Hasselblad CFV 100C Images
View allAll Photos Tagged flexbody
Toshihiro Oshima and Velco Dojcinovski present
CONVERSATIONS - a three part series of photographic dialogue
Part 1: THE ABSINTHE DREAM (Melbourne, Australia)
McCulloch Gallery, 8 Rankins Lane Melbourne
Friday March 13th - Sunday March 24th
A new image of a subject, previously photographed in B&W: The pier in Kołobrzeg (Kolberg), Poland early in the morning. Done with my Hasselblad Flexbody and a CFV II 50C digital back, Distagon 4/50 CFi
Hasselblad FlexBody with shift + Distagon CF50mm + CFV50C
Thank you for viewing and favouring my photographs.
Happy 2026 everyone.
I have always seemed to enjoy New Year's Day more than New Year's Eve. It is a day of fresh starts (or in some years, fresh adventures). A good day for housecleaning and organizing and getting yourself set up for the year ahead. And thus I put some time into catching up a bit on some recent photos I have made, scanned, but not finished up.
This landscape came from about a month or so ago. One of our customers at Blue Moon Camera does a lot of 3D printing and made a 4x5 pinhole camera that needed testing. In form and function it reminds me quite a bit of the Harman Titan, just without the interchangeable cone. Naturally I was more than happy to give it some field testing. It has been a long while since I shot much 4x5, procuring the Hasselblad Flexbody largely scratched that itch. So I decided to take it on the scramble out to Upper Bridal Veil Falls - a waterfall I had not visited in roughly 10 years. Where does the time go?
I don't have a ton to say about it honestly. It is a pretty straightforward and simple camera. A pinhole camera really doesn't need to do a lot. Jody, the camera designer, saw fit to put a nice pinhole in it, so combined with the large film size, this camera makes pretty great images. He loaned me two versions: one with an 85mm focal length and an even wider model with a 65mm focal length. This image was made with the wider of the two cameras.
In Camera Industries 4x5 Pinhole
Kodak Portra 160
Toshihiro Oshima and Velco Dojcinovski present
CONVERSATIONS - a three part series of photographic dialogue
Part 1: THE ABSINTHE DREAM (Melbourne, Australia)
McCulloch Gallery, 8 Rankins Lane Melbourne
Friday March 13th - Sunday March 24th
P.S. Yes, I will be there in Melbourne from around 11th or 12th for like almost a week! :) There will be a big Opening Party on Friday 13th (!)
I first came to Crete with my old friend Georg, a painter, in the early 90s. We lived in his fisherman's house and he talked about art, painting and times past. I think this has also shaped my way of seeing and taking pictures. The house and life were simple and I came home cleaned every time. Hasselblad Flexbody, Zeiss Planar 2,8/80mm, Kodak PXP, D-76, 1:1, scanned with Nikon Supercoolscan 8000ED.
Have also a look at my Crete album and the description.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Water tower, Helsingborg, Sweden; architect: Wingårds; Hasselblad Flexbody; Zeiss Distagon 4/50; Kodak Portra 160.
Old clay jug, thistles, feathers and sea urchin tests on the wall of my friend Georg's house. Georg had a fable for such things and they gave the interior something archaic. I took the photo on Polaroid material type 665 and washed the negative straight away in Georg's house in the sink section. Hasselblad Flexbody, Zeiss Planar CF 2,8/80mm, Polaroidfilmmagazine, Polaroidfilm Typ 665, scanned with Nikon Supercoolscan 8000ED.
Have also a look at my Crete album and the description.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
#1 on Flickr Explore (July 9th, 2008)
I appreciate all your comments, faves and invitations.
[ http://www.pavelhorak.com/ ]
© All rights reserved. Use without permission is illegal.
Οι αθάνατοι - The immortals - this is how agaves are mostly called in Greece. This is an agave skeleton, reduced to the essentials by wind and weather. I found it at Georg's house and hung it on his shutter to take pictures. Hasselblad flexbody, Zeiss Planar 2,8/80mm, Polaroidmagazine,
Polaroidfilm Type 665. Scanned with Nikon Supercoolscan 8000ED.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Have also a look at my Crete album and the description.
Breaking of waves at the southern coast of Crete close to Matala. This place is one of my haunts and I love to sit here for hours and look at the horizon. Hasselblad Flexbody, Zeiss Planar CF 2,8/80mm, Agfa Pan 25, developer unknown (probably Rodinal), scanned with Nikon Supercoolscan 8000ED.
Have also a look at my Crete album and the description.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
.
.
Dati Tecnici
.
a) Hasselblad FlexBody + Pentaprisma Esposimetrico Hasselblad PME45 + Dorso A12.6x6;
b) Carl Zeiss Sonnar T* 250mm f. 5,6 CFI Superachromat;
c) Tempo 1/125 con apertura a f.5,6 su stativo Manfrotto;
d) Lettura Esposimetrica Angolo 1° con Sekonic DualSpot F-L-778 (effettuate 8 misurazioni con metodo del Sistema Zonale di Ansel Adams);
e) Negativo Agfa APX 100 Asa Professional;
f) Scansione con Agfa Duoscan T2500 Pro su supporto mobile orizzontale (porta SCSI);
g) Prima Post-Produzione Corel Photo-Paint X7(64bit) e Adobe Photoshop CS6(64bit);
h) Post-Produzione di completamento con Nikon Capture NX 2.
.
.
===========================================================
.
Mio breve Curriculum Vitae: - My Brief Curriculum Vitae:
Luigi Mirto/ArchiMlFotoWord Profilo Linkedin
.
===========================================================
.
Tutti i diritti riservati ©2024/2034 da ArchiMlFotoWord/Luigi Mirto/Photography
Nessuna immagine o parte di essa può essere riprodotta o trasmessa in qualsiasi forma e con qualsiasi mezzo senza preventiva autorizzazione.
.
All rights reserved ©2024/2034 by ArchiMlFotoWord/Luigi Mirto/Photography
No images or part thereof may be reproduced or transmitted in any form or by any means
Without prior permission.
.
===========================================================
.
Italiano
Anche questa immagine, come quella precedente, farà parte del “reportage/racconto” che ho in preparazione dal titolo “L'Innocenza Rubata”.
I due bimbi ripresi si trovavano in un’abitazione nelle campagne della “Chiusa” di San Giuseppe Jato in Sicilia ripresi mentre uno di loro stava raccontando un particolare racconto che aveva sognato e cercava di fare comprendere all’amico cosa aveva visto e dell’essere che aveva incontrato.
Molto probabilmente si trattava di qualche mostro che aveva delle particolari sembianze e stava cercando di descriverlo minuziosamente (la fantasia dei bambini non ha limiti)
.
English
.
This image, like the previous one, will be part of the “reportage/story” that I am preparing entitled “The Stolen Innocence”.
The two children filmed were in a house in the countryside of the “Chiusa” of San Giuseppe Jato in Sicily filmed while one of them was telling a particular story that he had dreamed and was trying to make his friend understand what he had seen and the being he had met.
Most likely it was some monster that had a particular appearance and he was trying to describe it in detail (children's imagination has no limits).
.
Michael Jackson - You Are Not Alone
.
===========================================================
.
Luigi Mirto/ArchiMlFotoWord's most interesting photos on Flickriver
.
.
Ti sarò vicino
.
Vorrei
essere una rondine,
libero
su nel cielo infinito
cullato fra
una nuvola soffice e
bianca per
seguirti ovunque.
Ti sarò vicino
trasportato
da un alito di vento
e….
sfiorando le tue guance
un bacio ti lascerò.
Ti volterai….
ma
non mi vedrai
perché
il vento si dissolverà
nell’aria fra
le fronde degli alberi
come
la mia anima
quando
si è persa
nell’infinito
nella gioia
del tuo amore
………………..…….Luigi Mirto
.
.
Ti sarò vicino
.
I would like
to be a swallow,
free
up in the infinite sky
cradled between
a soft and white cloud to
follow you everywhere.
I will be close to you
transported
by a breath of wind
and...
touching your cheeks
I will leave you a kiss.
You will turn around...
but
you will not see me
because
the wind will dissolve
in the air between
the branches of the trees
like
my soul
when
it is lost
in the infinite
in the joy
of your love
………………..…….Luigi Mirto
.
.
.
After an earlier study
Hasselblad Flexbody
120mm
Kodak Ektar
A word about lighting: A very simple, single light source on the upper left rear. It's a 5000K tube used for prints checking. Its standard daylight color temperature makes color balance easy in processing. Two matte surfaces and a lens hood complete the setup. A fair amount of back tilt was used. Overall a half-an-hour job.
Hasselblad FlexBody with extension and tilt +Planar 80mm / F2.8 + Proxar 0.5M + CFV50C
Thank you for viewing and favouring my photographs.
I think one of the myths that long exposures like this are capable of telling is that a place that was loud or dramatic or dynamic or tempestuous was instead calm and quiet and soothing. I like doing long exposure work quite a bit for a variety of reasons, but I admit sometimes that it bugs me just a little that the roar of the ocean and pounding of the surf are made to appear as if they were never present at all. A scene that looks calm and peaceful was anything but those things. But all photos (or photographers) tell stories. Everything we make could be (or perhaps should be) viewed as a form of fiction... or at the least of narrative. To some degree they all document something, but at the same time I think we tend to believe a bit too readily in what is presented to our eyes. In this image's case I like that the softness of a surf that was anything but placid is balanced by the rough and rugged volcanic rock. You may not be able to see the ocean's bluster in this image but you get a glimpse of its teeth at least.
Hasselblad Flexbody
Kodak Ektar 100 (started out in color, became b&w later)
...as I wasn't in quest of it when I headed to the coast.
This was a cross lighting between the cold from a fishing boat and the warmth from the rising moon. 5 minutes in the dark cumulating photons, and trying to balance the upper, much brighter part with the lower rocks. I wasn't sure of the result until I saw the film returned from the lab. This is a straight scan of the chrome (Kodak 100VS).
Photo of April 2008, Art of Landscape
Winner of 500x500 contest, week 13
Toshihiro Oshima and Velco Dojcinovski present
CONVERSATIONS - a three part series of photographic dialogue
Part 1: THE ABSINTHE DREAM (Melbourne, Australia)
McCulloch Gallery, 8 Rankins Lane Melbourne
Friday March 13th - Sunday March 24th
*Opening Party on Friday 13th!!
---------
This image will be the last one of this small series.
Once she was falling, now released from the gravity, floating, hovering the winter sky... :)
Hasselblad FlexBody with extension and tilt + CF50mm / F4 + Polarising Filter + CFV50C
Thank you for viewing and favouring my photographs.
@Yoyogi Park, Tokyo
-------------------------------------------------------------------------------------------------------
Toshihiro Oshima and Velco Dojcinovski present CONVERSATIONS
- a three part series of photographic dialogue
Part 1: THE ABSINTHE DREAM (Melbourne, Australia)
McCulloch Gallery, 8 Rankins Lane Melbourne
Friday March 13th - Sunday March 24th
There is something to be said about the intrinsic link between failure and expectation. It seems to me that a key component of failure is expectation. Try to imagine failure without expectation? It's tricky. Because in order to fail, you have to have somehow defined what failure is. And we do this with expectation in hand all the time, be it consciously or otherwise. This image is an example of just that. I set it up, had a shot in mind, calculated my exposure, sat on the tracks counting that exposure off mentally, got up closed the shutter and wound the film. All with an expectation of something. Part of that something was a vague notion of how I wanted the image to look. Another part of that something was the expectation that I calculated the technical aspects of the image correctly - focus, exposure, etc. Yet another part of that something was the expectation that the film would be processed correctly. And so on. You get the idea of how something like this is built off a chain of expectations, even when we don't necessarily think of those expectations. Then, when something doesn't go as expected, for example I somehow blew the exposure and overexposed the frame by several stops thereby producing a more faded, washed out image with a bit of a color cast. Well, that goes against my expectation of how I thought this would turn out. My initial reaction was, "Well, blew that one" and mentally began the process of writing this image off. It was just one photo after all and I make a lot of photos. Also, I am no stranger to "blowing it". I often tell people I could bury them with the boxes of throwaway sample prints from "failed" images that I have accumulated over the years. But then again, as I implied above, what is failure really, other than unmet expectations? And if that is really a key to failure, can failure not be converted to something else merely by either tweaking those expectations or simply by not handcuffing yourself to them. It is fine to have expectations, it is also fine to set them aside. After a day, and a second visit to this negative, I gave my initial expectations of this photo a rest and what was left behind was something that was neither expected nor failed. I don't know what it is, nor do I really need to. It is another image in my collection that has something that intrigues me, that has given me something to consider and think about. I used to remark to students that if a every photo you make teaches you something, are there really bad photos?
Anyway, just some thoughts inspired by my misexposure in the making of this particular image. And no, I still don't quite know how I goofed this one up. But I am ok with that too. If I knew, I might want to do it again and that wouldn't be nearly as fun as when it happens incidentally.
Hasselblad Flexbody
Silberra Color 160
District heating pipes seen in Kołobrzeg (Kolberg), Poland;
Update 2025: Those pipes are not visible anymore, they were moved underground in 2024.
Hasselblad Flexbody, Zeiss Distagon 4/50, Kodak Portra 160.
Mallard Lake, Golden Gate Park, San Francisco 10/8/2011
I think overdid the post processing on this on a monitor I wasn't used to.
Fujichrome Astia RAP100F (expired 5/2008) - E6 - (processed @ www.lightwavesimaging.com )
(Shot at 100ASA, Metered through the filter)
SEKONIC L-778 DUAL SPOT F METER
Hasselblad B60 POLARIZER
EV11: 1/8s @ f16
8mm downward shift
Hasselblad Flexbody w/80mm CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110924_Astia_Eml6132711_exp200805_8791_012)
Stopped by Kelly Point Park recently as the cottonwood trees were releasing their clouds of fluff everywhere. While I could immediately feel the effects of breathing the stuff, I thought the effect on the landscape was pretty fun to photograph.
Hasselblad Flexbody
Kodak Ektar 100
One of the trickiest parts of making these types of exposures is finding suitable places for relatively extreme waiting. Mind you, I don't mind sitting or standing around watching the light change but such waiting is a bit trickier when traveling with others. That is why this particular spot was so appreciated as it was about a five minute walk away from the yurt we were staying in. I was able to go wandering, find a nice vantage point, set up my camera and expose for an hour, and not have to worry about holding anyone else up. It is no joke that photographers and non-photographers can move at different paces. But even between two photographers you can find quite varying speeds.
Hasselblad Flexbody
Kodak Ektar 100
Captured in Cave City, Kentucky. Hasselblad FlexBody. October 2007. 80/2.8 Planar. Ilford Pan F+. Click here to see larger.
Hasselblad FlexBody with extension and tilt +Planar 80mm / F2.8 + Proxar 0.5M + CFV50C
Thank you for viewing and favouring my photographs.
I had a conversation with a friend recently where the topic of failure came up. In specific, he was reflecting on the failure of his photography business and how that led to him avoiding photography for several years after his business went under. That brief conversation has been kicking around in my head ever since, particularly the power that the idea of failure has over us. We struggle with this concept in so many different ways, related to photography and otherwise. All of us have a fear of failure on some level or another and it influences our behavior and choices. To keep the scope of this manageable, I'll keep it revolving around photography. A good example is the idea of "bad pictures". We try to avoid making bad pictures, right? Why? What exactly is wrong with a bad picture? Well, it is a little failure on our part and enough of those strung together... so we follow trusted formulas, trends and cliches to make photos, that while not original, are at least better guaranteed of "success" both in our own eyes and those of others. It is fear of failure that makes it so hard for many photographers to share their work with their peers. What if it is not received positively? What does that say about me? It was fear of failure that led my friend to giving up photography after the perceived failure of his photo business. And I am sure there are many other ways we can list that this fear insinuates itself into our photographic lives.
I don't think I have all the answers on this. On some levels I am as much a victim of this fear as others. But I also feel like in some ways I have learned to inoculate myself against this fear as well, at least in photography. A big part of the way I did that was redefining what "success" and "failure" meant to me. It is a simple and tricky thing to do. But if you take a moment to consider that the rules of failure that we play by are rules that we have the power to dictate then it is simply a matter of changing those rules. I sometimes tangentially lecture on this to classes when I talk about the whole idea of "bad pictures". I encourage my students to not think of bad pictures as bad just because they didn't turn out like you wanted or expected, but rather to see them as learning opportunities with each picture you make teaching you something new and making you a slightly better photographer in the process. In that sense, no picture is a bad picture and every picture makes you more experienced and competent, even if that growth is incremental. That is changing the definition of both success and failure and by doing so eliminating to some degree the fear of failure via bad pictures at least.
I do think it is worth considering what you define as success and how wise a definition you are following. Is the success you are chasing financial? creative? social popularity? It is not that these are wrong answers per se, but they might be, or at least they might be wrong for you in that particular circumstance or moment. And if you are tripping up against that struggle with perceived failure, try changing you how perceive success and failure.
I don't know if this image embodies fear as much as it does disappointment (which is a lower version of fear I suppose). This was one of those photos that I liked the idea and execution but problems with the film itself manifested causing the speckling and mottling across the image. I scanned it anyway and left it for months in my To Edit folder, just sitting there. Then one night recently I was looking at it again and didn't see the failure I had seen before. That allowed me to see a success I had not seen before. And so I present this image with these thoughts today.
Hasselblad Flexbody
Rollei Retro 80S
Landscape fragment after the winter in my homeland. Hasselblad Flexbody, Zeiss Planar CF 2,8/80 mm, Ilford Delta 400, ID-11, solution 1:1, scanned with Nikon Supercoolscan 8000ED.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
I have long been a bit envious of painters and often find myself wishing I had skill at it. What I admire about painting is that painters have the choice of creating work that readily confines itself to documenting reality, or as is often the case, venturing off into territory wholly in the painter's mind or heart. In short, painters paint the world as they see it. Ever since the invention of photography, the art has struggled with the question of what is photography's intent? Is it to document, to collect "truth" and "reality"? Is it art or is it science? It is this deep, central question that leads to the mindset that many photographers or viewers of photography struggle with. Whenever I hear comments about "cheating" or manipulation or truth in photography I think of this. I don't spend a lot of time in the world of painting but I wonder, do painters have to deal with questions of manipulation? Or do they abashedly admit that the painted they created involved a bit of cheating? Does anybody stand in front of a painting and elbow the person next to them and whisper, "this isn't real you know"?
And I am curious as to why we do this with photography. Why do we have this expectation? I guess it is because we convince ourselves that somehow photography is capable of seeing the world "as it is". But is that even true? Or is that a mistaken assumption on our part that has given birth to over a century of at least partially incorrect expectations? After all, which part of photography is truly objective? I think you'd struggle to point to any of it as being objective. And yet we allow ourselves to be shocked every time we realize that the hand of the photographer once again manifested itself in the creation of an image.
I don't want to go far down this rabbit hole, and yes I realize that their is a large part of this discussion/argument that deals with intent, context and presentation. And their are several important points to be made in those areas.
Really though I meant to write a bit more about me and how I operate within the realm of these swirling questions. Because even though I don't possess any skill with paint and brush, I seem to have found a way to, on occasion, photograph like a painter both in deed and in thought. I readily admit that I am less interested in photographing what was objectively there in the world as opposed to what I subjectively thought, felt or experienced. Sometimes that requires sharp images, sometimes that requires soft, sometimes that involves fractions of a second, and sometimes it is a matter of minutes or hours. I try not to shackle myself with unnecessary expectations of what my photography should be and instead focus on what I want it to be for myself. I think a lot about perception and how its nature is unique to each of us. That fascinates me. Three of us stand on this grass knoll at sunset and experience the end of the day and three of us will have a unique experience of the moment, either overtly or subtly.
I am in no position to say how photography should be for anyone else. For some, objective reality might be a primary goal and to them I wish luck. For me, I enjoy being a bit of a painter... albeit with silver halide and glass instead of acrylic and bristles.
Hasselblad Flexbody
Kodak Ektar 100