This short blog article is a small collection of Fujicolour PRO 400H C-41 medium-format film photographs, shot on a Rolleiflex model 3.5 K4A from 1951.
The Rolleiflex TLR is my favourite 120 format camera design. I previously used a Hasselblad and 80 mm lens for the better part of three years. My Rolleiflex 3.5 A features a 75 mm f/3.5 Zeiss Tessar lens, capable of capturing great colours and contrast, in a compact form factor.
ProMaster is a supplier and producer of photography products. According to their website they have been selling products for over 50 years. ProMaster products are sold in retail stores in America, Canada, and Australia, as well as online.
In 2016/17 I was trying to find a nondescript, spacious bag, with plenty of internal padding and protection for my digital and analog gear. It needed to be budget-friendly and still offer great protection for up to two camera bodies, multiple lenses, audio recording gear, and have extra space to carry my journal and other related stationery, but not look like a ‘camera bag’. The Cityscape 150 had those features, so I purchased one for approximately $139.95 AUD from Michael’s Cameras in Melbourne, Australia.
Since its release in 2016, the Fuji X-T2 has become one of the most feature-complete, budget-friendly mirrorless cameras on the market. Fuji’s great lens offerings, image quality, and continued firmware updates have turned the X-T2 into an ultimate system for 4K filmmaking and still photography.
F-LOG (Fuji Log) is a great recording mode that makes the most of the camera’s hardware, and software. You will need to do post-production work to get the most out of the X-T2’s 4K video files, however the end results are often stunning, and worth the minimal post-production required.
Information contained in this blog is based on my own personal experience using the X-T2 for filmmaking with Fuji’s built-in 4K resolution internal ‘F-LOG’. I developed these concepts through experimenting and learning how to operate the camera’s hardware and software.
The 50 mm lens is considered standard – perhaps even quintessential – when it comes to prime lenses in a photographer’s bag. This focal length offers just enough zoom for portraiture and photojournalism, while also accomodating some freedom to frame the environment around the subject.
The Zeiss 50 f/2 Planar ZM (Leica Mount) is a highly efficient and reliable lens for the Leica M-mount system. It is an exceptionally sharp and accurate lens for colour accuracy and contrast, surprising considering it originally released nearly 15 years ago.
I have enjoyed using this lens on both a Leica M9 and Leica M3, with the latter combination having been used to shoot the majority of my street photography and photojournalism since 2014. As with the Zeiss 35 f/2.8C, the Zeiss 50 allows for a highly portable and impressive system with low-light capabilities.
The Rolleinar close-up lens has become a staple piece of equipment that I carry in my camera bag. A convenient leather case allows for quick storage and retrieval of the Rolleinar, which is useful in many situations.
After aligning the lenses correctly (larger lens on top with dot aligned upwards, smaller lens on bottom in any position) you’re able to focus closer than the camera’s default 40 inches. It’s possible to use this for macro and portraiture photography.
The header image was captured on in a Rolleiflex 3.5 F K4A, equipped with the Rolleinar 1. The f/3.5 limit of the Rolleiflex combined with the extreme depth of field provided by the Rolleinar makes it easy to capture images in striking ways.