Mamiya RZ67 Pro II Portraits – Budapest

Mamiya RZ67 Pro II Portraits – Budapest

Matthew Osborne Photography / Mr Leica

December 2017 (from February 2017)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Pro II

Mamiya RZ67 Pro II Portraits

Here are a series of film scan images I shot on my Mamiya RZ67 Pro II 6×7 medium format film camera.  I used the Mamiya 110mm f2.8 lens (as pictured above), the amazingly big and bright Mamiya RZ waist level viewfinder and a Mamiya RZ 6×6 film back rather than a standard RZ 6×7 film back.  After using my Hasselblad 501C / 500CM cameras a lot I prefer composing as a square than 6×7.   I used a mixture of film stocks for the shoot but many of the colour photos were shot on expired 120 Kodak Portra 160 film.

All the images were shot on a model photography trip to Budapest in February 2017 when I finally decided to take the big Mamiya RZ67 overseas (for the first time I think). Since then I have gone back to travelling with a Hasselblad camera or if I need to travel light only Leica M cameras.  Hasselblad cameras are nice but the Mamiya RZ67 viewfinder is still the best (biggest, brightest, easiest to focus) and I enjoy the Mamiya RZ bellows system where I can focus as close as I wish with any lens. (Like the even more amazing Rolleiflex SL66E camera which also uses bellows but is always breaking / jammed).

I have blogged my thoughts on the Hasselblad vs. Mamiya RZ67 comparison before.  12 months (or so) on and with me now using more Hasselblad equipment I think the Mamiya RZ images here render smoother than my Hasselblad photos (that I can think of) and using the above mentioned Mamiya Sekor 110mm f2.8 lens the sharpness is fantastic.  Both the Mamiya RZ67 Pro II and the Hasselblad 500CM /501C are very good cameras.

A big thanks to the Budapest models Petra, Patricia and Nora.  I was using multiple cameras so the other girls may have been shot on a 35mm Leica film camera or digital Leica M240.

*(I don’t normally say this but I would strongly recommend you to click any image that catches your eye to view larger on Flickr as small size here really doesn’t do the camera / lens / model justice!).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Pro II Portrait

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 + Kodak Portra 160

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Fashion Photography

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Portrait

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Fashion

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 6x6 Back

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Portrait

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Pro II

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Kodak Portra Skin Tones

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 6x6

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Headshot

 

 

 

 

 

 

 

 

 

 

 

 

Expired Portra 160 Portrait

Mamiya RZ67 Headshot

 

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Headshot

 

 

 

 

 

 

 

 

 

Mamiya RZ67 Fashion

Thanks
Matt

Related Posts

Here are a few more Mamiya RZ67 Pro II portraits with UK models Sophie, Stacey and Lindsay

 

 

 

 

 

 

Mamiya RZ67 Headshot

 

 

 

 

Mamiya RZ67 Portrait

 

 

Mamiya RZ67 Portrait

 

Mamiya RZ67 Pro II Portrait

Mamiya RZ67 Headshot

Mamiya RZ67 Pro 2 Portrait

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Hasselblad Focusing Issues

Hasselblad Focusing Issues

Matthew Osborne Photography / Mr Leica

December 2017

20150927-002332.jpg

If at first you don’t succeed try try again!

Hasselblad Backfocusing
Hasselblad + Sonnar 180mm f4 CF

This is a big article so you may want to make a cuppa and find a comfy chair before you begin!

*(Update  – Skip to the end to cut a long story short if you prefer a quick answer!)

*Model photos included in this post were all taken throughout this period but seemed less effected than others photos by the focusing issues I was experiencing.

Recap of my history using Hasselblad V-Series cameras…

She's arrived! 😁 #selfie 3 #hasselblad #hasselblad501c #mediumformat #filmcamera #film #6x6 #hasselbladlove #ilovefilm #filmisnotdead #beautiful #cameraporn www.MrLeica.com

My first Hasselblad camera (Hasselblad 501C) + the holy trinity of Hasselblad lenses

My first Hasselblad camera was a near mint Hasselblad 501C camera with matching Hasselblad A12 film back and the standard 80mm f2.8 kit lens. As part of the Hasselblad camera bundle I got two additional lenses and that gave me what some people class as the holy trinity of Hasselblad lenses, 50mm, 80mm, 150mm (Zeiss Distagon 50mm f4 CF, Zeiss Planar 80mm f2.8 CF, Zeiss Sonnar 150mm f4 CF). With this trio of lenses I was able to obtain sharp pleasing results with the Hasselblad 501C almost every time.

Meet the gang! My new Hasselblad trio - 50mm, 80mm, 150mm. Fresh back from yesterday's wedding in London! #hasselblad #hasselblad501c #zeiss #distagon #planar #sonnar #prism #filmcamera #filmwedding #film #mediumformat #6x6 #cameraporn #ilovefilm #ishootf

My Hasselblad 501C camera died 😦

Life was good with the new-to-me Hasselblad 501C and I was using the camera on most of my film photography photoshoots. I was then on a shoot following a full day of using the Hasselblad with a cable release and the shutter release button pushed inside the camera body and jammed when I went to take a shot. The weight of the shutter release cable had sheared off the outer housing surrounding the shutter release button meaning it was then hanging lose and so jammed inside the Hasselblad camera body. The Hasselblad 501C is still in this state until I find time to get it repaired.

IMG Paris Model

Hasselblad 500cm Portrait

Paris Fashion Week

Replacement Hasselblad Body – Hasselblad 500CM

With no time to repair the Hasselblad 501C and more film photography shoots booked in the diary I went on eBay and bought a Hasselblad 500CM camera body (only) as it looked the cheapest solution. I moved the Acute Matte cross hair focusing screen and A12 film back from the Hasselblad 501C to the Hasselblad 500CM and had my lens to attach. I then went through a phase of using my 35mm film Leica cameras more and also quite a long period passed with me not developing any film due to time constraints (training for the Ironman event). Many months later when I developed the film from the Hasselblad 500CM camera that I used on my Paris model photography trip, Poland trip and others I noticed I had misfocused a high proportion of my photos which was both surprising and disappointing (as unusual). By the end of me using the Hasselblad 501C camera I had got into a routine of using the Zeiss Distagon 60mm f3.5 CF for most of my portraits (see my Hamburg Hasselblad portraits blog post). When I moved over to the 500CM I thought it would be nice to go back to using a longer lens again so opted for the Zeiss Macro-Planar 120mm f4 CF lens. Once I saw all these misfocused photos I thought it must be my eye sight not being good enough at focusing with a longer lens. (I do wear glasses to drive but don’t wear them day to day otherwise). I didn’t think any more of it.

Hasselblad 500CM
Horse Model Portrait
Hasselblad 500CM + T-Max
Hasselblad Portraiture
Hasselblad Classic
Hasselblad Classic

Zeiss 100mm Planar f3.5 CF lens – Tenerife Photoshoot

In autumn 2017 I got fully back into Hasselblad camera shooting mode and invested in a new lens, a Zeiss Planar 100mm f3.5 CF for my model photoshoot in Tenerife. I took the Hasselblad 500CM camera with a waist level finder (WLF) (rather than the usual 45 degree prism finder setup) and shot the camera handheld rather than with the usual monopod. (All because I was travelling light so could carry less gear). I eagerly developed the film from my shoots with Lindsay in Tenerife and to my huge disappointment most of the photos were again misfocused.

Hasselblad Headshot
Zeiss Planar 100mm f3.5
Hasselblad 500CM Fashion
Hasselblad Zeiss 100mm CF
Fuji Velvia 100 Cross Processed
C41 Crossed Processed Velvia 100

Zeiss 180mm Sonnar f4 CF lens – Poland Photoshoot

(..and for Hasselblad wedding)

Following my disappointment in Tenerife I pinned the blame of the misfocus issues on the WLF focusing being less accurate than the 45 degree prism finder and me being less stable handheld that with a monopod. I then bought a Zeiss Sonnar 180mm f4 CF lens to take for my next model photography trip to Poland. I refitted the 45 degree prism finder to the Hasselblad 500CM and use the camera with a monopod for every photo. I also took with me the Zeiss Distagon 60mm f3.5 CF lens. I used both the 180mm Sonnar and 60mm Distagon lenses in Poland and again returned super excited to develop the film. I scanned the 6×6 negatives and to my horror the photos were still not sharp and some were completely out of focus (focus not on the eyes). After closer inspection it seemed all the photos were back focused. That being, the focus point on the final image is further back on the subject than intended compared to what was seen when looking through the viewfinder. For example I focused on eyes and hair at back of head was sharp instead with the eyes being out of focus. This was the case when using both the 180mm Sonnar lens and 60mm Distagon lens. Some photos were just about postable and could be recovered a little in post processing but others were straight to the bin. What a huge disappointment (again). I need camera I can rely on and expected better from Hasselblad.

Hasselblad 180mm Sonnar f4
Zeiss Sonnar 180mm f4 CF
Hasselblad 500CM Fashion
Zeiss Sonnar 180mm Portrait
Hasselblad Model Photography

Hasselblad Focusing Issues / Misfocused images – Possible Causes

I trawled the internet for possible causes of the Hasselblad back focusing issues and people wrote about it being due to user error – perhaps tired eyes (no – not for every photo), camera shake (no – used monopod (and release cable for some photos) and shot at a shutter speed of 1/125 mostly) or the subject/ models moving (likely for the worst out of focus examples but not every photo). Other possible causes documented for Hasselblad focusing issues were – focusing screen loose and not flat / aligned, mirror not aligned / become lose, film back does not match film body or film back defective so film plane not flat to camera focusing plane. I checked the Hasselblad mirror and it seemed OK. The acute matte screen I was using in the 500CM was out of the Hasselblad 501C but it looked flat (if a little lose in the clips). The film back I was using on the 500CM was also from the 501C. Perhaps this mismatch of newer A12 film back on older Hasselblad 500CM camera body was the issue but it is the only working Hasselblad A12 film back I own.

Replacement Hasselblad 500CM camera, lens, film backs bundle

I decided to keep my eye on eBay for a bargain and managed to win an auction for another Hasselblad 500CM bundle with an older 45 degree prism finder (TTL version), an older/ smaller 80mm Planar f2.8 C kit lens and 2x older A12 film backs. I now planned to try my own Hasselblad lenses on the new-to-me Hasselblad 500CM camera body and film back combination and fingers crossed I will be back to sharp and beautiful high definition 6×6 film scans for my portraiture, fashion and Hasselblad wedding photography.

No Hasselblad Wedding Photography 😦

I had an all analogue film wedding photography booking just days after returning from Poland and I had to make the decision not to pack the a Hasselblad camera as I knew the results would be sub-standard and not 100% sharp (in focus where I planned to be in focus). I was looking forward to using the new Zeiss Sonnar 180mm for Hasselblad wedding photography (part of the reason for my purchase) so I hope I get the opportunity to give more wedding couple some beautiful Hasselblad wedding photos on their big day once the camera is working again. (Below – I used my Mamiya 6 camera)

Mamiya 6 Wedding

Fingers Crossed!

The new Hasselblad 500CM camera was due to arrive soon so fingers crossed the matching camera body and film back will resolve my Hasselblad focusing issues.

New Hasselblad Camera 🙂

My second Hasselblad 500CM camera bundle arrived and had its own issues! A lag between pressing shutter release button and me having to wiggle the film advance lever to release the shutter)(annoying!). I did however do a test roll with my Zeiss Planar 100mm f3.5 CF lens and the resulting photos were in focus and sharp with the lens wide open! Hooray! I can see skin pores again on a models face. Back to the image quality I expect from a Hasselblad camera. So at least I now have one Hasselblad 500CM camera setup that focuses correctly.

Zeiss Distagon 60mm f3.5 CF
Hasselblad +  Zeiss Planar 100mm f3.5
Hasselblad 100mm f3.5

Camera Museum London

I am a regular visitor (every time I visit London for photoshoots) to the Camera Museum London which is a one stop shop for Hasselblad cameras. I had been mentioning my frustrations and Hasselblad out of focus problems over a few months and they contacted me to say a guy had been into the shop describing similar Hasselblad misfocus difficulties. Apparently he had ordered himself a Hasselblad split image focus screen so he could see better and hoped that would fix the issue. The Camera Museum suggested to me that a split image focus screen may also solve my focus issues and perhaps I should try that option next. For my close up Hasselblad headshots at least this shouldn’t be the case as I can see clearly each eye lash (but still the photo is not focused) but for further away subjects a split screen would 100% help my focus accuracy.

Hasselblad Studio Shoot

Hasselblad Acute Matte D Split Image Focus Screen

Despite being able to see well close up after a distance of a few meters I do find it difficult to focus accurately. I reconsidered a Hasselblad split image focus screen (after ruling it out until now) as I love rangefinder focusing (such as my Leica M cameras). I got back on eBay and managed to pick up a boxed mint Hasselblad Acute Matte D split image focus screen ahead of my next Hasselblad photoshoot. Hasselblad focus screens are expensive even for the non-acute matte glass but I needed a screen to benefit my sight and accuracy so I invested in the Acute Matte D version. The glass should hold its value and if the split screen focusing view doesn’t work for me I can always sell it.

hasselblad acute matte d split prism focus screen

Hasselblad Focus Screen Upside Down?

Camera Museum London got in touch with me again and apparently the guy that bought the split image screen was still having focus issues. They checked his camera and his focus screen was mounted upside down (with the straight/ cut metal edges up and the rounded edge down into the camera). My heart sunk! I had already checked my first Hasselblad 500CM focus screen orientation against my Hasselblad 501C and both were the same direction. They were both.. rounded side down! I checked my latest Hasselblad 500CM screen that was focusing correctly.. rounded edges up! When I had bought the first 500CM I had put the screen from the 501C into the 500CM upside down unknowingly.

*Picture below shows the “straight /cut” metal edge which should point into the camera

hasselblad focus screen 2 -.jpg

Happy Ending!

I flipped the existing Hasselblad focus screen in my first Hasselblad 500CM camera and shot a test roll. Sharp images! I then fitted the Acute Matte D split image focus screen. Again sharp images but also WOW love the new split image view! I can see beyond 1-2 meters distance and focus accurately and with confidence! This is a first in my Hasselblad photography era! Good times ahead! 🙂

Hasselblad Wedding

To Conclude and Thanks

It took a while but I got there eventually!  I now have two Hasselblad 500CM cameras that both focus accurately and I use them side by side on my Hasselblad shoots, whether model photography or Hasselblad wedding photos (see mock wedding shoot with models Harriett and Ash to follow)(preview example above). I will also get my Hasselblad 501C camera repaired once I get chance.

A big thank you to Ward at Camera Museum London for solving my issue. I highly recommend you drop in to say hello to them if you are ever visiting London. They have endless cameras to look at (and buy!), hold a wealth of Hasselblad knowledge and serve great coffee in their cafe too! (Formerly known as “Camera Cafe”).

Leica M3 Calibration

Camera Cafe

Thanks for reading!

Matt

Related Posts

Hasselblad 500CM Studio Shoot

Film Landscape Photography

Film Landscape Photography

…in Fuerteventura, Canary Isles.

Matthew Osborne Photography / Mr Leica

December 2017

Leica Landscape Photography

Intro

I just returned from a short vacation to Fuerteventura in the Canary Isles where I met family who were out there on holiday. It was my first visit to this island but I have been to the neighboring island Tenerife a couple of  times. The weather in this part of the world is a real treat when visiting from the UK during the winter as the average temperature in the Canaries is normally in the mid 20s. (degrees Celsius).

Landscape Photography Camera Bag

  • Hasselblad SWC/M camera + finder
  • Hasselblad SWC focus screen + WLF
  • Hasselblad A12 6×6 film back
  • Hasselblad A16 645 film back
  • Leica M4-P camera body (film)
  • Leica M240 camera body (digital)
  • Leica Elmarit-M 28mm f2.8 lens
  • Voigtlander Color Skopar 35mm f2.5 lens
  • Tripod

Before the trip I had bought the Hasselblad SWC/M wide-angle camera with the Zeiss Biogon 38mm f4.5 lens (equivalent to 21mm on a full frame 35mm camera). The SWC/M camera is well suited to landscape photography but I bought it mainly for people photography, weddings, fashion photography and environmental portraits. That said after the purchase the camera I found myself watching 10hrs+ of YouTube landscape photography videos (while eating my evening meals each day). I’ve never studied landscape photography so found certain aspects of the videos both interesting and inspiring.

Hasselblad SWC/M Landscape Photography

Hasselblad SWC/M Landscape Photography

After being inspired by the landscape photography videos I decided to pack my Hasselblad SWC/M to take to Fuerteventura together with a tripod and cable release. Being a family holiday I didn’t have as much flexibility to go and take photos at any time of the day compared to when I travel alone but I did go out early one morning before sunrise to take pictures. I soon realized I really needed to car to get to any of the wow scenes up in the mountains so instead settled for a few simple long exposure shots to blur the sea/ water in my images. It was a surprisingly slow process to me and I only took four images within the hour I was out. There was no sunrise to speak of and the 21mm field of view was often too wide for the scenes I was trying to compose and capture. My first landscape photography experience (with all the gear) was OK but it didn’t blow me away with excitement.

Ironman Training

ironman

Even though my first Ironman triathlon is complete I continue to enjoy training whenever I can and I plan to enter more triathlon events in 2018. My brother and I hired road bikes for three days I was there and we did a ride at first light followed by a run along the coast before breakfast. The next morning we did a 50 mile ride up into the mountains. The sun was already up and the landscape looked breathtaking in the low directional light. I really love the barren landscape in Fuerteventura with the red-yellow sandy ground contrasting nicely against the blue sky, the often derelict buildings littering the hillsides and the various cactus plants providing an assortment of shapes. Trying to take landscape photos in a ‘Brits abroad’ holiday resort yesterday wasn’t really working for me despite it being one of the nicer resorts. Getting out into non tourist parts of Fuerteventura and up into the mountains was much more my thing. I wish I had a camera with me on the bike ride but we only stopped once for a quick selfie at the top so I wouldn’t have had chance to use a camera anyway. It did however get me thinking.

Leica Landscape Photography

On my last morning in Fuerteventura my new plan was to cycle back into the mountains alone to take landscape photos. Sadly the weather had other ideas and I woke to cloud cover and an unlit landscape. I decided to have an extra hour in bed and then run along the coastline instead to give the sun time to burn through the clouds. Sure enough by 10am we had hazy sunshine so after the run and quick breakfast I grabbed my bike and headed off towards the mountains. The original idea was to take both the Hasselblad SWC and a Leica camera and shoot them both handheld in the bright light. Unfortunately both cameras would not fit in the back of my running hydrating vest main pocket. I therefore packed light and took my Leica M4-P film camera with Leica Elmarit-M 28mm f2.8 lens, a Sekonic light meter and a spare roll of film. I think I would have chosen a slightly wider lens (15mm, 21mm or 25mm) but 28mm was the widest I had with me. One advantage of the Elmarit-M 28/2.8 is it is nice and compact compared to my 21mm and 25mm Zeiss Biogon lenses. Another benefit of using a 28mm lens is the M4-P has 28mm framelines in the viewfinder to aid composition.

Leica Film Landscape

I had 35mm Fujicolor C200 already loaded in the Leica M4-P and took another roll of C200 with me. Some of the images I was taking suited black and white film but I will convert the colour film to monochrome in post processing. Cycling along the open roads in the sunshine was amazing in itself but then being able to stop at any scene that caught my eye was fantastic. Often when traveling by car it is not possible to stop when I see a photo to capture but on a bike I could stop anywhere even on a busy road and just pull in to get my shot. I cycled 10 miles out stopping along the way taking photos both in front of me with sunshine over my shoulder and also back at the sun in the opposite direction. I wish I had brought a small circular polarizer filter for the Leica to cut through some of the haze but it was a nice practice session regardless.

I was out for 2.5 hours, covered 20 miles or so and thoroughly enjoyed every minute. This may well become my new favorite pastime combining training, exploring and photography and without the restriction of always being reliant on a model for my photography. Model photography is amazing when I have models but can be almost depressing when I have a beautiful location and then no one to photograph. This new past time of cycling and landscape photography means I can visit any country without the limitation of needing to consider if I can find models on my arrival.

Leica Elmarit-M 28mm Landscape

Possible camera gear for my next Leica landscape photography (on bike)

I would take a Leica M4-P film camera again due to the 28mm framelines for composition. I might look to take the Zeiss ZM Biogon 25mm f2.8 lens and use the full viewfinder area to approximate my field of view. As mentioned I will also consider the 21mm ZM Biogon and the Voigtlander Super Wide Heliar 15mm f4.5 lens. One observation I didn’t mention above is for some scenes I wanted to compress a scene or take a crop of the landscape and the 28mm lens was too wide. I like the idea of carrying two lenses, one wide lens and a short telephoto lens. Because I need to pack small and light I think both my Leica Summicron 75mm f2 APO lens and Summicron 90mm f2 lens will be too large and heavy. My plan is therefore to try taking a compact 50mm lens instead, the Leica Summarit-M 50mm f2.5 lens.

Leica Landscape Photography

My landscape photography research suggested that the best lenses to use for landscapes are often wider than the normal 50mm field of view humans see or longer telephoto lenses. That said I love a 50mm focal length for much of my photography so I will see if I can get it to work for me. The other thing I must pack for my next adventure is a circular polarizing filter and some colour filters for black and white photography.  Red and yellow filters will both darken a blue sky and lighten a yellow building or dust track road. Lastly I want to pack better suited film stocks. For black and white film I will try 35mm Fuji Neopan Acros 100 speed film for crisp B&W tones and perhaps Ilford Delta 100 for super high-resolution. For colour negative film I think I would choose Kodak Ektar 100 for saturated colours and fine grain but if I really wanted to invest in the art I would shoot the expensive 35mm Fuji Provia 100 E6 slide film for its superior colours and resolution. Fuji Velvia 100 film is often preferred by landscape photographers due to the super saturated colours but I already have 35mm Provia in my fridge so will try this first. Lastly I would be sure to take my Sekonic light meter as weather and light levels can change especially if cycling up mountains.  I would take the Sekonic L-308s light meter rather than the Sekonic L-758 light meter as it is smaller and light.  If and when I get really keen at landscape photography I will swap to the Sekonicl-758 spot meter for zone metering.

sekonicv2

Taking the Hasselblad SWC exploring

I have certainly not ruled out the Hasselblad SWC for future adventures and I think once I take it on one trip and see the images it would probably come with me on all future landscape trips. The Hassy SWC is a compact camera even if it is heavier than my Leica with lens attached. If I pack the SWC with finder, a few filters and a light meter I should be able to find one of my running rucksacks that will accommodate it’s size.

Bad weather landscape photography

Many of the best landscape photography photos are taken in less than perfect weather conditions, often mist, fog, rain, snow and varying degrees of low light-darkness. As such a tripod is usually a must have. That said, I want to enjoy my cycling as much as the photography and I like being out in the sunshine. If I am only doing fine weather photography at f8-f22 with a shutter speed of 1/60-1/500 I will choose to travel light and without a tripod. A full height tripod is out the question for my current lightweight cycling setup. If I find I enjoy landscape photography enough to do it without including the cycling aspect then I can look to drive to locations in the early hours in potentially bad weather and then take a tripod with me (and as much camera gear as I want in a normal camera rucksack.  If I find myself sticking to landscape photography (and by bike) but decide to do some early morning first light shots I may look to get one of the table top Manfrotto tripods like the Manfrotto PIXI EVO 2 tripod for a ligghtweight option.

manfrottopixi

My next cycling-photography adventure

After three days in the sunshine I am already set to book a follow-up trip cycling holiday / photography adventure to see if I can hone my camera skills and keep fit in the process. I will certainly visit the Canary Isles again for this type of holiday as I love both the landscape and the climate.

Some of my past attempts at landscape photography!

(Approximate order newest to oldest using a variety of cameras)

Hasselblad XPan Panoramic Landscape
Cinestill 800T Film Landscape
Fuji GF670 - Soller, Majorca
Leica M2 Landscape
Leica M2 Landscape
Portland Bill Lighthouse Fisherman
Leica Summicron 50/2
NT Packwood House Estate
ARAX Landscape
Samyang 24mm f1.4
Samyang 24mm f1.4 Landscape
Samyang Summer - 35mm/1.4 @f2 SOOC
Mount Teide, Tenerife
Autumn sunset, Devon

Related Posts

 

 

Hasselblad, Leica & Polish Models

Hasselblad, Leica & Polish Models

Matthew Osborne Photography / Mr Leica

October 2017

Here is the blog diary I wrote to document my last model photography trip to Poland on the flight home.  Sorry it took a while to share!

10 Models in 2 days.. Poland

Leica Summilux ASPH Portrait

Choice of Cameras

I really enjoyed using the Hasselblad 500CM medium format film camera in Tenerife and before I went I replaced the PM45 prism viewfinder with the much lighter and more compact waist level finder (WLF). I had been happy the camera looked more ‘classic Hasselblad’ and that it fitted into my camera bag easier but the final photos are what matters. When I scanned the film from Tenerife I noticed I had much more photos that were sub-standard as they were not tack sharp and many mis-focused slightly. I could only think it was me being less accurate at focusing using the WLF rather than the prism viewfinder.  The WLF is certainly more difficult for me to find focus. I refitted the Hasselblad PM45 prism finder in hope that my photos get back to the standard I demand.  I think my sharpest Hasselblad photos to date were model photography images shot in Hamberg with the 60mm Zeiss Planar lens but I also had success with it in New York and Poland previously using the 150mm Zeiss Sonnar and 120mm Zeiss Makro-Planar lenses.

I’ve started using a different small camera bag to my usual Billingham Hadley Digital (perfect for Leica cameras but not for the Hasselblad camera shape) as it gives me a bit more space and enough room for all of the below mentioned  cameras and lenses.  It is a really old bag I got free with an eBay film camera purchase but it does the job I need well.

Polish Girls

Hasselblad and Leica

The Hasselblad setup using the 180mm Sonnar and ISO 400 speed film will require enough light for a minimum aperture of f4 and shutter speed of ideally 1/125 or more (I will use the 500CM camera with a monopod to increase my chances of sharp photos).  I therefore packed a speedlight to boost light levels / brightness if needed.

I brought along the Leica M3 to use with available light. Using the Leica Summilux ASPH 50mm f1.4 lens and Kodak Eastman Double-X 5222 film I can shoot at f1.4, 1/50, ISO 800 (easily) in low light.  When there is sufficient light I will use the Hasselblad as much as possible followed by the Leica M3 (moreso in less light).  For all digital photos I will use the Leica M240 camera.

Voigtlander Nokton Classic 40mm

Final Kit List

    • Hasselblad 500cm 6×6 film camera
    • Zeiss Planar 60mm f3.5 CF lens
    • Zeiss Sonnar 180mm f4 CF lens
    • Leica M240 digital camera
    • Leica M3 film camera
    • Leica Summilux 50mm f1.4 ASPH lens
    • Voigtlander Nokton 40mm f1.4 lens
    • Carbon Monopod
    • Speedlight

Zeiss Sonnar 180mm f4 CF

Day 1 Model Photography

On my first day I had 4 models starting from 8:30. It was about 10 degrees colder than when I left the UK, overcast and raining in Sopot so not ideal conditions for a beach location shoot. The first photosession was all inside and all digital. The second shoot was a new model from the local model agency, Malva Models who I have worked with before. We managed to get outside briefly but it was cold and the rain kept starting again.

For the afternoon I was to revisit a makeup artists apartment that I shot in December 2016.  The MUA had invited her friend too so I had two models and seemingly unlimited creativity in terms of hair styles, makeup styles, cool props, a few different continuous light sources, light stands, a studio backdrop and a cute little dog called Boris to help us. The first 3hrs passed really quickly and I loved the results I was seeing. Next the wine came out and the shoot got extended as it was going so well. After that there was offer of pizza and more wine before the next look but my Leica M240 battery had almost died. Not wanting to miss out on the fun I ran the 2km back to my hotel, grabbed my spare battery that I had accidentally left behind and then 2km back to the apartment just in time for the pizza arriving. After very tasty food and more wine I setup the lights for a bedroom set. Throughout the photosession I was metering with the Leica M240 often shooting at the settings set for the Hasselblad film camera, f4, 1/60, ISO400.  I used both the new Zeiss Sonnar 180mm f4 lens and the Zeiss Planar 60mm f3.5 for wider shots or mainly for when there was not enough room for me to walk back with the 180mm lens to compose.  For the Hasselblad I was using mostly 120 Fomapan 100 black and white film metered at ISO 400 and 35mm Kodak T-Max 400 black and white in the Leica M3.   I used the Leica M3 camera without flash and with the Leica Summilux 50mm f1.4  lens shot wide open at 1/50.  After a very enjoyable afternoon and evening I finally got back to my hotel at about 21:30.  A perfect end to the first day and I could not have asked for anything better.

Behind the scenes!

Day 2 Model Photography

Former Miss Poland picked me up at 8:15 in a little sports car then we travelled to her apartment for the photoshoot.  I managed to finish the expired roll of Kodak Portra 800 shooting on her balcony using available light and then most of the other photos were inside with digital. We even managed some lifestyle photos with her dog.   As time goes on I seem to enjoy lifestyle photography more and more and it is one of the looks/ styles I enjoy to photograph.

Next I had another agency model I had spotted on Instagram but also from Malva Models.  I thought she was local when I invited her but she actually lived 3hrs away and came by bus. The weather was a bit brighter, warmer and drier so I made use of the beach location and shot almost all the shoot outside. When the light levels are low working on the beach helps as the water and sand reflect light up onto the model like a giant reflector.  The Zeiss Sonnar 180mm telephoto lens was a joy to use out in the open and in these conditions the 40mm and 50mm Leica M mount lenses suddenly felt too short. I wish I had brought the Leica Summicron 75mm f2 APO lens or Leica Summicron 90mm for more of a telephoto look. Next time!

Hasselblad 180mm Sonnar f4

The third model I spotted on Facebook and had sent her an invite on the chance she would respond.  It later became apparent she was signed to a Warsaw model agency but lived closer to Gdansk. From the first few test photos I knew it was going to be a good shoot. Even as a new model she could hold a pose and eye contact better than some of the full-time models and took direction really well.  This was perfect for the Hasselblad film camera that is a little slower to operate than the Leica M3. The next model cancelled so we kept shooting and I loaded a roll of colour Fuji Pro 400H to fire off in quick succession using the last of the evening sun. I really hope the Hasselblad photos look as good as they appeared in the viewfinder!

Fuji 400H B&W

The model after that was late so I had half an hour to run to a shop to buy some fresh bread to eat to keep me going and then I walked along the beach front to the pier to meet the model and her friend for an after sunset low light shoot.  We shot until it was completely dark and then it was back to the hotel for an indoor shoot with a girl I worked with a few years ago. It was a nice catchup and hopefully give a confidence boost plus some new photos for Instagram and Facebook.  We finished about 22:00 and that was the last shoot done for Poland. I had an early flight home the next morning.

Leica Summilux ASPH 50 Portrait

Summary

October is probably too late in the season to plan for lots of outdoor photos on the beach in Poland so I was happy I could use the new Zeiss Sonnar 180mm outside as planned. In all my previous visits to Sopot, the longest lens I have used is the 120mm Zeiss Macro-Planar so it will be good to compare the look of the 120mm vs. 180mm lenses at the same location.

I was very lucky to have been invited to the makeup artists apartment for most of the first day as we had heavy rain and not much light. My plan for the two days was to shoot inside the hotel as little as possible (as I have visited it so many times) and to instead find different backdrops to use.  I did reasonably well to achieve this goal I think.  My previous visit to Poland was mostly models photography with flash against a white hotel wall so I think this visit should hopefully bring more interesting pictures.

Leica Model Photography

I have high hopes for the Hasselblad 500CM film photos (especially with the new Sonnar 180mm lens) so I shot 7 of the 8 rolls of 120 film I took with me.  I used the Leica M3 less and shot 2 1/2 rolls of 35mm. As with all my model shoots some models screamed out ‘need to shoot this on film’ (because of the pose/ look, the clothes, the location, the light or all of them combined) and other less so. As such I think most of the film was shot with 3 or 4 models of the total 10.

Doing a shorter more intense two days rather than four days in Poland worked better as I had almost no time wasted/ down time compared to previous visits. I enjoyed meeting / and discovering some new faces and I will certainly keep in touch for future visits.

Polish Girls

Thanks

As with all my model photography trips, a huge thanks to the models, especially those that didn’t know me previously and who trusted me to give them some nice photos in exchange for their time. In no order thank you to models Dorota, Kinga, Pola, Marta P, Marta W, Weronika, Marysia, Paulina, Natalia, Kinga S, to Malwina at Malva Models agency and to Monika at the hotel.

I still haven’t developed all the film and I have held back some of the developed Hasselblad film images for a Hasselblad specific blog post that will follow this one.  As always more photos will be shared to my Instagram (@MrLeicaCom) and my Flickr as I get chance.  Thanks

Related Posts

Hasselblad SWC/M Super Wide Camera

Hasselblad SWC/M Super Wide Camera

Matthew Osborne Photography / Mr Leica

November 2017

The Hasselblad SWC (Super Wide Camera) family of cameras had a production life span from 1954-2009.  From researching online my particular camera model, a Hasselblad SWC/M with CF lens attached and a spirit level built into both the camera body and the newer style view finder seems to be dated from around 1982-1988.

Hasselblad SWC/M Super Wide Camera

Hasselblad SWC – Intro

A Hasselblad SWC/M comes with a Zeiss Biogon 38mm f4.5 CF lens attached.  Unlike the more common Hasselblad 500 series / V-series camera models the lens on the SWC cameras does not detach.  The SWC is a camera designed and built around the very well-regarded Zeiss Biogon 38mm lens.  It is not like a normal 500 series Hasselblad camera (as I think of them) as it has no mirror/ ground glass / waist level view finder setup you normally find at the heart of every Hasselblad.  Instead it just has an external viewfinder to aid basic composition.  To focus the SWC camera I need to use hyperfocal distance (like I would on a Leica rangefinder camera for street photography) and dial in a preferred focus distance on the Biogon lens (such as 2 meters) and then roughly gauge by eye this distance from the camera to the subject.  As the camera is a wide-angle camera there is greater depth of field (DOF) than on say a long lens (especially once the SWC lens is stopped down).  The 38mm Biogon lens is roughly equivalent to 21mm on a 35mm camera sensor so gives a pretty wide field of view compared to the standard 80mm Zeiss kit lens on a Hasselblad 500CM Classic which is equivalent to 50mm in 35mm camera terms.

Hasselblad SWC – First Thoughts

My first thoughts when collecting the Hasselblad SWC/M were small, compact and lightweight compared to the Hasselblad 500CM + telephoto lens(es) I had been using prior to picking up the camera.  The SWC has a very solid and audible clunk when you release the shutter.  Much more so than my 500CM and 501C and much for fluid movement but then it is a newer camera so perhaps to be expected.  The SWC finder view is big and bright but also very distorted so it is difficult to retain a mind-set that the photos will not also look distorted.  The spirit level built into the SWC finder is a very nice touch as you can see if an image horizon is level without taking your eye from the finder.  Well done Hasselblad.  The CF Zeiss Biogon 38mm lens looks very similar to all my other Zeiss CF lenses and is solid and seemingly well-built.

Hasselblad Wedding Photography

When I do Leica wedding photography with my digital Leica M240 camera one of my most used lenses is the Zeiss ZM Biogon 21mm f2.8 lens.  I have a 28mm Leica Elmarit-M f2.8 lens but found the 28mm focal length not quite wide enough in situation with lots of people and/ or confined spaces.  The 21mm ZM Biogon is great for bridal prep shots with multiple bridesmaids in a small room or during a wedding ceremony to capture the bride and groom and some of the guests in the background.  For previous analogue film weddings I found the standard lenses on many of my medium format film cameras too narrow to capture everything.  For a Hasselblad wedding I have the Zeiss Distagon 50mm f4 which is the same as 28mm but nothing wider.  Sometime it is just nice to have a super wide lens to photograph a whole room such as the inside of a church.  A wider lens also has a great depth in focus so for moving people photos taken in a candid street photography / documentary wedding photography style it is easier to nail focus with a wider lens than with a telephoto lens (when using manual focus).  This was one reason/ ‘excuse’ to buy a Hasselblad SWC/M.

Hasselblad SWC for Street Photography

Leica cameras are popular street photography cameras when focused using hyperfocal distance.  As mentioned briefly above it means I set a desired distance and aperture on the lens and this gives me a certain range in focus (say everything between 1-3 meters).  Once set it basically makes a Leica camera a full frame 35mm point at shoot camera (if you keep your subjects within the area in focus from the camera (Ie. if something is 4m away I need to walk closer before taking the photo or move the distance on the lens to further away before taking my shot).  The same methodology can be applied to the Hasselblad SWC camera, setting an aperture and focus distance on the 38mm Biogon lens.  As the 38mm is equivalent to 21mm in 35mm terms it gives quite a deep depth in focus. (Telephoto lenses have a much shorter distance in focus at any aperture).  The SWC camera can them become a 6×6 medium format point and shoot camera for street photography, weddings or otherwise.  The biggest restriction in the UK is sufficient light so the SWC is more suited to bright conditions or high ISO film stock than low light photography for this technique.

Hasselblad SWC for Travel Photography

One big selling point of the Hasselblad SWC for me is the compact size and relatively low weight.  The Hassy SWC/M weighs under 1.4kg (with camera, finder and film back attached) and in comparison a Hasselblad 500CM camera + 80mm kit lens + film back weights closer to 1.6kg (but for the lenses I use the Zeiss Sonnar 180mm f4 CF lens alone weighs 1.1kg!)  For my overseas model photography photoshoots I tend to take with me the smallest cameras that provide sufficiently high image quality (and are fun to use and reliable).  It could be argued that my Mamiya 6 and Fuji GF670 are more suited as medium format travel cameras but I much prefer the rendering of Hasselblad lenses to the Mamiya glass and I find the GF670 fragile (currently awaits repair) and not exciting to use (even if it is a very capable camera).

Hasselblad SWC/M!

Hasselblad Fashion Photography

Another reason to buy the Hasselblad SWC is for my Hasselblad fashion photography.  I love the Hasselblad telephoto lenses such as the Zeiss Sonnar 180mm f4 lens and Zeiss Macro-Planar 120mm f4 lens for portraits but to photograph clothes full length a wider lens is often easier.  The Hassy SWC 38mm Biogon lens could be deemed too wide but many fashion photographers have used wide lenses in the past to give their fashion photos a different look.  I think I may use the SWC camera more for wedding photography but I hope I can also use it for some of my model photography to add some variety to my work.  For environment portraits a wider lens is also very beneficial as it helps to capture both the model and their environment.  I have shot many times in Budapest for example and taken headshot / half body portraits yet the surrounding location detail outside the field of view might have added additional interest to the images if included.  I think of all the locations I have done model photography the city that screams “use a wide lens” the most is without doubt New York city.  I need to go back soon!  On a previous visit to NYC I used my 35mm Hasselblad XPan camera for a wider view but found I usually prefer 6×6 format to panoramic for my model/ fashion portraits.  Using both the wide-angle Hasselblad SWC/M and a standard Hasselblad 501C /500CM body side by side gives me the best of both, with the option for wider environment portrait / wide angle fashion look photos and also shallow depth isolated headshots and portraits with a longer telephoto lens.  When using two Hasselblad bodies I also have the advantage of the Hasselblad V system being modular.  (See more below).

Hasselblad SWC Fashion

Hasselblad Modular Cameras (Specifically Film Backs)

One huge advantage of investing into the Hasselblad 500 series (V-series) cameras (including the SWC camera) is the cameras are modular in their design.  This means I can unclip a standard Hasselblad A12 film back (or any other film back) from any Hasselblad 500 camera and use it on my new Hassy SWC/M.  Having multiple film backs to use can be really valuable during a Hasselblad wedding for example.  If I was using a Mamiya 6 camera for group photos and finished my roll of film mid-session I would need to halt proceedings, rewind the film and reload with fresh film to continue.  When using a Hasselblad I carry multiple pre-loaded film backs and as soon as film finishes in one back I can quickly unclip and attach a second back with film loaded ready to go.  Another advantage of multiple film backs is I can load one back with colour film and one back with black and white film.  For Hasselblad fashion photography (or film weddings) or any client shoot I can shoot a mix of colour and black and white film and swap the backs between cameras.  For example shoot a wide scene in B&W on the Hasselblad SWC then take the back from the Hasselblad 500CM (loaded with colour film) to capture a colourful confetti group photo straight after.  The 500CM can then capture some B&W wedding portraits on a long lens and so on.  I would travel with at least two film backs for model photography trips and if possible carry 2 Hasselblad bodies too, the SWC/M and a 500CM or 501C.

Hasselblad Focusing Screen Adapter 41025 SWC/M

An obvious disadvantage of the Hasselblad SWC/M is the fact that the viewfinder does not allow for critical focusing.  Maybe it is because I have used Leica rangefinder cameras intensively for a prolonged period but for much of my photography I like to line up straight lines (horizontal and vertical) in a scene with my frame lines in the viewfinder. For example at a church wedding I would centre the viewfinder to the church aisle to capture equal detail on both sides and ensure it is aligned to the straight edges of the walls.  With the Hasselblad SWC the finder view it is only a rough guide of composition.  I would hate to have to crop every SWC photo after scanning to straighten and centre each picture.  Luckily there is another option

There is a Hasselblad Focusing Screen Adapter 41025 for SWC (SWC/M) cameras which basically makes the SWC into a mini 4×5 camera/ large format camera.  On my large format cameras like the SpeedGraphic and Sinar F2 I compose an image upside down on the ground glass on the back of the camera and then critically focus using a magnifying loop.  The Hasselblad focusing screen adapter is basically a ground glass as you would use on the top of a Hasselblad 500CM but on the back of the camera.  The SWC has no mirror so a photo is composed by just looking through the lens at the image displayed on the glass.  On a large format camera in bright conditions I put a jacket over my head and the back of the camera to block light glare.  Luckily the clever engineers at Hasselblad have a much neater design.  The focus screen adapter accepts any Hasselblad 500 viewfinder such as the pop up waist level viewfinder (WLF), a 45 degree prism finder or a chimney finder as examples.  To critically compose the Hasselblad SWC I just unclip the A12 film back, clip on the focus screen adapter (with WTF or prism already attached), compose (with camera on a tripod for example), unclip the adapter, reattached the film back and take the photo.  This process is not for every photo as takes more time than quickly estimating a composing and focus with the standard SWC finder on the top of the camera but it is a nice option to have for when I have more time (and it will be more rewarding to get the planned composition rather than cropping something in/ out of frame that was not desired.

Hasselblad and Leica Cameras

I like and use Leica cameras as they are well-built, enjoyable to operate and have great lenses that capture sharp pleasing images.  To get ‘better’ than what Leica film cameras could give me I had to look at larger film formats.  I have tried and use various highly regarded medium format film cameras but it is Hasselblad cameras which I seem to enjoy and appreciate the most.  Hasselblad 500 system cameras are of a similar build quality to Leicas and with equality good optics made by Carl Zeiss.  I have enjoyed using Hasselblad 501C and Hasselblad 500CM cameras and this gave me the confidence to buy the Hasselblad SWC/M.  The SWC/M is more Leica like being more compact and operated more like a Leica rangefinder (in terms of composing via the external finder) and I would argue for my particular SWC/M model the film advance lever and shutter release sound and feel even better than it’s 501C/500CM siblings.  Like a Leica M3 and the Hasselblad 501C / 500CM, the Hasselblad SWC/M is 100% manual and has no batteries or electronics.  I love the simplicity of manual cameras without batteries and the knowledge that they cannot develop electrical faults in the future that may not be able to be repaired.  I enjoy using my Mamiya RZ67 Pro II camera but I often have battery related issues that I don’t get with a 500CM.  I have some nice Fuji 645 format film cameras but the GA645 specifically relies heavily on electronics and one of mine seems to have sadly developed a terminal electronic fault.  At least manual Hasselblad and Leica cameras are in theory more likely to keep going into the future even if they need a CLA (clean, lube, adjustment) every so often.
L1008609LR

Hasselblad SWC – Specifications

As with many of the cameras I own and have talked about on this blog, Ken Rockwell has also reviewed the camera and kindly details all the specifics of the Hasselblad SWC on his site.  Rather than me repeat the same camera facts please see a link below to Ken Rockwell’s SWC review

Hasselblad Resale Value

One good thing about investing in older Hasselblad film cameras is they seem to hold their value quite well (and even appear to increasing in value/cost over the last 12 months or so).  If I find the Hasselblad SWC/M camera isn’t really for me at least I can say I tried it.  I would never have discovered my love for Leica and Hasselblad cameras if I didn’t take the chance and move away from the camera(s) I used at the time.  I never know, the SWC/M might become my new most used most loved film camera!  Either way I will enjoy finding out!

Related Links

Model Photography – Tenerife

Model Photography – Tenerife

Matthew Osborne Photography / Mr Leica

September 2017

 

Intro

This morning I woke up tired, still smiling, and more tanned than I was a week ago. I had landed back in the UK in the early hours after three full fun packed days of model photography in warm sunny Tenerife! As with all my overseas photoshoots here is the usual summary of what I got up to, some camera specifics and a few thoughts thrown in too.

Olympus Pen-F Film

Camera Bag

  • Hasselblad 500cm 6×6 film camera
  • Zeiss Planar 100mm f3.5 CF lens
  • Olympus Pen F film camera
  • Olympus Zuiko 35mm f1.8 lens
  • Olympus 35RC film camera
  • Leica M240 digital camera
  • Leica Summilux 50mm f1.4 ASPH lens
  • Voigtlander Color Skopar 35mm f2.5 lens
  • Lumix LX100 (Leica D-Lux 109) digital camera

 

L1002867v2crrop

Cameras.. including dusting off my Hasselblad 500cm for a trip away

I edited a Hasselblad film scan that I had taken in Paris back in February and I forgot quite how good the detail is in the 6×6 film negatives compared to 35mm. When I bought my first Hasselblad, a 501c, I really struggled to focus using the waist level viewfinder (WLF) so bought a PM20 prism viewfinder. I found this easier to use and the Hasselblad became more similar to the Contax 645 in that regard. I absolutely love the magic of my Mamiya RZ67 Pro 2 WLF so I’ve always been a bit disappointed that I didn’t get on well with the Hasselblad WLF and the acute matte bright focusing screen (glass). I think I often use the excuse that I’m not taking the Hasselblad as it is too big as this can be the case but it doesn’t need to be. The PM45 prism does add both weight and size to the camera and the Zeiss Macro Planar 120mm f4 is bigger than the kit lens. I’ve never been a fan of the Zeiss Planar 80mm f2.8 CF kit lens as I think it is softer than the 50mm, 60mm, 100mm and 120mm Hasselblad lenses in my opinion (the 150mm is buttery soft but in a great way). In 2015 when I was in full Hasselblad swing and fast become Mr Hasselblad rather than Mr Leica I bought a Zeiss Planar 100mm f3.5 because it is almost as small as the 80mm yet crazy sharp and with little distortion. I had it a week then decided it was a lot of money when I could just use the 120mm Macro Planar instead to achieve equally sharp results yet also get closer to my subjects without the need of an extension tube. I saw a classic shot of a Hasselblad 501c on Instagram and it reminded me how pretty the camera looks with their WLF compared to with a prism finder. A Hassy just doesn’t look quite the same without the WLF and it just seems right to see the image on the top of the camera. I decided to put my WLF back on my Hasselblad 500cm (the 501c awaits repair) and if I centre my subject on the ground glass cross hair for the part I want critical focus I can see to focus. On most of my other non-rangefinder cameras I can see to focus anyway within the frame but the Hasselblad Acute matte screen goes a little pearlescent/foggy if look at some angles. I practiced focusing with close up subjects and it seemed doable. I then switched back to view the same subject with the prism viewfinder and noticed the view was much less magnified. That made me like the WLF more and then main two advantages of having the WLF fitted is 1, it packs much smaller (and lighter) and 2, it just looks right and how it should be used (and very cool too!).

RW_151v2.jpg

So with that I now had a compact (standard rather than enlarged) Hasselblad 500cm camera body and film back ready to go. I was then back to the debate of what lens to take. The 120mm is big but very sharp and lets me go close but I find it makes me take mostly headshots as it sucks me into the subject. The 60mm focal length was my standard lens when I used my ARAX-CM (Kiev 88) in my earlier photography days. It let me go closer than an 80mm and the 35mm field of view was perfect for environmental portraits and street scenes when I was shooting in India and other places (search ARAX on my Flickr feed for examples). I bought the Zeiss Distagon 60mm f3.5 CF when I got the Hasselblad 501c and have used that for perhaps 50%+ of my photos. At the time I liked the images and for portraits of men I love the distortion a 60mm lens gives up close. For girls however I’m now starting to prefer the flatter less distorted view of a slightly longer lens (to avoid the big noise look!) the 60mm is also smaller than the 120mm Macro but still bigger than the 80mm. I was then back to deciding whether I would be happy using the little 80mm lens or not. I viewed a few 80mm lens photos I could find and didn’t hate them and then I viewed the few 100mm photos I had taken when I had the lens for a week. Wow they were sharp, almost too sharp even at f4-f5.6. Two days before my flight I got in touch with my friend at the now called Camera Museum in London and they kindly shipped out another Zeiss 100mm f3.5 CF lens for me. So I was all set with my new compact Hasselblad 500cm setup with WLF and uber sharp yet compact 100mm lens. My Hasselblad was looking sexy again!

IMG_4644.JPG

After taking my Leica film cameras on almost every overseas model photography trip I decided to mix it up a bit and pack my pocket size full frame 35mm Olympus RC35 as I was hoping it would be bright conditions and the camera is super sharp stopped down a little. I also packed another camera I have a real soft spot for, the amazing Olympus Pen-F half frame film camera. As I shoot 99% models/ portraits I often find I don’t photo other subjects on film as I think I will never use the images. The real beauty of the Pen-F is with 72 photos per roll you can be snap happy and photos anything and everything. I’ve started including a few non people photos on my @MrLeicaCom Instagram feed so I thought I could try to get some little arty shots with the camera in addition to portraits. Considering the Olympus Pen-F is half frame you would expect the film scan of the tiny negatives to be really low resolution but in reality it seems the opposite. I have made some crazy sharp photos with the Olympus Pen F camera. The effect can be made even more dramatic I you load fine grain film like black and white Ilford Pan F 50 or the amazing (yet pricey) Fuji Provia 100F E6 slide film. I decided to treat the Pen-F to a roll of 35mm Provia 100 and would shoot more black and white film in the Olympus RC35. For the Hasselblad I packed both colour film and black and white film and even included a roll of expired E6 Fuji Velvia 100 to shoot and then try cross processing it in my C41 Tetanol kit chemicals. I have two Sekonic lightmeters but I find because I am always shooting digital and film together I meter with the digital camera LCD instead. I packed the little Lumix LX100 (Leica DLux109) as a backup and my Leica M240 as the main digital camera. For my workflow with models I like to use a digital camera to warm them up first rather than shooting film straight from the first pose. The digital LCD also helps me show models what I am trying to achieve and often gives them a confidence boost once they know they look good on camera. If I was shooting only film I think a new model especially would struggle to not be able to see how she looks plus they can’t see what I am doing nor if the results are worth their time in front of the camera. Models can also spot things on the back of the camera LCD images I may not such as clothing malfunctions or hair not behaving itself or need for more makeup etc. As such this hybrid style of shooting using both film and digital side by side works well for me. I also find digital very beneficial when I am using strobes as you can’t quite visualize how a photo will look when flash lit compared to using available light.

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Overseas photoshoot with UK model

Normally when I do model photography overseas I work with local models at the location I visit. The problem my Coventry UK regular models have is we normally shoot in the house or home studio. I think I have used every wall, doorway and window so many times I now need something more inspiring. In addition to this, some clothes can look amazing on a model but they need the correct setting or backdrop to look their best. I asked Lindsay, a model I have work with quite a lot in the last 12 months if she’d like to do a photoshoot in Tenerife and to my delight she agreed. When booking flights and hotels with a model the key criteria for me is reliability. Many models have highs and lows so one week they will be really keen then they go off the radar for six months. That doesn’t really work for overseas trips. I visited Tenerife once before so I picked an area I was slightly familiar with. The difference this time is I have a model there to work with so I’m excited to see what we can create.

Available Light Portrait

Photoshoots – Day 1

Lindsay and I arrived into Tenerife late morning and got started straight away. Luckily for me Lindsay is great at doing her own hair and makeup and we’d discussed clothes beforehand so we had a pile of cool garments to work with. The weather was around 21 degrees in the morning and 27 degrees in the day with blue skies and strong direct sunlight. Our hotel room had a balcony with a sea view so we had that as an additional location to use. Being situated right on the coast we had a sea breeze which worked well for hair moving in the wind pictures. I started using the Hasselblad quite quickly and soon got to grips with focusing via the WLF (I think anyway!). The camera felt stable to use without a monopod or tripod and I was using shutter speed of 1/60 or faster. I realised there was some Kodak Vision3 50D Motion Picture film in the Olympus Pen F so I finished that roll on the first day. We went to the coast for sunset but the light dropped quite quickly and too fast for me to use my Hasselblad and f3.5, 1/60, ISO 100 film. It was a pity as Lindsay created some amazing hair for me and wore a red outfit I was looking forward to shoot. We got some shots in the low light but almost all on digital. Once the light had faded we went back to the room then I went out for a quick moonlight run just along the sea front. Not far as it got too dark to see my feet but I still loved it.

Olympus 35 RC

Photoshoots – Day 2

We set our alarms and walked down to the coast before breakfast to catch sunrise at 8:00. It was not that easy to shoot into the sun and correctly expose the model but we tried a few different setups. Once the sun was up we walled back and enjoyed an amazing hotel breakfast. Lindsay changed clothes, hair and makeup and headed outside again and found this fantastic derelict building. This was to be our playground for the next 2-3 hours. I was whooping every 5 minutes the light was that good and Lindsay just got better and better. I give models directional pretty much constantly throughout a shoot to fine to a pose before I click the shutter. I think models have to be quite patient with me barking orders at them and continually shouting “wait wait wait, again again” as I swap between cameras, and tweak my composition or point of view. Hopefully the pictures are worth it though and Lindsay mentioned she has got a lot more keepers (photos she likes) when shooting with me in the past so I guess that’s good. In the afternoon we did a lingerie shoot in the hotel room and then had a bit of downtime before the golden hours so I made the most of it and went for a run along the coast. As sad as it sounds it was one of the best experiences of 2017. I absolutely loved it! Running on single track routes weaving between the rocks and cactus, hopping across boulder fields and the beautiful coastline alongside. One of my wild ideas is to get into Ultras. These are 50K-100K plus endurance fell running events often on similar terrain to what I was enjoying. I just love the exploring aspect of it all. Running on tarmac roads around Coventry doesn’t really do it for me but I will try to build up a base fitness in the meantime. It will also work well for future Ironman events.

runv2

I got back from the run then we went straight out the door again for a sunset shoot. The sun was setting inland to where we were situated so only really gave us some low direction light rather than pretty classic sunset shots. I decided to load the Fujicolor C200 film into the Olympus PenF for an extra stop of light (verses the Fuji Provia 100 film). Once the sun had gone down we continued to shoot until I was at ISO 6400 on the Lejca M 240, f1.4 and 1/30. By that stage I couldn’t really see Lindsay anymore to focus so we finished our days photos and went for some well-earned food and drinks.

Leica Location Shoot

Photoshoots – Day 3

Last day already yet we’d done so much in just 2 days we felt we had been in Tenerife much longer. For sunrise I still had black and white film in the camera so had to use that first. I might pack 2 Hasselblad film backs for my next trip (one film back loaded with colour film and another film back with black and white film). I then wanted to try shooting a roll of Fuji Velvia 100 with the intention to cross process in C41 chemicals. From my research I believe the film scans will look completely red, with a lot of contrast and not much detail. I don’t know if the photos will be a success but I tried to compose some simple compositions and fired the 12 shots off in reasonably quick succession. After breakfast we did one more indoor shoot to use our hotel room before we had to checkout. I loaded a roll of 120 Kodak Ektar 100 and really hope the photos look as good as they did through the viewfinder. Fingers crossed! Prior to check out Lindsay accepted my look request of curly hair, my favourite retro looking red swimming costume and makeup to match. We went out and shot the red outfit against the blue sky and finished with my sunglasses the look was complete. I loved it but what photographer doesn’t love red! I finished my roll of Ektar film and that was the last photos for the Hasselblad. Six rolls of 120 film shot in total. I didn’t think we’d use all the 120 film so it shows how well we had done (I don’t shoot film unless I like what I see). I will bring more rolls of 120 film next time if these images turn out OK. I also finished the Fuji C200 in the Olympus Pen-F but we were mid-way through some amazing photos so I loaded the Fuji Provia 100F slide film to make the most of the red outfit and cool hair / makeup. Lindsay changed clothes and we took a walk along the coast. I saw some photogenic steps coming out the sea so we shot there first then Lindsay decided she wanted to lie on the rocks with the water around her. I said she was crazy but we got into position to get the shot. 30 seconds later a big wave came along engulfing Lindsay and washing her straight off the rock. I must have instinctively pressed the shutter as it happened and managed to catch the just before and the aftermath. Poor Lindsay was a bit scrapped and battered but saw the funny side. A few wet hair photos then back to hotel reception to rest. I made the most of my last free hour in Tenerife and went out for one last run, determined to reach the summit of a distant hill within the allotted time. I did it and even managed to shoot some video on my iPhone for my Instagram feed. I think I will finally buy a GoPro camera soon to capture some behind the scenes footage from our photosession and my various antics.

Leica Fashion

Conclusion

Tenerife was my first photoshoot trip where I travelled out with a model to an overseas destination. I did a debrief with Lindsay at the airport while we waited for our flight as to what we could do better if I was to organise a similar overseas photoshoot trip. Overall it had been a huge success and for me personally it was a near perfect mix of photos, sunshine and training and with great company too. Working 1-2-1 with Lindsay for 3 days really pushed our creativity to keep producing different looking photos time and time again. It’s quite impressive what you can think of when you try and have an environment that inspires you to shoot. Lindsay and I were both very keen to get to most out of our trip and as a result didn’t visited the hotel pool once to relax in the sun. We both agreed we are very keen to do it all again but next time also look to invite at least one more model and for a larger event the possibility of makeup artists and a stylist/ wardrobe person too. More models would mean individual models would get to relax a little between shoots. Makeup artists would be beneficial for models not as confident as Lindsay at doing their own hair and makeup and a stylist can bring unique garments that can’t be found easily on the high street. As a minimum, Lindsay and I will be going back to Tenerife for another 3 day shoot as soon as we can!

Sunrise

For me personally next time I would try to pack two Hasselblad film backs and more 120 film, using it as my main film camera for all key images where there is sufficient light. I would probably replace the Olympus 35RC and Olympus Pen-F cameras with my Leica M3 to capture high quality images when there is insufficient light for the Hasselblad. I could use the Leica Summilux 50mm f1.4 lens on the Leica M3 for low light and then use the Leica Noctilux 50mm f1.0 lens on my Leica M240 for more unique looking images. If I had more people on the photoshoot I would pack a reflector for someone to hold and then not bother with taking any speedlights. If it was only me and Lindsay (or one other model) I may try to take my digital Hasselblad H3D and use it with strobes. Why take the H3D? Because it has a flash sync speed of 1/800 vs. 1/180 for the Leica M240.

Are you a model and potentially interested in joined me on a future shoot? Is it for you?

In summary if you are a creative (and reliable!) model that enjoys creating TF images in your free time and are happy to cover your own expenses plus put up listening to me for three days then get in touch! If you are good at hair and makeup that is ideal, if not I am open to models bringing their own makeup artists along if the MUA is happy watching or relaxing during our shoots. If you are a model with an interest in clothes then your creative mind can only help enhance our photos and you are very welcome. For anyone interested please get in touch and I can give you more details including approximate costs (based on this trip).

*Update – January 2018 Tenerife trip is already booked with limited availability for models but if it goes well with this bigger group then I will organise more model photography location shoots.

Sea View

1-2-1 Model Photography Workshops – Overseas

I could also look at potentially organising overseas 1-2-1 model photography workshops. If you want to shadow me working with Lindsay or another model and have the opportunity to take photos to build up your portfolio I’m sure I can arrange something. I have done 1-2-1 photography workshops in overseas cities before such as New York or Zurich but working with local models rather than UK models.

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Budapest-Ukraine Road Trip

Budapest-Ukraine Road Trip

Matthew Osborne Photography / Mr Leica

September 2017

 

Leica Shoot Out

Well Overdue

I had originally booked to visit Ukraine in July this year (and Poland) but due to my Ironman triathlon training commitments I decided to forgo both model photography trips and rebook them after the event.  I wanted to try to get to Ukraine before the cold weather came so booked it as soon after the Ironman as I could.  I also rebooked Poland (to come!).  After no overseas model photography shoots since I think May 2017 it felt like it had been forever.  I was more than ready for this one!

Camera Gear

  • Leica M240 digital camera body
  • Leica Noctilux 50mm f1.0 lens
  • Leica M3 film camera body
  • Leica Summarit-M 50mm f2.5 lens
  • Leica M4-P film camera body
  • Voigtlander Nokton 35mm f1.4 lens

Cameras and Film

I have been to both Budapest and Ukraine quite a few times now so I tried to select cameras, lenses and film stock different to previous trips. I wanted to take a medium format camera but had taken the Fuji GF670, Fuji GA645 and Mamiya 6 in the past and was not overly impressed with the results compared to a 35mm film Leica.  I think if you load a Leica with professional standard fine grain film they can capture super sharp high clarity images even with the smaller 35mm film format.  I’ve had great success in the past combining in particular the Leica Summicron 75mm f2 APO lens with  the fine grain black and white Ilford Pan F50 film.  I wanted to bring the Hasselblad but I didn’t have sufficient capacity in my hand luggage so settled for 2 Leica film cameras, one to shoot colour film and one for black and white film. I also tried to pack more rolls of colour film as I normally shoot mostly black and white. For colour film I bulk loaded a batch of Kodak Motion Picture Vision3 200T film which is tungsten balanced but I use it with a 81B colour correction filter in daylight. I also had some daylight balanced Vision3 50D to use but less of it.  For black and white film I selected what I believe is the best with regards to image quality (sharpness and clarity) and took Ilford Pan F 50 and Ilford Delta 100 film. For low light I packed some Kodak T-Max 400 film as I like the fine grain and some of my usual bulk loaded Kodak Eastman Double-X 5222 which has such great latitude and seems to work in almost any light.

Leica M Lenses

When taking Leica film cameras rather than a different film camera brand such as Hasselblad, Mamiya or Nikon, I have the advantage that I can pack one set of lenses to use on both the digital Leica M 240 and the Leica film cameras.  Last time I was in Ukraine my M240 needed recalibrating so I used a 35mm Voigtlander Skopar lens stopped down to ensure I had a deeper depth of field. I was also using speedlights a lot for flash photography.  In contrast, for this trip I wanted to use less flash and shoot with a shallow depth of field. My obvious lens choice for available light photography is the Leica Noctilux 50mm f1.0. Digital photos to me can look very boring but the Nocti lens shot wide open can add a lovely filmic / painterly soft look to a photo and it is these imperfections that make the photos perfect (for me anyway). I like the small size of the compact Leica Summarit-M 50mm f2.5 lens and it balances nicely on my Leica M3. It is also very sharp wide open.   I packed the 50/2.5 for those reasons but in hindsight I wish I had packed the Leica Summilux ASPH 50mm f1.4 as it is more suited to available light photography. I find the Leica Noctilux 50/1.0 can be a little too soft at f1.0 when shot on film (for many film stocks I’ve tried) whereas the Leica Summilux 50/1.4 ASPH can work well at f1.4 with film.  Lastly I chose the Voigtlander Nokton Classic 35mm f1.4 lens for a wider view yet suited for available light also. Again in hindsight next time I may pack 3 50mm lenses plus a 35mm for occasional use. It is frustrating to use two focal lengths side by side as I will stand in a place to compose for say a 50mm lens then when pick up the camera with the 35mm lens on the perspective is different and I need to walk forward for the same crop as seen with the 50mm, only to then step back again when I switch to the 50mm.  I think I’m currently back to being a 50mm shooter as my most used focal length. 35mm can feel too wide yet 75mm – 90mm can be too long/ tight.

Budapest

Budapest was only a short visit and hello to models en route to Ukraine.  I had two nights in Budapest city centre so booked three models each day. On day one the first model didn’t arrive nor even bother to write. Luckily the next two models were some of my most reliable in Budapest so they came prepared. What I learnt the most from the day is regardless of a model looks, the models I can make the best photos with are those that are as excited as me about making the pictures. Two creative minds on a photoshoot can lead to some amazing results and in particular I love models that are also stylists. They piece together really interesting clothing combinations and somehow source garments that you rarely see on the high street.  I was really happy with days photos despite the morning being wasted by a no show. The digital images I was seeing on the M240 LCD using the Leica Noctilux lens looking very promising.

I only had one evening in Budapest so even after a busy day shooting and not much to eat as soon as the last model left I grabbed my running kit and drank a quick coffee then did a sunset run along the River Danube. So beautiful and enjoyable. The perfect end to a perfect day!

Day two had another bad start with another cancel but I was tired so made the most of it and had some extra sleep. The rest of the day was two more reliable models so luckily stress free. I think the big difference for day two is the model had their own vision that was not my preferred arty style so having less input made it more like going through the motions. Day 1 I shot nearly 3 rolls of film. Day 2 I didn’t shoot a single frame! I think the longer I do photography the more selective I become, both in terms of models I work with but also the styling, location and general mood.  I only shoot film when I feel the capture deserve it.  Film doesn’t suit every photo, I think, or for me anyway. To be more precise, if the light does not interest me when shooting digital I will not reach for a film camera. Light is everything.

Slovakia

Normally when I shoot in Ukraine I fly into Slovakia from the UK and then get a bus over the border to Uzhgorod. For this trip I decided to fly to Budapest, then bus from Budapest to Slovakia, stay there overnight then get my usual bus from Slovakia to Ukraine.

That was the plan anyway. I am quite relaxed as a person and I arrived to the bus station at the exact time of departure and missed my pre-booked bus.  Luckily I was able to find another bus going to Slovakia 6hrs later that would arrive in time to catch my connecting bus to Ukraine. The long time waiting was less painful than feared and I arrived in Uzhgorod on Day 3 ready to shoot.

Ukraine

Window Light

Day 3.  I had a quick one hour shoot with an agency model I knew from last year and then my model friend arrived on her train from Kiev.  We set to work and had an extremely enjoyable and productive first day using the light right through until sunset. I can’t wait to see the photos!

Day 4 started with a pre-breakfast lingerie shoot which just showed the amount of thought and planning going into trying to make the nicest pictures.  Once we were both dying of hunger we stopped for breakfast. In the afternoon we shot a few more looks right up until it was time for the model to catch her 16hr return train back to Kiev. A very enjoyable first two days in Uzhgorod and the bar had been set high for others to try to follow.  I felt very fortunate a model would want to travel 16hrs (each way) for a photoshoot.

Leica M240 B&W

Day 5 was supposed to be my first full day working with local models friends with five models booked back to back morning til night. Sadly three of the five models cancelled putting me on a bit of a downer after experiencing such highs in the two days before.  The sun and warm 28 degree temperatures we had been enjoying also gave way to a day of mostly rain. The last model, my first ever in Ukraine six years ago, braved the rain and we shot under a bridge before retreating for coffee and cake.

Leica Fashion Photographer

Day 6 was my last in Ukraine so I’d booked in five more models. Luckily my endless hours on social media trying to organise all these shoots paid off and I had no cancellations.  Even the sun came back out for us!  I shot with a wide mix of ages and experience and I think I discovered a new super model at the age of only 15.  When I first came to Uzhgorod I shot with a 15yr old girl and now she’s based as a model in Paris (the last I heard).  I also had a lot of fun catching up with friends and it’s lovely when they seem genuinely thankful that I came back to visit them.  I was dead on my feet again when the last model finished but still decided to fit in one more run along the river despite being dark.  I even made two new friends on the pull up / dips bars outside one of the housing blocks.  It is probably not that common for ‘tourists’ to mingle with the local but I enjoyed it. A great memory to end my time in Ukraine.

Leica Noctilux 50mm f1

Night Bus

The original travel itinerary was to stop off at a hotel in Slovakia on my way home via Budapest. After realising the night buses were not that painful I cancelled my hotel and booked a night bus instead. That gave me a full last day in Ukraine but also now some extra time in Budapest to fit in one last shoot.

My taxi was at midnight to go to the bus station. I jumped in the taxi, an old Lada Niva I remember well as a child and said ‘autobus station to go to Slovakia’. The driver said ok and we speed off along the empty pot holed roads, without a seat belt sitting in the passenger seat. (It is considered rude to wear a seat belt). I tried to show a driver an iPhone map photo of the bus station and he replied ok ok Slovakia. I soon realised he had misunderstood me and we were driving at speed in the opposite direction to the bus heading direct to Slovakia! To cut the story short I managed to make him stop the car and by describing roads and various Uzhgorod landmarks he understood and I managed to catch the night bus to Slovakia. The bus trip was great except we arrived to Slovakia 2hrs early.  It was perhaps 15 degrees colder than Ukraine and I now had a 3hr40 minute wait in a dark and deserted bus station. I wore all my clothes trying to keep warm but was very relieved to see my bus arrive to take me to Budapest. I slept the entire journey like a baby, including dribble!

Back in Budapest

A model friend from a few days earlier met me at the bus station in Budapest and we had a very enjoyable and hopefully successful shoot.  I suggested we shot at the location and it gave very different backdrops to the rest of my Budapest images. A good decision. We then also shot a bit more on the metro travelling into the city before I caught my bus to the airport.

CV Nokton 35mm

Thoughts

I believe the number of rolls of film I shoot on a trip is a good indicator as to how successful it was. I managed to use ten rolls of 36(/37) exposure 35mm film and for once I think more colour than black and white.  I was trying to push the equipment and materials to their max to see what I could achieve so I’m interested to see the results. In particular using fine grain film with the Leica Noctilux 50mm f1 shot at f1.0-f1.2-f1.4. I don’t think I stopped the lens down beyond f1.4.  I fear at f1 the photos will still be too soft (for my taste) but I wanted to try so I know my equipment limits.  Another sign of success for me was every film photo was taken with available light which I was keen to do (after so much flash film photography in the last 12-18 months). It’s easy to make light but harder to find it.  To again push myself I took no reflector to bounce available light so I’m excited to see how we got on.  I tried to mix up my styles even using the above mentioned parameters and I also shot outside as much as I could to use the locations.  Where possible I tried to not photo a model against a wall and kept the lenses close or at to their widest apertures. (The opposite of when I was doing a lot of flash photography and had the lenses stopped down (higher f. stop for a greater depth of field)).

I know many photographers prefer the diffused light on an overcast day for taking portrait photographs but for me I love nothing better than blue skies and direct sunlight.  Living in the UK where we often have cloudy weather I found I really appreciated the sunny days of Budapest and Uzhgorod. If I simplify things, the entire model photography trip was just one big light hunt! I think I need to relocate to a sunnier warmer destination. San Francisco perhaps!

Overall I was really happy with my week away and I don’t think I would have changed anything other than pack the hugely missed Leica Summilux 50mm f1.4 ASPH lens to use with the Leica film cameras.  I really wasn’t feeling the 35mm focal length and I would have been happy with only 50mm lenses. The best performer of the trip was without doubt the mighty Noctilux 50f1 lens.  The cameras were fighting over the Nocti as I wanted to use it to shoot film with but also to get the instant gratification when using the Noctilux on the digital Leica M240 and seeing the image on the LCD.  I don’t feel at any point that I missed not having a medium format camera.  Previously I have enjoyed the high flash sync speed (1/400-1/500) of most of the medium cameras to control ambient light when using flash. As I did nearly all available light photography the fast (f1.0-f1.4) Leica M mount lenses were much more suited (than f2.8-f4 MF lenses).  I am interested to see what the smaller 35mm film format Leica cameras achieved.

I think I write this and the end of every blog post I share but I’d like to think some of the images to come are my best yet.  I certainly tried!  Coming soon.

Big Thanks

I’ve not named models individually throughout this post but a huge thanks to models Eva, Nadja, Lili, Galyna, Inna, Dana, Angel, Nikoletta, Franciska, Alexa, Maryna and Valeria. It wouldn’t be possible without you.  Also apologies for the models I didn’t see this year.  I know I missed quite a few of you in Ukraine due to time constraints but I hope to be back again next year!

Thanks

Matt

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