From my last post, it’s no secret that I bought a Hasselblad X-Pan camera. They’re as expensive as they are unique, but I got a great deal from oneofmanycameras.com. I have been shooting n increasing amount of analogue content in 2017, and I’m still debating with myself whether or not I should do a dedicated analogue section to the site. It’s not like I need anymore projects to steal my time.
I have been a bit hesitant about showing the work that I do with analogue. Maybe it’s because I don’t know how to place it into the context of this blog, or maybe it’s because I don’t think it’s on par with my digital stuff. It’s probably the latter.
It sure is a different way of shooting, and my love of darkness and shadow is not having field days when shooting analogue. It simply isn’t doable to the extent that can be done using digital. But, I’ve come to a very important realisation – It SHOULD be different from my digital, because otherwise I might as well just pick up one of my thousand digital cameras.
Now, let me turn my attention towards the star of the show in this post – The Hasselblad X-Pan. It was marketed in 1998 as a joint project with Fujifilm who released the camera in asia as the Fujifilm TX-1. When looking at the camera and lenses there is no denying the fact that this is a Fujifilm camera. The design is beautiful. Just beautiful. A true classic rangefinder camera that looks downright amazing. You can definitely see where Fujifilm found its inspiration for the X-Pro1. They simply looked in their own back-catalogue, found the T-X1 and made it digital and less wide. The top lines and the grip are great examples of this.
This X-Pan is made from titanium, and then painted in a gun-grey finish. It has a tendency to “chip” but my copy still has a very nice paint job except for the bottom plate.
It has lightmeter built in, autowind, auto ISO recognition, aperture priority as well as shutter priority. It’s about as modern as an analogue rangefinder will get.
There are only 3 different lenses ever made for the system. The standard 45mm f/4, the 90mm f/4 and the 30mm f/5.6. Those focal lengths are what they refer to when shooting standard 35mm frames. When shooting wide they obviously become wider. It makes no sense to think about those numbers too much – we left the digital realm behind, remember? 😛 😉
On the back of the camera you have an option of choosing between the panorama mode (65x24mm) and standard 36×24 mode. But as I read somewhere online – There is a special place in hell for those who shoots standard frames on this camera.
The panoramic format is obviously why one would buy this camera, so let’s leave all this gibberish about the 35mm format behind.
When shooting in this format I instantly get pulled way back to when I first started doing street photography. The love of stark lines and tight composition is something that goes exceptionally well with this format. Finding lines and symmetry in the city with this camera is so much fun. Obviously this camera will do really well in Landscape photography, so I expect to carry it on my future travels as well.
The images themselves in this article are mostly uncropped. When you see the black/white scan frames, obviously it’s not corrected or cropped. There are sometimes where I didn’t nail the symmetry, so those have been cropped. The shots here are all C-41 processed colorfilm. Either Kodak Portia 160, 400 or 800. I have converted some of them to black and white in post. I have shot a lot of black and white film on this camera (Acros 100 and Ilford delta 3200) – But they havn’t been developed yet.
I’m quite certain that this format will stick with me for a while. It’s really fun, and I can use my X-Pan to GFX lens adapter and shoot the 65:24 crop mode on the GFX if I ever want to do this digitally. But why would I when I have the “real thing” right beside me.
Have a great weekend all.