap, by the way?

 

[MFstooges]

Not sure if I have time for looking at the level while in a busy protest.

Obviously. You didn't even have time to check if the camera is loaded with film or not

 

[RezaLoghme]

In my defence, I made a good impression of being a super photog, with the whole reading-the-green-like-a-golfer-kneeling-on-one-knee and all.