Photography | alan frost photography

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Should I buy a Holga or a Hasselblad?

For a little while now I have been giving some serious thought as to whether or not I should delve into the world of film/analogue photography, and more specifically medium format. It would present me with a fresh set of challenges and I am intrigued by the prospect of what black and white 6×6 negatives from a roll of 120 film might offer.

There are a wide range of medium format film cameras for sale, most of which are of course second hand. As with most things there is a wide divergence in terms of design, build quality, performance and perhaps most importantly price.

At one end of the scale you can buy a new Holga 120N, which is widely considered to be a ‘toy’ camera and is made primarily of plastic. It has enjoyed an almost cult like following for many years. The cost for a new one here in the UK is around £35, although you would almost certainly need to buy a roll of gaffa tape to cover up the joins and other gaps which are prone to light leaks!

*Holga 120N – a medium format plastic ‘toy’ camera*

At the premium end of the scale sits the Hasselblad 500 series of cameras, an iconic design. First manufactured in 1957 it is beautifully constructed and offers the skilled photographer the opportunity to make beautiful images. Fully manual with no batteries and no light meter, the 500 is truly an analogue camera. A complete kit (shown below) comprising body, 80mm lens, waist level viewfinder and film back is going to be in the range of £1,500 to well over £3,500 depending upon age and condition. A substantial amount of money but there is every likelihood that these cameras will always be a sought after. Its longevity and appeal were further enhanced when Hasselblad introduced compatible digital film backs.

*The ‘King’ of medium format – the Hasselblad 500 series*

In between there are a good number of other alternatives from pin-hole cameras, to the Rolleiflex twin lens reflex and the Mamiya version of the Hasselblad V series. The list goes on, so where to start?

In a strange way the Holga rather appeals. At the price it can almost be considered a disposable item. For the cost of the camera itself, a few rolls of Ilford HP5 and lab developing fees, quite a lot of fun could be had. For a low entry fee into medium format I could see how I got on. If I don’t like it I haven’t lost a great deal. The same can’t be said for the Hasselblad. My expectations wouldn’t be that great with the Holga, in fact, I would probably be happy just to get one half decent image. I have looked at some examples of other images by experienced photographers including Martin Henson. He has an excellent playlist of YouTube videos on the Holga.

I have to mention Michael Kenna, one of the masters of square medium format photographs. Best known for his work using the Hasselblad he has also shot very successfully using a Holga. Back in 2017 he published a book simply titled ‘Holga’ showcasing over 100 photographs captured with this little camera. Only the centre of the picture is reasonably sharp, the outer edges are blurred and vignetting is a given. The Holga definitely has a look all of its own, which you either love or loathe, but in the right hands it can used to excellent artistic effect.

*‘Holga’ by Michael Kenna published in 2017*

*Two of the many plates in the Holga book.*

While I continue to research and deliberate I thought it might be a fun exercise to try and mimic the ‘Holga look’ using digital files and various processing software. Obviously I can’t compare the results with the real thing so I can only take a stab at how the images might have looked if I had used a film camera. I suspect I may have exaggerated the soft focus and vignetting but I just wanted to see if I could replicate the look by way of an experiment.

All the images were captured at Stourhead in Wiltshire, a property managed and maintained by the National Trust. Famed for its autumn colours it was good to visit the house and gardens at a different time of year – the tail end of winter and the start of spring.

*The bridge across the lake at Stourhead*

*A bust in the library which has over 6,000 books on its shelves*

It is hard to think of two cameras which share the same type of film but are so unlike one another in every other detail. They couldn’t be more different. I might find the novelty of the Holga quickly wanes but it is a world apart from any other camera I have or have ever owned. I imagine the Hasselblad would be an absolute joy to use and the negatives would be exceptional. However it’s heavy and would probably require the use of a tripod. Some form of light meter would be necessary even if it’s only an app on my iPhone. Learning how to meter a scene and think about the zone system introduced by Ansel Adams would be another skill to acquire. Having said all that the whole idea is to adopt a more considered approach. To make every shutter release really count. As with everything in life there are pros and cons and I should probably take a closer look at some other medium format cameras before making a decision.

So for the time being I’ll continue dithering and doubtless share any news of an acquisition on this blog if and when I can make up my mind. I might of course do nothing and continue enjoying my existing kit. But life, particularly in retirement, should be about stretching the boundaries and not limiting one’s approach to the familiar. Finding fresh challenges and new ways to be creative is essential. It helps to keep the mind active, encourages new ways of thinking, provides stimulus and excitement knowing there might be an event or an experience to look forward to. As the old saying goes ‘If you are standing still in life then you are actually moving backwards’.

Landscape photographs or holiday snaps? ….. images from County Kerry, Ireland

My wife and I have recently returned from a two week holiday in County Kerry which lies in the South Western corner of Ireland. A beautiful part of the world offering many photographic opportunities.

Having downloaded the files I have started the enjoyable process of selecting what I consider to be the most promising and pleasing images and editing them in my usual style. Inevitably this part of the workflow brings back happy memories of places visited and associated experiences. It is of course one of the reasons we take photographs. We want to preserve these memories for the future.

Back in the day all those of a certain age (me included!) will probably recall getting together so that either a slide show or the handing round of prints could take place after a family holiday. There would be very little culling , meaning all the photographs would be shared however good or bad. The quality would be variable. Over and under exposed pictures combined with a mix of reasonable but sometimes very poor compositions. Every photograph would be vocally described – where and when it was taken and what the weather was like, even though this would often be clearly evident from the photo itself! Sad to say but it could turn in to a ‘yawn fest’ yet it was part of the post holiday ritual which had to be undertaken and endured.

Whilst sitting at my computer selecting and processing some images a question entered my mind –

“When is an image a landscape photograph and no longer just a holiday snap?”

Time and technological progress has of course changed how we record our holidays. For many years now we have lived in a digital age with increasingly sophisticated cameras built-in to our smartphones. Almost everyone has the ability to use filters and intuitive processing software to produce a decent image. It is then shared not just to friends and family, but to the world and his wife via social media.

As I share with you the photographs I took on my recent trip to Ireland I am asking myself…… “Is this just today’s equivalent of the slide show projected onto a screen in a darkened room to family and friends? Are these pictures merely holiday snaps or is there something which sets them apart? No longer just a record shot but something visually appealing and possibly of interest to a wider audience”.

And if so, what distinguishes an ordinary picture taken on holiday from a landscape photograph which just happens to have been made whilst travelling away from home?

These are my thoughts which may or may not coincide with your own ideas.

1. I think every image should be viewed as an individual photograph, irrespective of whether or not it was taken on holiday and regardless of the camera or equipment used. An expensive state of the art camera doesn’t necessarily make a fine image. In other words a picture has to be worthy of standing on its own two feet.

2. The photograph must have something which causes the viewer to stop, look and appreciate the landscape for what it represents. Perhaps there is some form of narrative or an element of mystery which intrigues the viewer. It shouldn’t be seen as a record shot. Plus I would suggest that the image should clearly demonstrate photographic intent.

3. Perhaps the prime distinction is that the photograph is one which an individual may wish to have printed, framed and displayed on a wall in their home. This would be regardless of whether or not they had visited that particular location for themselves. I very much doubt a holiday snap would warrant this treatment by a complete stranger.

4. And lastly if it’s a collection of images then the quality and presentation should be harmonious, consistent and of a certain standard. Arguably it should possess some photographic expertise and not be classified as a ‘point and shoot’ picture.

Hopefully you won’t consider these photographs to be merely holiday snaps, but images which can be appreciated for what they are. I would be disappointed to think they might be thought of as today’s equivalent of the family slide show of yesteryear.

If you have any thoughts on the difference between a landscape photograph and a holiday snap do comment below – I would be interested in your thoughts.

When the rain falls and the water flows in County Kerry, Ireland

Although this above image is quite a simple one and minimalist in its nature, it does capture the power and movement of the water, which is in stark contrast to the stillness of the overhanging branch. It could be a metaphor for life; the frail looking branch, remaining strong and resolute, appearing to resist the forces of nature which might sweep it away.

Waterfalls are a popular subject for photographers although I can’t claim I’ve enjoyed much success in the past. Either the conditions haven’t been quite right, access has been challenging or I simply haven’t devoted sufficient time to the composition, selecting the best shutter speed etc.

For the first time I feel I have done justice to the subject with these four images.

Finding a pleasing composition wasn’t always easy. I felt a single rock provided a good focal point for my eye to rest on, whilst the swirling and fast moving water engulfed the one static element in the image.

Sometimes I didn’t feel a focal point was necessary. The more abstract nature of the above photograph I think works because of the pleasing pattern and shape created by the way the water is flowing in different directions.

And lastly a more traditional image of a different waterfall of a large rock splitting the flow of water. The surrounding wet rocks serve as a frame. They add texture and form to the photograph which I think works well in monochrome.

I have just returned home following a two week holiday in County Kerry, Ireland, the location for this set of images. It’s the first time my wife and I have visited the Emerald Isle. It was something of a gamble as we have endured a very wet winter in the UK and the weather was forecast to remain unsettled for the duration of our stay.

Undeterred, the conditions were promising from a photographic standpoint. Dark moody skies, dramatic light, skeletal winter trees and streams and rivers in spate.

I plan to share further images depicting the varied landscape of County Kerry in the very near future.

Slow down ….. it’s time to stop, think and enjoy the journey

There is a familiar saying which states – “Appreciate the journey, not the destination.” I have been giving some thought to this phrase recently and in particular how it might relate to photography.

The journey could be a very short one. A photo taken on a smartphone and instantly shared on Instagram or some other form of social media, might take no more than a few seconds from capture to publication. The image itself could be a very good one but has the photographic ‘journey’ been one of pleasure and satisfaction? I somehow doubt it and I suspect the endorphin rush is more likely to come from the number of likes attained from followers, who may only have observed the image for a second or two before scrolling and liking the next upload. It’s not exactly life enhancing is it?

I have been a serious hobbyist photographer for over 15 years, almost exclusively making images in black and white. The end result, i.e. the finished image or destination, is of course important to me but increasingly it’s the process or the journey which gives me the most enjoyment and satisfaction.

To maximise the pleasure of the journey it’s essential to slow down and give more consideration to the subject being photographed and the method of capture. The American photographer Minor White once said;

“When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don’t leave until you have captured its essence”.

If this is true, and I believe it is, a quick snap posted on social media doesn’t qualify does it? In other words, the time taken, and the consideration and deliberation given, all need to be part of the process. The camera might even stay in the bag until the composition has been visualised and the story behind the image has been thought about. The journey can then continue as the camera and chosen lens are positioned and set. Quite recently I have started using a tripod which definitely slows me down. I always considered a tripod to be a hindrance and now I think in certain situations it’s a valuable tool which helps to enhance the journey.

The other piece of equipment I bought recently is a Hoodman Hoodloupe. It’s quite a simple thing, well made and designed to shield the light and all unwanted reflections. You can look at the LCD in bright conditions to check focus and composition. It has glass optics and a diopter giving a very clear view although the image can be a little less well defined around the edges and in the corners. The very action of reviewing an image in playback mode using this loupe has, like the tripod, slowed me down. I have to say the whole process is more immersive and enjoyable as a result.

Using this method might mean that I take several minutes capturing a single frame. It could even be as long as 5 or 10 minutes from seeing to final capture. Longer of course if I have to wait for the right light. With digital I instantly know whether or not the result is any good as I can review the image on the LCD screen. I could turn this function off but why would I? I might wish to retake the photograph having made minor adjustments to the settings on the camera or the composition.

However I am now asking myself a question which might have serious implications – Would I enjoy the process even more if it took considerably longer? And I am talking days not minutes or hours. You can probably guess where this is heading.

I have always been inclined to shoot fully manual. Selecting all my settings and focussing manually is my preferred way of working. I feel more in control. I’m not a fan of ‘auto this’ and ‘auto that’. In this sense I am quite analogue in my approach. I still work digitally though and have never used film, apart from in the 70’s and 80’s, when digital cameras didn’t exist of course.

So what if I acquired a film camera, possibly medium format and one prime lens to get me started? The cost of film and developing would have to be taken into account. I would probably need a light meter to help me get the correct exposure. The waiting game of a week or more would kick in before I would get to see the first glimpse of the results from a photo shoot. No more reviewing the results on the back of the camera immediately after the shutter is pressed. Even with the negatives in my hand they would need to be scanned as I would have no intention of printing my work in a darkroom using noxious chemicals etc. I would scan them myself, but it’s another step, another delay before the final image or print can be seen. However isn’t that the whole point of this discussion which is to enjoy the journey and not just the destination. After all patience is a virtue.

Would in fact a mediocre image made using film still give me as much pleasure as a showstopper made digitally because the immersive analogue journey could be so satisfying, challenging and enjoyable? There are downsides aplenty of course but I will never know if I don’t give it a try.

As yet I don’t have all the answers but in the meantime anything which slows me down and enhances the image making process is in my view a very positive thing.

Lastly I am reminded of an interview with Michael Kenna (a photographer I hugely admire) when in 2016 he was asked what he did when taking very long exposures.

In his reply he said –

I’m often asked what I do during long exposures, which can go on up to 12 hours. Apart from the obvious answer – sleep – I return the question: “Why do we need to do anything?”

It reminds me of that lovely saying, “Don’t just do something – sit there.” It is a rare luxury to have the time to appreciate the present, to watch the stars trace through the sky as our planet moves, to witness a full moon slowly rising or setting…

Doing nothing, just observing nature and the passage of time sums things up rather nicely. It’s all part of learning to appreciate the journey and not the destination.

(All the photos in this post were captured in the past week using a tripod and reviewing the images with the Hoodman Loupe. The journey definitely gave me time to ponder and ask myself where my photography might take me in the future ……. to be continued!)

“What are you photographing?”….. the stranger asked inquisitively.

Crouching down with my camera and staring into the rather murky water of a small pond….a man approached me and asked me what was I photographing? He could have simply asked what on earth I was doing. Instead, he chose to be more tactful and polite with his questioning. Had I been in his shoes I may well have posed the same question. After all there was nothing obvious to be seen, let alone photograph…or was there?

And that’s the great thing about being a photographer. The eye is honed to see something which others may not notice. And the more you look and observe the more you see.

In this case I had been drawn to the stillness of a small twig which appeared to be rising out of the water. The reflections of the surrounding trees were being moved by a gentle breeze. The combination of stillness and movement appealed to me.

What I guess wouldn’t have been seen by the passerby was how these reflections would be frozen and captured by the use of a fast shutter. I focused on the twig and used a wide aperture intending to isolate the main subject.

If you are viewing this image on a small screen, you may find it difficult to appreciate the abstract quality of the reflections. So I have included a crop of one part of the picture.

Of course the answer to the question ‘what are you photographing?’ is in the eye of the photographer and is only concluded when the image has been captured and processed. At this moment the photographer’s vision comes together and makes sense – hopefully!

There is something about this photograph which really appeals to me. It’s something out of nothing, being both simple and complex in its makeup. To my eyes it’s the hidden beauty of nature which is very special. All too easily missed, but once seen, never forgotten.