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Hasselblad 203FE

Carl Zeiss Planar 2.8/80 T* FE

Kodak Ektar 100

Hasselblad Flextight X1

— Continuing on the darker theme with this lovely dry fern soaking up the sun's rays.

 

••• Fern light (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

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— I arranged photo meetups in #Stockholm a few years ago and one photographer I invited was the legendary Gunnar Smoliansky. Look him up, he was active for seven decades and had a wonderful tender way to observe reality.

 

One of the things he said was that when he found a motif he rarely raised the camera, but instead walked – and looked – around a bit to get acquainted with it, to take it in, to "see". I don't think this is arty-farty mumbo jumbo but believe that there's an important truth to it.

 

As I've photographed the dunes here in The Hague over the last few years I've in a similar way come to "know" some areas quite well and begun to "like" some of them, and some trees specifically, more than others. This is one such tree, which I keep returning to. I think is simply lovely to behold. It's as if it's literally alive, reaching for or striving towards some unknown goal.

 

••• Stuck (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak T-Max 100

Kodak HC-110B

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— Contrasts often make an image, I find. Take this one, also shot last autumn on #gotland. This image works (imho of course) because there are several types of contrast at play. There’s the warm glow of the foliage which almost jumps out and which contrasts against the cooler palette in the background, especially the bare trees and that pale autumn sky. Then there’s that almost rude diagonal. I mean what was that birch tree thinking when it decided to grow in this entirely unnatural way? Positively shocking, right? Another contrast, then, to the orderly vertical trees surrounding it. There’s a bit of life and death going on here to, because that’s how autumn is, it’s that sort of anti-Churchillian “beginning of an end” thing that we witness then as the year is preparing to die and make room for something new and hopefully better.

 

••• Vertically challenged birch (2021)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

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— Something slightly darker now.

 

••• Lights on (2021)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

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Mamyia C33 :: f/2.8 :: Portra 160

— This is from my ongoing project 'The Dunes' with which I've been working the last several years. It's about the Westduinpark area in The Hague. Most of it is shot in colour, but as luck would have it we had two weeks of pure glorious winter in early 2021 and so black and white it was. This is a favourite tree of mine, here framed against the silhouettes of its unruly barren friends.

 

••• Broccolitree (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak T-Max 100

Kodak HC-110B

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— I had forgotten about this image. If I'm nitpicking I'd say I'm not pleased with it because the longer exposure time meant that some of the bushes blurred. Life is hard, it is harder if one is stupid, as the saying goes. I ought to have used a faster film. Still I like how it looks as if the forest floor is on fire (but in a good way, I hasten to add in these times of extreme heat).

 

It's been reported elsewhere and many of you have probably noticed it in your own film scans, but there is often quite a bit of cyan present in the blues in an image. It took me a while to realise this but pulling cyan down often helps make the colours look a little bit more believable. Not that that is a requirement. We're out here sailing on the vast Ocean of Creativity so most anything goes.

 

••• Flaming forest (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100

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Mamyia C33 :: f/2.8 :: Portra 160

 

— To break the flow a bit, let’s jump back to #gotland where this imposing tree can be found. I shot it last autumn after I had returned home from a jog to fetch my camera. I’ve always been impressed by trees, by their sheer variety and beauty and by how they, being really massive, tall and heavy, need to have vast root systems to live and to stay erect. I tried to show this by shooting quite close using the widest lens I own for my Hasselblad. This doesn’t show so well on pitifully small phone screens, but if you check out the Flickr version (link in the Story) you’ll see how it looks as if the tree literally shoots up from the ground with massive roots reaching into the earth.

 

On a technical note, I’m pleased with how the colours turned out on this one. The three main colours, the orange-red-brown of the leaves, the grey of the trunk and the blues in the sky, are all quite believable.

 

Incidentally, if you happen to be interested in trees — and we all should be, really, because they are fundamental to the existence of life on our planet — there’s a really interesting book by Peter Wohlleben (IG: @peter_wohlleben and peterwohlleben.de) called The Hidden Life of Trees, which suggests that they are much more complex organisms than previously thought. Highly recommended.

 

••• Majestic (2021)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

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Mamyia C33 :: f/2.8 :: Portra 160

— There's that well-known Ansel Adams quote, that the negative is the composer's score and the print the final performance, which seems to suggest an interplay between the various stages of an image's creation. Today, for us film photographers, this interplay has been made considerably more easy through using hybrid workflows of various kinds. For instance, early in Adams's The Print he shows an image called "Merced River, El Capitan, Yosemite National Park" and describes his thought process when sacrificing detail in a part of shaded forest. He had to do that in order to retain texture in some distant clouds.

 

During the 20+ years I have worked with a hybrid workflow the digital tools have improved considerably. Recent versions of Photoshop, for instance, give a level of detailed control that are impossible in the darkroom. This, coupled with the enormous capacity of high-end scanners to draw out every last bit of image information from the film, allows us to tweak very small parts of an image in order to realise that thing which is a bit preposterously called "vision".

 

This image is nothing special. It's certainly no Adams print. But there is the same sort of interplay between its component parts as Adams alluded to exists between the negative itself (and the choices the photographer makes in order to expose it) and a final print.

 

For instance, there's a foreground and a background. Which is the more important? Spontaneously one would probably say the foreground, in the shape of the small juniper bush. It dominates not only by virtue of its clear greens, but by its spiky texture which is reinforced by the way it has been rendered very sharp in post. But is the background – the blurry curtain of orange-red – a second fiddle only or does it provide more than just a soft background against which the juniper may shine?

 

Try to imagine a version of this image where the orange-red curtain had been brighter, where its luminosity had matched that of the juniper. What had been lost then? I would say the contrast between the two would have been the victim. The juniper would not have stood out as clearly, even with all those pointy needles at hand. Doesn't this mean that the blurry curtain or, to use a theatre analogy, those minor actors or extras who do not take up as much space on stage as the selfish main actor or primadonna, actually carry the performance? Aren't they the enablers?

 

And if we look a bit further we see other parts of the images that also help that curtain's blur and lower luminosity bring out the juniper's act. The link to Adams's decision-making process in exposing Merced River is clear here – there is detail in even the darkest shadow areas around and behind that curtain. Such is the power of the hybrid workflow today. It allows us to show image detail in the very darkest areas of an image on an emulsion as narrow as transparency film.

 

••• More than juniper (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100

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— Much of the Westduinpark area consists of a very tall sand dune that stretches along the wide beach. I shot this in the early afternoon during the autumn 2020.

 

••• Smoke signals (2020)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

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— Though we’re in the middle of summer up here in the northern hemisphere I’ve recently felt strangely autumnal. It’s got to do with some of the films I’ve been editing.

 

I came across this scene last year on the island of Gotland as I was jogging one day and literally stopped in my tracks. The colours were just stunning, lit by pale sun light. There's just something about the way a leafy forest changes during the early part of autumn. I certainly finished that run with an extra spring in the step and returned as soon as I could to explore the area with my trusty Hasselblad.

 

• • • Gotland colours (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

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— Recently I realised I’ve been working on a photo project without actually, well, realising it. It's about the Westduinpark area with its rugged sand dunes which protect The Hague against the sea.

 

Westduinpark is a small piece of land squeezed in (as is so often the case with nature in NL) between various neighbourhoods and the veeery large beach.

 

Going through my film scans I noticed that I had shot hundreds of photos in this area over the last few years. Voilà, and without any planning, a project 😀 The working idea is to put together a selection to show how this beautiful area changes through the seasons. This tree appears on several rolls and is a fave motif.

 

PS. Another shameless plug for The Hasselblad Film Gallery on Instagram which is growing fast and about to reach 1,000 talented members. Warm welcome!

 

••• Glowing tree (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

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— (film nerd alert!) This is a slightly different perspective of the rather glowing #gotland forest I showed earlier. Here I used the wide-angle 40mm Distagon which, if you're used to 35mm/full-frame cameras, corresponds to about 25mm horizontally.

 

To really spice things up, I shot from a very low position to focus the attention on the immediate foreground. This combined with the fairly low light levels meant that I could shoot wide open at f/4 to throw the rest of the image into that glorious out of focus land people like to call #bokeh.

 

The film this time was Fujifilm Provia 100f which is an emulsion I really love. In the 90s I used to shoot Velvia 50 and push it one stop to get really saturated colours. But working today in a wholly hybrid workflow I prefer to leave the colour correction to the computer. Provia 100f gives plenty of colour to work with without going overboard on the saturation front. That well-known post-processing adage, that it is always easier to add than to remove, holds true. (/film nerd alert)

 

••• Leaves (2021)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Fuji Provia 100f

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– If I'm totally honest I must admit that I enjoy beauty in simplicity and even the mundane. I'm usually curious to know how things look when the film has been developed and so it was here. These were standing next to a pond in the Westduinpark and I thought they might look nice against the background of the pond. Much of the magic here comes from Kodak T-Max 100 which is such a nice emulsion. And so easy to develop and scan, too.

 

••• Three dry things (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak T-Max 100

Kodak HC-110B

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Taking a break from my project The Tribunal (at philipus.com) with this – a lone tree in the centre of Stockholm.

 

I've passed this spot so many times over the years and always wanted to photograph it at night. The location is literally a stone's throw from a central square, the Sergels Torg (which can be reached through the passage behind the tree).

 

During one of my trips back home to Sweden during the pandemic I finally had occasion to go there at night and photograph it with my Hasselblad. I like the contrast between the brutalist surroundings and the organic form of the tree. It's a living–dead contrast in some way. I'm also happy that several windows were lit. It's as if the city itself is peering cautiously at this peculiar being that's sprung up from its concrete floor.

 

PS. I wanted to take this opportunity to mention The Hasselblad Film Gallery which I am running on Instagram to showcase great analog Hasselblad photography. If you're on the 'Gram and shoot with these wonderful cameras, do please stop by (the link is below) and tag your photos with #hasselbladfilmgallery. Warm welcome :)

  

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— This will be the last one, promise 😳 I just dig blur and the temptation to shoot a scene out of focus is usually too great to resist. And so I submit, burning frame after frame on what really is nothing but a slightly myopic view of the world. There's a gallery on my site with a selection in case anyone is interested.

 

••• Bush blur (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100

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Hasselblad 203FE

Carl Zeiss Distagon 4/40 CFE

Kodak Ektar 100

Hasselblad Flextight X1

— At the risk of overstaying the welcome or beating the proverbial pony too hard, here is another juniper view.

 

Whenever autumn hits (and I use that verb deliberately) it is, at least for me, as if I have entirely forgotten the incredible changes that it brings with it. Let's think about that for a minute.

 

In temperate climates, which is where I spend most of my time, the year begins looking quite barren. Any colour beyond shades of brown, black or white will be coming from old Christmas trees and other pines. Overall nature looks dead. When spring eventually erupts, wow, there's all that colour! Yet, it's not that colourful compared to what will come. There's the tender light green that screams brand new chlorophyll, but that quite quickly fades into ordinary green. Sure, there will be flowers around, including through much of summer, but those are more specks of paint on an artist's canvas than whole swathes of colour covering entire sections of nature.

 

This is what happens when that magical change hits our eyes as the mature beauty of Autumn appears. There's a literal transformation of almost everything around us. An alien who visited our planet in such locations twice in a year at winter and then again at autumn could be forgiven for thinking that it wasn't the same place.

 

••• Autumn Rising (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100

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— This is just a water droplet. Still, against the incredible drought seen pretty much everywhere in recent months there's a preciousness to it, don't you think?

 

There's no such thing as "just water". Turn off the tap when brushing your teeth. Don't let the shower run when you're soaping up.

 

••• Just a drop (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Hasselblad 32E

Kodak Ektar 100

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While we're down in the basement of the ICTY, and specifically in the space that holds the old generator, I thought it could be interesting to show this. This is the kind of photo that, perhaps even more than the one of the old generator, speaks of a world that was very different than today's.

 

I'm not thinking of the fact that there's a sort of phone kiosk or station on the wall. In a technical room. Inhabited pretty much only by a massive diesel beast. I'm thinking of the fact that when the building was constructed in the 1950s such a thing had to be put up as well because it just went with a telephone.

 

I doubt very much that it had anything to do with the noise level that would have been heard in this room when the generator was running. This – sounds, or rather their absence – is another aspect that I like about this photo. The noises which once inhabited this space, be it from the generator or from the technicians who placed calls from this kiosk.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

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Hasselblad 203FE

Carl Zeiss Distagon 4/40 CFE

Hasselblad PC Mutar 1.4x

Kodak Ektar 100

Hasselblad Flextight X1

Hasselblad 203FE

Carl Zeiss Planar 2.8/80 T* FE

Kodak Ektar 100

Hasselblad Flextight X1

— Continuing our time-travelling walkabout in the Westduinpark, this is from a small body of water that's a bit shielded from the rest of the dunes, yet literally only a stone's throw from one of the main public walkways. It's a(nother) favourite tree of mine. One can easily see from which direction the wind typically blows, and where the sea is located, because the tree has over time bent with the wind away from the shore.

 

This is an autumn photo, shot around late October 2020. As can be seen in the background the leaves have begun to fall, but this beautiful tree refuses to give up just yet.

 

••• Hopeful tree (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

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The Prosecution's Evidence Vault at the ICTY was meticulously organised, which was crucial in light of the very large amount of evidence stored there. The vault was located in the central, fortified part of the building, in which also Courtroom 2 and the archives were located.

  

From my project The Tribunal (at philipus.com), which I made during my last years at the ICTY to show the great diversity of this amazing institution.

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I initially called the previous photo "The generators", because that's what everyone called them. Such is life in a building full of lawyers, apples turn into oranges, and oranges into, well something else. They were actually boilers and I've renamed the photo.

 

Here, however, is a diesel generator. This one came with the building and has therefore stood on this spot since the mid-1950s. It was maintained by the Facilities Management Unit and fully working, because that's how it should be. It wasn't in service though.

 

Since I published this photo project during the summer many former colleagues have been in touch with very positive reactions. And many of them have reacted with incredulity seeing this beast, like a metal rhinoceros, apparently chained to the floor.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

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— This is an overview image of the little wetland area where the hopeful tree stands. The orange tree can be seen in the background on one of the previous photos.

 

The Westduinpark changes a lot during the seasons and this little corner of it shows it well, I think. It looks positively dead November to February when the absence of snow, which almost never falls in The Hague (sniff, says the Swede here), reinforces the barren impression. Then during the spring it comes to life gradually with the return of the warm sunlight.

 

By summer there's plenty going on both in and around the water. Birds and insects appear of course and the dunes biggest inhabitants, the Scottish Highland cattle, occasionally cool off here. Finally during the early autumn a real firework display of colours erupts, a nature's last hurrah before the monochrome apparent frigidity sets in again.

 

••• Colourful marsh (2020)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

 

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The main technical room was undoubtedly this one, located half a level below the main basement floor of the ICTY building on Churchillplein 1 in The Hague. The room was visible through two large windows in a curved corridor just beyond the grey doors in the background of this image.

 

I always found it mesmerising to walk through that corridor and see these massive beasts put on display in a sort of glass cage.

 

The boilers were also powerful beasts. Sometimes the whole building would shake when they for some reason coughed. At least that is what staff members thought happened.

 

There was also an old generator in another technical room, but we'll save that for another time.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

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— To spice things up a bit - brace yourselves 😂 - here's a frame of grass shot on wonderful Fuji Provia 100F instead of (equally lovely) Kodak Ektar. This is perhaps a more 'classical' sand dune photo with the rough grass that is so important to prevent the sand dunes from literally blowing away.

 

I shot this during the early evening and the last of the sun's warm rays can be seen on the grass and sand. Little nuances in colour like that are what, to me, makes it so rewarding to shoot #film. There's a visceral quality to how light is registered in the emulsion. Each to their own, of course, and I don't mean to knock digital. I'm just accustomed to using film.

 

••• Evening's light (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100F

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Pentax Z-1p, smc Pentax-FA 1:1.4 50mm (?), Kodak Ektachrome E100SW film

Flextight X1 scan

Continuing our walkabout at the Int. Criminal Tribunal for the former Yugoslavia – the ICTY – we are now in Prosecution Trial Support, which was a very important section. At the height of the ICTY's work, with up to TEN parallel trials (and several ongoing appeals), this space was always teeming with activity. Staff here were vital to prepare and manage the Prosecution's evidence during the exceptionally voluminous cases at the ICTY.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

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Leica M6TTL

LEICA 50 SUMMILUX-M ASPH (11891)

Kodak Ektar 100

Hasselblad Flextight X1

If one walks across the bridge from the Riddarholmen island one comes to this, the House of Nobility. The statue in front is of Gustav Vasa, the noble who led the war of liberation 1521-1523 which deposed the Danish king Christian the Tyrant as regent in Sweden, through the Dane-favoured Kalmar Union. Gustav Vasa was elected king in 1523 and ruled until 1560.

 

Hasselblad 203FE

Carl Zeiss Distagon 4/40 CFE

Kodak Ektar 100

Hasselblad Flextight X1

This guard booth was located at the back entrance to the ICTY, called the North Gate because it was located at the northern point of the building (more or less). Most staff members would enter here because this is where the large bicycle parking lot was located (just behind the camera in this photo). The vast majority of the employees cycled to work. It's one of the great benefits of The Hague.

 

The booth had a heater which was very useful in the colder half of the year which is dominated in The Netherlands by chilly and rainy weather. Even if it won't often go into the negative centigrades it will be cold to stand still in a guard booth.

 

The camera was connected to the Security Control Centre which oversaw the premises' security system. The orange barrel was meant to be used in the event of suspected bomb threats.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

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-2015- I Vienna

— This is the same tree as in the image "Glowing tree" I posted recently, but shot one year earlier. Why I shot it out of focus has to do with one of the reasons why I use film, which is to see how whatever it is I photograph will look when developed.

 

This is one of the most exciting aspects of analogue photography imho. It’s not so much that I doubt that images will come out well; they almost always do provided one knows how to handle a camera which works as intended without light leaks etc. Nevertheless I always feel a sense of wonder when I finally get to view a photo I’ve taken. It will always be slightly different from how I imagined it would turn out.

 

But why the blur, you ask? Well, for the same reason, but with a slight twist. One reason I like abstract and also impressionist art is that such paintings seem to peel away layers of reality and distill it to its fewest component parts. More clever people than me can explain it better, but shooting a scenen out of focus can, if done well, result in a similar effect.

 

Plus it creates a bit of a mind warp for the brain system as the eyes hunt around the frame looking for details to grab on to.

 

••• Myopic tree (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

 

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Yashica MAT-LM :: f/3.5 :: Portra 160

— I'm pretty sure I'm not alone to occasionally agonise about colour. I don't want to overstate, but it is sometimes quite tricky to really "see" which is the most correct colour. I know there isn't any "right" colour, and sometimes smile when I see statements that "That is sooo such and such emulsion's palette". Particularly in a hybrid workflow there is virtually no limit to the ways in which one can make a particular film type look.

 

Everyone perceives colour differently and there's very little possibility to objectively compare what we individually see. Perhaps in the future we'll be able to hook up our visual organs to some piece of equipment and analyse their input. But today, where I might see purple in the blues of the sky, someone else may see a cyan or green case. So to find "the most correct colour" of an image becomes a highly subjective thing to do, and necessarily involves one's own, as the photographer's, vision Not to mention in my case a more or less flawed recollection of how the heck the scene actually looked.

 

Take this one, for example. Is there a colour cast somewhere – for instance, is it too red? I'm not sure because there are a lot of those dried up ferns everywhere and if you zoom in surrounding colours look more or less correct. To me, that is.

 

To assist our eyes and poor brains to find the most correct colour we can use tools, like colour-corrected monitors for instance. I always say to photographers that a device to colour correct a monitor is one of the first things one should invest in. But even so, when we release an image into the wild it becomes subject to the whims of the individual devices on which it will be shown, from phones (of various brands), to tablets to computers, each one a system in itself with constraints in the shape of display panel types, operating system parameters and personal user settings. It's a real mess.

 

Not sure where I'm going with this except that wherever it is, it's going to be complex. Perhaps the ultimate answer lies in the feeling that the photographer, through his or her image, seeks to convey?

 

••• Mikado (2021)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Fuji Provia 100f

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— This is another but smaller waterhole in Westduinpark. I was drawn to the scene by how the swirly clouds complemented the light patterns on the ground. I also managed to get our dear #Moon to fit in the frame too. I've recently begun a new postprocessing routine which gives much more accurate colour and when I revisited this frame I managed to bring out the faint pink colour of the small S-shaped cloud in the centre of the frame.

 

••• Swirly waterhole (2020)

 

Hasselblad 203FE

Carl Zeiss 40 Distagon

Kodak Ektar 100

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Nikon FM3A

Nikon Micro-NIKKOR 55mm f/2.8 AI-s

Rollei Retro 80S in Diafine

Hasselblad Flextight X1

This corridor ran along the curved front facade of the ICTY's building on Churchillplein 1 in The Hague. There were offices of IT staff and interpreters here. There were also a few training rooms in this corridor where language classes were given. Staff members could take French and Bosnian-Croatian-Serbian, or BCS for short, for free.

 

Only French and English were the official languages of the ICTY, as a United Nations institution. In light of the fact that everyone employed by the ICTY spoke English questions were sometimes raised about interpretation and translation into French, which were seen by some as unnecessary. In any event, the proceedings were also interpreted into BCS, and evidence and written material, such as party submissions and decisions, were translated into it, too. If an accused spoke another language, such as Albanian, then interpretation and translation into that language would be done.

  

From my project The Tribunal, which I made during my last years at the ICTY to show the great diversity of this amazing institution. The full project can be accessed on my site below.

 

___________________

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— This is not the same tree as in the previous posts. The film is the same though – Ektar 100 – which I think is one of the most versatile emulsions in existence today. It never ceases to amaze me and runs with whatever kind of light one throws at it, from crazy-strong daylight to veeeeeery long nighttime exposures. Sure it can have colour casts sometimes, but which film doesn’t, right?

 

••• Reaching reeds (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

 

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— Here is a close-up of the striking tree in the previous photo. Patterns in the natural world have always fascinated me and whenever I see one I need to photograph it. This was shot in the mid morning and the dear old Sun had just cleared the ridge behind camera and begun throwing some warm rays on the tree.

 

••• Sprawling trunk (2020)

 

Hasselblad 203FE

Carl Zeiss 80 Planar

Kodak Ektar 100

 

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