Obsessed with the process...and the cameras...and the films...and the darkroom. What a journey. What a hobby. What an art form. But mostly, what a community. From 35mm to medium format to large format to developing prints in the darkroom, this channel is dedicated to all the analog people who are willing to beat their heads against the wall in pursuit of raw imperfections.
I definitely tried to tell you that you loaded the film in wrong through the screen, came here because you told me to comment. Great way to boost engagement though lol
I just bought a 4/5 Speed Graphic. About a 1942 model from a collection. I wanted it for scenic’s. I love the fact that I can hand hold this 4/5 with a 3 cell flash. Looking for filters especially red that I can use. If anyone can point me in the right direction it would be appreciative.
You might have just saved me some money. I have the IIIc and was under the impression that the viewfinder on the big C was also brighter. I guess I just assumed by looking at the front of it and seeing the bigger window. Not the case? My little c is basically perfect condition and is my travel camera. Focusing is just a tad difficult in low light.
Oh my mistake … I was just referring to setting my iso ….example cinestill 800 t which I have waiting in my fridge .. I can ask the lab to push it right I got it 😅 thanks Tommy
Hi Todd , love your videos man. I have a mamiya 645 1000s and when it comes to pushing film I’m confused because I don’t have ISO setting on it ? Unless I can’t find it ? Help please 🙏 thanks Tommy
Really cool video man … I’ve recently purchased a mamiya 645 1000s which I’m in love with … no really I am that shutter sound kills me … ! I’ve only just sent my first test roll to the lab I’m so extra see what it has produced … hopefully one decent shot … I have a boring question I see you can set ISO on the Hassy. I can’t on my mamiya which kind of throws me a little as I’m used to setting film speed and somehow it makes me feel safe .. do you set iso or just shoot with sunny 16 or meter your shots ? Keep on shooting on . Coolest regards Tom. Ps. Deep down I’m pining for a Hasselblad which I will get for sure this Christmas 🎄.
These cameras are heavy but can be used hand held. The photographer that photographed “Bliss” which was the popular windows wallpaper was shot on the Mamiya RZ67 which is also a large camera. I equate it to a large format camera without the movements.
When you buy additional magazines, later versions have a pocket for keeping the darkslide. All magazines from the 1600F, all the way to the last 205, SWC and EL cameras are interchangeable. So it is not a 500C limitation. 😉 Thanks for your video. Yes, when I upgraded to Hasselblad from other medium-format cameras, there was no turning back. 🤝
Here you go. Subscribed and now a comment. I am a collector-user and have several nice Retinas-I favor the smaller folding models. And the Automatics, they aren't that small but because they work well and are jewel-like.
The RB67 is a great camera system. I use one for portraits and a second one for product shots. I use the following lenses: Mamiya-Sekor C 50mm f/4.5 (77mm filter) Mamiya-Sekor C 90mm f/3.8 (77mm filter) Mamiya-Sekor C 140mm f/4.5 macro (77mm filter) Mamiya-Sekor SF C 150mm f/4 (77mm filter) Mamiya-Sekor C 180mm f/4.5 (77mm filter) Mamiya-Sekor C 250mm f/4.5 (77mm filter)
Came across your channel while I CLA'd my IIIc, IIIS, Reflex 4, and Reflex S. Love them all. Your concert pictures were impressive. Do you remember what film stock/speed you shot?
Also, Bruce Fleming used the 500c to photograph Jimi Hendrix first LP cover. Also to add, Bruce Fleming is also mentoring me in my photographic journey!🎉
I have both a 500C and a 503CX. The 500C and I have a long history. I got it from a family friend in 1977 but my mom used it to take my High School Graduation year book pictures in 1969. Our friend's had a small studio and they allowed my mom to use both it and the 500C. By 1977 they were out of the business but someone had broken into their home and took most of their equipment but left the 500C. So they made me a deal that I couldn't turn down. It has taken so many meaningful pictures for me that I'd really break down and cry if anything happened to it. So that's why I have the 503CX. The 500 stays close to home and the 503 goes on road trips and extended vacations. There is just something to about the feel and sounds of using a 500 series Hasselblad that is hard to rival.
It is all good while it works good. I just bought mine in a perfect shape and now I see it’s a bit broken , the red lines are not moving away when I rotate the back and also I have problems with film winding, rewind lever gets stuck
An option is to get a laminar flow hood and put scanner in hood and handle negatives in the hood, the hood blows HEPA filtered air out so you have a very clean area to work. Expensive but maybe an option. You can DIY a hood but the filter must be purchased commercially.
If you buy an RB, you had better like it because it may be impossible to wear one out. I have two. I bought my first one when they first came out and after 32 years in a studio, it is still working perfectly. I bought the 2nd from a photographer who decided to go digital and made me a deal I could not refuse.
Absolutely, I bought two. One of my lenses I bought from a seller had oil on the lens blades and it jammed the body. I sent it to a service tech and he said the camera is in great shape! These tanks were built to last. Get some good lenses and you have a great system. I have the 50mm, 127mm, 140mm and 180mm, also picked up two new old stock extension tubes and a power back.
I actually really like the 90mm here for landscapes. Too wide and features get lost. I have used a red filter on this lens for black and white and the images are stellar!
Good stuff, I also shoot with a 4x5 Chamonix and digi scan my negatives with my Fuji X-Pro3 using my 80mm Macro lens, I still find fun in seeing the negative come alive in PS or Lightroom. 👍🏼👍🏼
Your video makes me want to shoot again with my Retinette IIb . Btw. The Retina II or III was the camera that was taken for the Antarctica expedition which can be seen in the book " Hellbent for the pole".
The whole Retina folder series of cameras are oddly attractive, probably because they are so well-built and fairly unique for the full set of features they incorporate. I guess that's why in the 1980-90s, I fell into collecting them. Also, at that time, they and their lenses and accessories were cheap as dirt and commonly available for the most part. Odd that he mentions trouble with the bottom wind mechanism. I own almost one sample of every model, and I've handled many dozens more. I've never noticed that problem. For optical quality, they were great for their time, the 1950-60s. They are okay today, if nothing special. The two front lens groups that convert to 35mm or 80mm - not so much. Not bad, but they are a compromise. They are also a pain in the ass to use, since they do not rangefinder couple. When using those add-ons, you go through a Kabuki dance of focusing as usual, then checking the focused distance on the lens barrel, then transferring that setting to a distance scale on the front component, thereby actually focusing the lens. Of course, while you are doing this, your subject has strolled slowly away. My favorite is my IIC, which is the IIIC he shows here without the commonly dying light meter. It's also the European version, which mounts Rodenstock lenses rather than Schneider lenses used for the US models. Note that if you use one of these with the accessory lenses, those accessory lenses must match the 50mm on the camera. If you have a Schneider 50mm, you need Schneider accessory lenses, and same for Rodenstock. You can mechanically cross fit the two brands, but optically, they do not match. My IIC is fairly rare as such, and more so for the Rodenstock lens set. It also uses a 50mm 2.8 version of the main lens, rather than the 50 2.0 used on the IIIC. There is a whole Retina mythology over whether the 2.8 lens is just the 2.0 with a limited aperture, or whether the 50mm 2.8 is some sort of super, uber-lens. My take is (1) no, not the same lens, and (2) the 2.8 may have 6 elements (odd for a 50mm 2.8), but it's not noticeably better than the 2.0, stop for stop.
Nice pics! I'm thinking of picking up a IIIC to shoot around with and take to shows and such. I've used a IIa before that did OK, but I was too far back. Do you ever get grief from the doormen about cameras? It's kind of a crapshoot at the local venue I frequent, of it looks too much like a "pro" camera they won't let it in, but I folded up my Retina and held it out of my pocket with my wallet while they scanned nobody said a word. Also, I don't know if you've ever used a IIa, but is the bigger viewfinder in the IIIC worth it? How about compared to a IIIc?
