Hasselblad Suite

Posted: January 12th, 2012 | Author: | Filed under: dougKIM photography, Film, Hasselblad

Who are all these morons spending all this money on medium format gear in film’s waning days?

Oh wait, that would be me.

Just picked up a Hasselblad 500CM Chrome, 80mm C T* Planar lens, and 120mm CF T* Carl Zeiss Makro Planar lens, all in great clean shape. Will be posting photos taken with this set up soon.

It is so very nice to lick the adhesive flap and tighten it in the final wrap around an exposed roll of 120 film again.

Hasselblad 500CM Chrome, 80mm C T* Planar, 120mm CF T* Carl Zeiss Makro Planar; taken with iPhone © Doug Kim

Hasselblad 500CM Chrome, 80mm C T* Planar, 120mm CF T* Carl Zeiss Makro Planar; taken with iPhone © Doug Kim


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Leica Sighting | Closer

Posted: January 1st, 2012 | Author: | Filed under: Cinema, Leica

Julia Roberts shooting Natalie Portman with a chrome Leica M6 TTL and 50mm Summicron; from the movie Closer (2004)

Julia Roberts shooting Natalie Portman with a chrome Leica M6 TTL and 50mm Summicron; from the movie Closer (2004)

Julia Roberts shooting Natalie Portman with a chrome Leica M6 TTL and 50mm Summicron; from the movie Closer (2004)

Julia Roberts shooting Natalie Portman with a chrome Leica M6 TTL and 50mm Summicron; from the movie Closer (2004)

Julia Roberts shooting Jude Law with a Hasselblad; from the movie Closer (2004)

Julia Roberts shooting Jude Law with a Hasselblad; from the movie Closer (2004)

Julia Roberts shooting Jude Law with a Hasselblad; from the movie Closer (2004)

Julia Roberts shooting Jude Law with a Hasselblad; from the movie Closer (2004)


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Mona Kuhn | Evidence

Posted: January 8th, 2011 | Author: | Filed under: Film, Photography

I’m interested in working with the body as an element of culture not so much as a gender element.

-Mona Kuhn

Jacintha, Evidence by Mona Kuhn
Jacintha, Evidence by Mona Kuhn
Philipp's Birthday, Evidence by Mona Kuhn
Philipp’s Birthday, Evidence by Mona Kuhn

I do like color and black and white and I do them together. And I also think that I would not want to do just color because I like the depth of black and white. So just color might be, even if it’s fluid, even if you see the art in it, it still might just be a little too candy-like. It’s very seductive and I like playing with it but I do like the depth of black and white.

-Mona Kuhn

Captured, Evidence by Mona Kuhn
Captured, Evidence by Mona Kuhn

I shoot as I see things happening. Basically, I create a situation, I have a place where people come and spend time with me. And when I think that certain magic is happening, when life and art becomes one, then I start photographing. It might take half an hour, it might take two hours, depends on the mood. So it’s a little bit of creating an environment for two months during the summer, all of that is happening, everyone is feeling welcome and they know we’re there to work on creative projects. But I’m not really scheduling a shoot.

-Mona Kuhn

Refraction, Evidence by Mona Kuhn
Refraction, Evidence by Mona Kuhn

Some of my work looks so intimate because we are opening up to each other and working together.

-Mona Kuhn

Kai and Luzia, Evidence by Mona Kuhn
Kai and Luzia, Evidence by Mona Kuhn
Johnnie, Evidence by Mona Kuhn
Johnnie, Evidence by Mona Kuhn
Clara, Evidence by Mona Kuhn
Clara, Evidence by Mona Kuhn
Group I, Evidence by Mona Kuhn
Group I, Evidence by Mona Kuhn
Repose, Evidence by Mona Kuhn
Repose, Evidence by Mona Kuhn

[My use of selective focus and shallow depth of field] is a way for me to abstract a little bit the nude so it’s not so much of a recording or a proof that I have encountered someone naked yesterday and I’m telling the world. So it’s a way of making it a little bit more magical, a little bit more about a memory of a time that was spent together. It’s a way of abstracting the body.

-Mona Kuhn

Fatale, Evidence by Mona Kuhn
Fatale, Evidence by Mona Kuhn

I am a figurative artist so I’m working with people that I know and I’m working with photographing the human in the people that I know.

-Mona Kuhn

Bather, Evidence by Mona Kuhn
Bather, Evidence by Mona Kuhn

I’m just recognizing as the day goes by and I see maybe someone sitting on a stool and I say, wow, this looks fantastic just stay there. Or I might see some friends that are hanging out and laying in the sun and I say you know what I’m just going to go around with the camera and see what I can compose or what I can do here.

-Mona Kuhn

Flower, Evidence by Mona Kuhn
Flower, Evidence by Mona Kuhn
Couch Stories, Evidence by Mona Kuhn
Couch Stories, Evidence by Mona Kuhn

Since I work with people it all depends so much on their mood and what’s happening and the light and the relationships….I don’t know exactly what will come out. It’s a very organic way of working.

-Mona Kuhn

Roxane by Red Towel, Evidence by Mona Kuhn
Roxane by Red Towel, Evidence by Mona Kuhn

I use a Hasselblad, I don’t use a tripod, I have the camera out at all times so in a way it becomes a transparent thing. That’s what I like most about the technique is when it becomes translucent.

-Mona Kuhn

Balthazar, Evidence by Mona Kuhn
Balthazar, Evidence by Mona Kuhn

Because I have the square format, and that’s also very much part of my work, how do you put within a square format, the rigidity of the square, how do you put bodies in a way that shows relationships? That’s one of those little challenges that I enjoy when I am photographing.

-Mona Kuhn

An Open Door, Evidence by Mona Kuhn
An Open Door, Evidence by Mona Kuhn
Evidence by Mona Kuhn
Evidence by Mona Kuhn

I need to spend time with people and I need to see how I start imagining them in the images.

-Mona Kuhn


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