B/W film in summer for urban documentary project, and come kit critique please

[RezaLoghme]

English is not my native language, so it is a bit of an uphill battle for me to discuss this topic with you. When looking at words or definitions, I will never be as precise as a native speaker.

But I dont have to be, as I do not need to prove a point.

I like Ara Güler and his work, and I really like him as a person - based on what I could find about about him. I am synthesizing my learnings from him, also by using AI, and all in all he is a great inspiration for me.

But I only own one book - the one about Istanbul. And I have read it only once. The idea, the inspiration now shall have a live on its own. I dont want to be a "follower of Ara Güler", but be who I am.

Most things in my life, not only in the creative space (which also includes music and written formats), happen because of serendipity and imperfections. In most things, I am merely "good enough", mostly an enthusiastic yet half-baked amateur and autodidact. Snowdon is a much more prominent example - upcycling things he found by accident.

 

[Sirius Glass]

A few days ago, 10 rolls of Ilford XP2 400 arrived, as I am now getting ready for my trip. Now I am having second thoughts - isn't b/w a bit unsuitable for photographs taken in summer - or, rather should I plan the project (next week is just a fact-finding rehearsal) to be done in March or October?

I am taking a 500CM as the ELX is too noisy, and a 2nd generation WLF ref. 42315, and a 50mm Distagon C in black, 2 chrome A12 backs ref. 30074, and the rubberized wide strap ref. 59080.

Back to the original topic: black & white film will meet your needs. Now the question is will you have enough film?

 

[RezaLoghme]

Yes just ordered another 10 rolls.

 

[Alex Benjamin]

Yes just ordered another 10 rolls.

Then you have all you need . For now, just follow the sequence: look, meter, shoot what you find interesting. You can worry about the rest either as you go along, or later.

And your English is just fine, don't worry about it. My native language is French, and I often struggle to find le mot juste in English. In the long run, it doesn't matter that much.

 

[RezaLoghme]

"look, meter, shoot what you find interesting" is not the plan.

But thank you for suggesting it.

 

[Don_ih]

"look, meter, shoot what you find interesting" is not the plan.

Is there some other way to take photos?

 

[RezaLoghme]

Then you have all you need . For now, just follow the sequence: look, meter, shoot what you find interesting. You can worry about the rest either as you go along, or later.

I guess I am going to approach my project in many ways.

 

[Alex Benjamin]

"look, meter, shoot what you find interesting" is not the plan.

Well. it's my problem then. See, as far as photophic documentary and/or photojournalism is concerned, I'm zero interested in gear — there are no bad cameras, only bad photographers, as the saying goes —, and very, very interested in subject, and strategies. Thing is, on that, you've given very little to go along. Nothing on what you intend to photograph — specific place, what interests you in that place, why you're interested in that place, why you're interested in the people there. Stuff that photograhers actually care about. Now that's your choice. I respect it, but find it regretful, as it limits conversation and exchange of ideas.

So here I am trying to figure out what the plan is, and maybe I shouldn't, since you don't seem to want to share the plan. That's OK. I'll just quietly leave. Hope things work out for you and the plan.

 

[MattKing]

As Alex posted, the equipment is the least important variable.
Just be sure that you are comfortable/familiar with it.
The subject and scene will help you decide on it and the film you use.
As for film, light levels play a role in your choice, but you won't be caring much about tonality or fine rendition of images - it is documentary after all.

 

[MFstooges]

Is there some other way to take photos?

Sure there is! "look at my camera, i'm impressed and you should too"

 

[RezaLoghme]

Well. it's my problem then. See, as far as photophic documentary and/or photojournalism is concerned, I'm zero interested in gear — there are no bad cameras, only bad photographers, as the saying goes —, and very, very interested in subject, and strategies. Thing is, on that, you've given very little to go along. Nothing on what you intend to photograph — specific place, what interests you in that place, why you're interested in that place, why you're interested in the people there. Stuff that photograhers actually care about. Now that's your choice. I respect it, but find it regretful, as it limits conversation and exchange of ideas.

So here I am trying to figure out what the plan is, and maybe I shouldn't, since you don't seem to want to share the plan. That's OK. I'll just quietly leave. Hope things work out for you and the plan.

Hello Alex

You do realize that this thread was posted in the "Analog Equipment" section of the forum?
And the name of the thread clearly states that this is a discussion about my gear and film?

 

[koraks]

You do realize that this thread was posted in the "Analog Equipment" section of the forum?

That removes nothing from the relevance of remarking that equipment comes secondary (or even further down the list) in many, many cases.
You're free to ask and discuss it of course, but there's no point in becoming cranky when people point out it's not much of an issue.
Although personally, I think it actually is a bit of an issue. I think a Hasselblad is a poor choice for street documentary photography. Then again, lots of great art resulted from objectively 'poor' choices...(lots of drab failures too, of course).

 

[Don_ih]

It's really your loss when Alex leaves the conversation. He makes detailed thoughtful comments that you won't get from many people.

 

[RezaLoghme]

Ok
What do you want me to do?

 

[koraks]

Ok
What do you want me to do?

Ignore what you don't like.
Report it if it violates the rules.

 

[Philippe-Georges]

Thank you!

1. Why the yellow filter? I have the old, C Distagon with all its complicated drop-in filter conundrum.
2. isn't b/w a bit unsuitable for photographs taken in summer?

Hasselblad's drop-in filter system isn't that complicated (Leica had the same for their TELYT 200mm), you need a lens hood anyway, particularly in the summer (lots of sun), and that hood holds a Series VIII filter perfectly tight.

And, to my very personal opinion, B&W is very wel suitable for in the summer, BTW, Isn't B&W the real colour (I don't recall who said that)?
And a K2 filter will do good for rendering the sky (although I would sometimes prefer an orange filter)...

 

[RezaLoghme]

Hello P-G! I have a 60mm Distagon now which has a more conventional filter thread, thanks god. Merci for recommending the K2 filter.

 

[Philippe-Georges]

Hello P-G! I have a 60mm Distagon now which has a more conventional filter thread, thanks god. Merci for recommending the K2 filter.

You are welcome.

If it is a chrome or black Distagon C 60mm T* (with the Synchro-Compur shutter), then look for that not all the filter's screw thread will fit, I don't recall what thread size Hasselblad uses but the B+W's E72 was rather stubborn to screw in.

 

[MattKing]

Ok
What do you want me to do?

Moderator hat on (sort of):
Most important of all, realize that, unless we indicate otherwise, if any of us volunteer Moderators (or even the site owner Sean) post in a thread, you need to realize that we are in almost all cases posting as interested and experienced members of Photrio, with an understanding about how things work - or don't work - on the site.
Usually, if I am indicating something that involves moderation, I'll introduce that part of my post with something like the beginning of this post.
Although sometimes I will either forget, or the content of my post will make it abundantly clear without that introduction - see the "knock off the politics or this thread will be shut down" posts that you will see from time to time.
With the exception of Sean, we were all active members here for a considerable amount of time before we became Moderators, and in most cases we continue to be active members, outside of any moderation duties.
In this case, you need to understand that the originator of a thread has influence over the evolution of a thread, but certainly doesn't control it. Alex's questions are examples of an entirely on-topic, interesting diversion of this thread - even if they aren't taking the thread in the direction that you hoped the thread would go.
So your options are to either ignore them or to respond to them in ways that are more gear oriented, as that seems to be where you are most interested.
For clarity, if instead we were talking about off-topic posts inquiring about politics or religion or economics or world politics, then you should Report them, in which case we will put our Moderator hats.
Moderator hat off for sure again.

 

[RezaLoghme]

You are welcome.

If it is a chrome or black Distagon C 60mm T* (with the Synchro-Compur shutter), then look for that not all the filter's screw thread will fit, I don't recall what thread size Hasselblad uses but the B+W's E72 was rather stubborn to screw in.

Its a new (to me) CF, therefore conveniently on a B60 which means that my Proshade fits nicely too.

 

[BradS]

It's really your loss when Alex leaves the conversation. He makes detailed thoughtful comments that you won't get from many people.

It's everybody's loss.

 

[RezaLoghme]

And, to my very personal opinion, B&W is very wel suitable for in the summer, BTW, Isn't B&W the real colour (I don't recall who said that)?

Well you might be right, I once took a series of pics of water fountains in summer (with my 500CMs fastest shutter speed) and, yes, it looked great in b/w, like pearls made from ice.

 

[RezaLoghme]

When reading about the tragic situation of BLM photographer Linda Tirado, I came across the following advice:

""If you're covering a riot, you get behind the police, or off to one side, where you can see everything, but not be in the middle of the confrontation where you can't move. You should look like a reporter, not like a protester. You never, ever touch a cop, and you should always keep an eye on them. If it becomes necessary to run away (as it did in Miami) you should be in an early wave of runners, not the last to go. And you have to remember that the protesters often see the press as a capitalist colonizing member of the oppressor class, so you have to be wary about them, too."

 

[Don_ih]

Good advice that apparently doesn't stop you from getting shot in the face while trying to take a photo. She wasn't running - she was working.

Better advice, unless you are planning on earning necessary income photographing a riot, is don't photograph it - don't even watch it. Just go home.

 

[RezaLoghme]

Yes of course. But that is not really an option.