Barnaby Nutt | Aug 2, 2018 | 3
5 Frames With… Fuji Pro 160S (EI 100 / 120 / Pentacon 6 TL) – by Ludwig Hagelstein
Fuji Pro 160S, the newer NS version, or even the older NPS versions are among my favourite film stocks. The first roll of 120 Film I ever shot was Fuji 160S on a Mamiya RB67 Pro SD that my aunt who is a full-time professional photographer gave me since she didn’t use it anymore and it was just gathering dust on a shelf.
The first photographs I shot on said film are unworthy of looking at – honestly, it’s just the hedge in my garden. But when I saw the prints coming from the lab (yes, I still order one small print per negative with my development) I was immediately hooked by the colours of the stock, especially the way it renders green tones.
Even on a colourless and gloomy winter morning where there is literally nothing but greys and muddy colours, it renders a vibrant, fresh and lively green. Almost like it would breathe life into the lifeless boredom of a winter day’s colour palette. The photographs are all shot after each other and are all exposed 4s rated at 80 due to the fact that the film expired in late 2007.
They were taken with an aperture between f/11 and f/8 on a Pentacon Six TL, the last produced version of the legendary Pentacon six that was manufactured by VEB Pentacon in Dresden with a ZEISS JENA Biometar 80mm f/2.8 lens. The Pentacon Six itself is also a “permanent loan” I received from my aunt. She said that she never really liked the camera because it is a bit tricky to operate sometimes, for example when the mirror is jammed. Due to this my P6 is in mint condition and I’m the first photographer who shot more than one or two rolls of film on it.
Overall, I really like the Pentacon Six because it is a great medium-format camera. It´s lightweight, portable and is built like a tank, so I can take a beating. The photographs were shot some 2 or 3 weeks ago on a cold and misty winter morning in the historic city centre of Bamberg, Germany where I live.
~ Ludwig Hagelstein
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Getting your 5 frames featured couldn't be simpler: all you need to do is send over 5 frames shot on a single roll of film using the same lens and camera combination. Large format shooter, not a problem! As long as the shots all came from the same film stock, camera and lens, you're good to go.
Finally, don't forget that this series is being produced in conjunction with Hamish Gill's excellent 35mmc.com. Head on over to read the other half of these stories.