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

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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.

IMG_4643v2

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.

L1003969+1.jpgInstagram @MrLeicaCom

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CineStill 50D vs Kodak Portra 160

CineStill 50D vs Kodak Portra 160

Matthew Osborne Photography (“Mr Leica”)

Here is a non-scientific comparison of 35mm CineSill 50D film vs. 35mm Kodak Portra 160 film.  CineStill 50D is a relatively new film whereas Kodak Portra has been around for years (in various forms).  CineStill 50D is a daylight balanced ISO 50 colour film. Kodak Portra is a daylight balanced ISO 160 film famous for capturing natural skin tones.  Kodak Portra can be bought in the UK for £5 a roll for 36 exposures (£25 for a 5 pack of Kodak Portra 160).  CineStill 50D is bought as single rolls and costs from £8 a roll of 36 exposures here in England.  I have shot Portra for several years but this was my first experience to shoot with CineStill 50D.  I have shot with CineStill 800T tungsten balanced film and was impressed with the results so had high hopes for CineStill 50D.

During my Zurich Model Photography Workshop I decided to shoot CineStill 50D side by side with Kodak Portra 160.

The details of the shoot were as follows:

  • Model: Nadja (Option Model Agency)
  • Camera 1: Leica M3  + Leica Summicron 50 f2 DR + 35mm Kodak Portra 160
  • Camera 2: Leica M2 + Leica Summilux ASPH 50 f1.4 + 35mm CineStill 50D
  • Lighting: Daylight only + Reflector
  • Processing: C41 lab developed + Scan, Lightroom + Photoshop

Kodak Portra 160 Model Photography

Kodak Portra 160 vs CineStill 50D

Leica M3 + Kodak Portra 160

Leica M3 + Kodak Portra 160

CineStill 50D Model Photography

Leica M2 + CineStill Portrait

35mm CineStill 50D

CineStill 50D Model Portrait

CineStill 50D + Daylight

CineStill 50D Model Photography

35mm CineStill 50 D

Results and Conclusion

From my personal experience only I feel these two films produce reasonably similar photos with neither being bad.  For my taste and eye I prefer the look of the Kodak Portra 160 film as I feel the skin tones are more natural vs the CineStill 50D.  CineStill 50D has a slight orange cast maybe vs. Portra.  In different light the CineStill 50D may win hands down over the Portra but that is my conclusion to date.

Will I use CineStill 50D again? Yes I have another roll to use so I will try to use it in different light next time.  Would I buy CineStill 50D instead of Kodak Portra film to use for paying clients such as wedding film photography?  No.  I prefer the look of Portra for skin tones.  Portra film also requires less available light (especially Portra 400 which has a very similar look to Kodak Portra 160)(or Kodak Portra 800). ISO 50 vs ISO 400 = CineStll 50D requires 300% more light that Kodak Portra 400 to obtain the ‘correct’ film exposure.  Weddings venues often don’t have as much light as I would like so films like Kodak Portra 400 are a must have film.  Lastly Kodak Portra 160 is cheaper than CineStill 50D so that is another factor to consider when deciding a regular film to use.

Medium Format Kodak Portra 160

Here are a few extra photos from the same photoshoot with Nadja using a medium format film Mamiya 645 Super + Mamiya Sekor 80mm f2.8N lens + 120 Kodak Portra 160

Mamiya 645 Super + Kodak Portra

Mamiya 645 + 120 Portra

Mamiya 645  Beauty

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Leica Summicron 50f2 DR

Leica Summicron 50mm f2 DR Lens

I have always had the old Leica Summicron 50f2 DR (“Dual Range”) lens on my ‘to try’ list despite owning a modern Leica Summicron 50mm f2 v5 lens.

New lens :) #Vintage #Leica Summicron 50mm f2 DR with goggles for close focus. Looks beautiful on the #leicam3 :) #leicacamera www.MrLeica.com

When considering new glass my first reference point is Flickr. I ask myself ‘do the images with this lens have something special about them, regardless of the subject matter or talent of the photographer?’ My modern Leica Summicron 50f2 v5 lens is my least used 50mm as I tend to favour the Leica Noctilux 50f1 or Leica Summilux ASPH 50f1.4. The vintage Leica Summarit 50mm f1.5 creates beautiful images but flares easily so not for all occasions. I sold the Zeiss ZM Planar 50mm f2 and Zeiss ZM Sonnar 50mm f1.5 but I don’t think I fully appreciated the strengths of the Sonnar until after it was sold. With the 50f1 Noctilux normally living on digital Leica M9 body I wanted another 50mm lens to live on the Leica M3 film camera. I shortlisted either another Zeiss Sonnar 50f1.5 or a vintage Leica Summicron 50f2 DR. I did a quick reality check for the usefulness of the two 50mm lenses.

Zeiss ZM Sonnar 50f1.5 vs Leica Summicron 50f2 DR

Zeiss ZM Sonnar 50f1.5

  • Fully functional on all my Leica M camera bodies
  • Modern lens coating so less prone to flare
  • Zeiss ‘3D’ pop look wide open
  • Sharp wide open
  • 50f1.5 is almost 1 stop brighter than 50f2 DR so more useful in low light
    BUT
  • Close focus only 1m (the reason I sold my first ZM Sonnar lens)
  • Some copies of the lens are said to have focus shift issues

Leica Summicron 50f2 DR

  • Can close focus at 0.5m (0.478) when using goggles attachment
  • Sharp images wide open
  • Images have a signature ‘DR’ look that I dont see with the modern v5 Summicron lens
    BUT
  • Lens only functions at a range of 1-4m on my Leica M9 and M8 (no close up or infinity focus ability)(*note lens is fully functional on my Leica M3 and M2)(and non-TTL M6)
  • Have to attach-detach goggles every time you want to go from close focus (0.478-0.88m) to 1m to infinity

I was keeping my mind open then on a recent trip to Munich Germany I visited the Leica Munich store to say hello and to see if they had a Leica Summicron 50f2 DR lens in stock to try. Sadly they didn’t have in but instead kindly recommended a shop that may have one. I found the shop and my luck was in! They had two 50mm DR lenses. One copy of the lens was cheaper so I tried that one first. It was not calibrated with my Leica M9 so I tried the second copy and asked the store if I could take it out the shop to try in the street. I left the Noctilux lens with them as a small deposit and they smiled and agreed. What struck me most was the sharpness wide open at f2 and the beautiful way it rendered out of focus areas. It took maybe five test photos and that was all I needed to see. Sold to the man that has enough lenses already but felt a need for one more!

#cameraporn #leicam3 #leicacamera #rangefinder #vintagecamera #leica #summicron 50f2 DR + Goggles - www.MrLeica.com

I will sell my near mint modern Leica Summicron 50mm f2 v5 lens with box if anyone is looking buy one? I know many Leica shooters swear by them but I dont use it enough to keep.

Eager to try the Leica Summicron 50mm DR to its full potential I fitted it to my Leica M3 and shot half a roll of black and white Kodak T-Max 100 film which was already loaded in the camera. It was sunny and I felt I was missing out by not shooting colour during the golden hour. I had no 35mm colour film with me in Germany,  only 120 Portra for the Mamiya 645 Super. Luckily I discovered a small camera shop when out exploring and when I asked for colour film they opened a box of the old Kodak Portra 400 VC that they must have had in stock for years. I’ve only ever used the new Kodak Portra so was interested to try the older 400 VC Portra. The model had cancelled for the afternoon shoot so I took the opportunity to set myself a challenge.  Shoot a 36 exposure roll of film in one afternoon of anything and everything using the strengths of the Summicron 50 DR lens. To me this meant mostly shooting wide open at f2 with plenty of close ups and considering the out of focus areas for colour and bokeh. Results to follow!

#filmchallenge 1x roll of Kodak Portra 400 VC (36 exposures), 1x Leica M3 rangefinder film camera, 1x Leica Summicron 50f2 DR, 5 hours of walking the streets taking photos of anything that caught my eye and finished off with 1x KFC meal :) #kodakfilm #lei

Leica Summicron 50f2 DR vs Mamiya 645 / Mamiya RZ usage

My most used non Leica camera is currently the Mamiya 645 Super.  What I enjoy most about the Mamiya 645 and even more so the Mamiya RZ 67 (and Rolleiflex SL66E) which use bellows, is the ability to focus close to my subject.  To me that is one of the biggest weaknesses of the Leica M system, the 0.7m rangefinder closest focus distance. Now my Leica M3 will focus to 0.5m at f2 I am excited to try the Summicron 50 DR for my portrait work. Again, results to follow!

I feel the Leica Summicron 50f2 DR is the perfect lens for my Leica M3. The combination look beautiful together and function is on a par with form. If the combination looked pretty but wasnt capable of taking good images it would be worthless to me. I buy vintage cameras to use not to polish.

I hope to try the Leica Summicron 50f2 DR on both my Leica M9 and also Leica M3 this weekend so sample images coming soon.

Here is a test shot SOOC from outside the camera store.  Leica M9 JPEG

Leica Summicron 50mm f2 DR - SOOC

Ken Rockwell is a big fan of this lens. More tech detail here – http://www.kenrockwell.com/leica/50mm-f2-dr.htm

CineStill 800 T Film Portraits

CineStill 800 T Film Portraits

MATTHEW OSBORNE PHOTOGRAPHY – “MR LEICA”

A quick recap of why I treated myself to a few rolls of 35mm CineStill 800 Tungsten film..

CineStill Xpro C-41 ISO 800 Tungsten 135/36

Firstly CineStill 800 T film is balanced for 3200K tungsten light so gives useable photos under this type of lighting.  Secondly the box speed of CineStill 800T is ISo 800 but it can be used at any speed between ISO 200 and ISO 1250 without losing highlight or shadow detail.

I took a few rolls of 35mm CineStill film with me on a recent trip to Poland to shoot on location with some of the Malva Model agency models based in Sopot.  I shot one roll with my Leica M3 film camera + Leica Summilux ASPH 50mm f1.4 lens and another in the Leica M2 camera + Voigtlander Nokton Classic 35mm f1.4 lens. For daylight shooting I metered at ISO 400-500 and used a 85B filter for colour correction.  For the late evening I metered at ISo 800 and for all the night photos I also metered at ISO 800.  I was interested to test the CineStill 800T under various light conditions, midday daylight, dusk, indoor tungsten room light, flurescent lighting, street lights and mixed lighting.

I shot with various models including Agnieszka, Teresa, Vicky, Karolina and Max that I shot on 35mm CineStill film.  Here are a few of the photos.  All images lab developed and scanned with an Epson v800 scanner.  Not all photos were scanned at the same time and some photos scanned discoloured so I had to try to correct the colour in post.  A few images were converted to black and white as I thought the colours didn’t add to the image.

CineStill 800 T + 85B Filter in Daylight (5500k) @ ISo 400/500

Facebook Cover Photo

CineStill 800T Daylight

Window Light

Cinestill 800 T - Daylight

CineStill 800 Daylight Portrait

CineStill 800 + 85B Daylight Portrait

CineStill 800T in the Snow

Leica M3 + Cinestill Film

CineStill 800T Fashion Photography

CineStill 800 Tungsten balanced film

35mm CineStill 800 T

CineStill 800T - Window Light

Leica M2 + CineStill Portrait

CineStill film - B&W

35mm CineStill B&W

Cinestill B&W

CineStill 800 T + 85B Filter in last of Daylight (5500k) @ ISo 800

CineStill 800T Colours - Portrait

CineStill 800T + 85B Filter

Voigtlander Nokton 35mm Vignetting

35mm CineStill 800T in Daylight

CineStill 800 Tungsten - in Daylight

CineStill 800 T + in Tungsten light (3200k) @ ISo 800

CineStill 800 Tungsten

CineStill + Leica M3

CineStill 800T Film

35mm CineStill 800 T film

CineStill 800 T + at Night with street lights (3200k) @ ISo 800

CineStill 800T Tungsten Light

CineStill 800T at Night

Cinestill 800T Colours

CineStill 800 Tungsten - Night Shoot

CineStill 800 T Night Shoot

Conclusion

I had high hopes for the CineStill 800T film but the resulting images exceeded all my expectations. I love the colours and tones and the fact that you can shoot a single roll at ISO 200-1250 in varying light conditions and it still gives great results.  I will definitely add it to my wedding film photography bag!

CineStill Xpro C-41 ISO 50 Daylight 135/36

I am looking forward to trying 35mm CineStill 50 Daylight film next with my Leica film cameras.  I think with my Leica Noctilux 50mm f1.0 v2 lens wide open on the Leica M3 camera.  I also really hope the Brothers Wright get sufficient funding to start producing 120 CineStill 800 Tungsten film so I can use it in my medium format film cameras like my Mamiya RZ 67 and Mamiya 645 Super (plus also in my 120 roll film back for the 4×5 large format film Speed Graphic and Sinar F2!).

Related Post

CineStill 800 T – More Info

Editorial Fashion – Kodak Portra + Leica M3 (2)

Editorial Fashion – Kodak Portra + Leica M3 …(Gina – Session 2)

Editorial Fashion – Kodak Portra Film + Leica M3

Model – Gina Underhill

Photographer – Matthew Osborne Photography (“Mr Leica”)

November 2014

Editorial fashion photography spread using a 1950s Leica M3 camera, 35mm colour film and minimal post processing. Below are photos from a recent shoot with Coventry model Gina who joined me in London as part of a portrait photography workshop. I was demonstrating how easy it can be to get a nice photo with minimal equipment and just daylight. One camera, one lens. We had an amazing day with a great location, a beautiful model and even some brief winter sunshine!

Here are photos taken when Gina arrived to London ahead of the orange dress shoot (first  post).  Hair still pinned up from transit but I said leave it like that as a bit different.  I chose the hat.  Gina was less keen!  I was also using my Rolleiflex SL66E 6×6 medium format film camera loaded with 120 Fuji Pro 400H so will share those soon.

More info –

Camera – 1950s Leica M3 Rangefinder film camera
Lens – Leica Summilux ASPH 50mm f1.4 @ f1.4
Film – 35mm Kodak Portra 160 colour film
Development – C41 processed lab developed and scan
Lighting – Daylight only
Location – Street close to Victoria Station, London
Stylist / Hair / Make-Up – Gina / Matt

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Related Posts

Editorial Fashion – Kodak Portra + Leica M3

Editorial Fashion – Kodak Portra Film + Leica M3

Model – Gina Underhill

Photographer – Matthew Osborne Photography (“Mr Leica”)

November 2014

Editorial fashion photography spread using a 1950s Leica M3 camera, 35mm colour film and minimal post processing.  Below are photos from a recent shoot with Coventry model Gina who joined me in London as part of a portrait photography workshop.   I was demonstrating how easy it can be to get a nice photo with minimal equipment and just daylight.  One camera, one lens.  We had an amazing day with a great location, a beautiful model and even some brief winter sunshine!

More info –

  • Camera  – 1950s Leica M3 Rangefinder film camera
  • Lens – Leica Summilux ASPH 50mm f1.4 @ f1.4
  • Film – 35mm Kodak Portra 160 colour film
  • Development – C41 processed lab developed and scan
  • Lighting – Daylight only
  • Location – Victoria, London
  • Stylist / Hair / Make-Up – Gina / Matt

 

Leica M3 + Lux 50 ASPH + Portra  Leica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + Portra Leica M3 + Lux 50 ASPH + Portra  Leica M3 + Lux 50 ASPH + Portra    Leica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + PortraLeica M3 + Lux 50 ASPH + Portra  Leica M3 + Lux 50 ASPH + Portra

Hope you like them!  I plan to do similar spreads going forward showcasing different films, cameras, lenses and models.

http://www.MatthewOsbornePhotography.co.uk

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