Hasselblad 501CM Medium Format Camera

Hasselblad 501CM Medium Format Camera

Hasselblad 501CM

(c) Victor Hasselblad AB

Following the success of Hasselblad's new 503CW camera, photographers entering the system have requested a new, lower priced, less specified alternative that incorporates the innovative GMS (Gliding Mirror System), which provides a full viewfinder image with virtually all lenses, irrespective of focal length. Hasselblad has responded by introducing a new model to the system - the 501CM.

The new camera body, complete with GMS, will be available separately or as a complete kit together with the Zeiss Planar C 2.8/80 mm lens and the new A12 magazine which incorporates an integral slide holder. Both versions are only available in chrome trim. The kit offers an ideal opportunity for those photographers wishing to enter the Hasselblad system, with the separate body being a useful item for committed Hasselblad photographers requiring an additional camera body.

The 501CM is the latest addition to Hasselblad's 500 series of cameras, which accept the razor-sharp Zeiss lenses with integral shutters providing flash sync at all shutter speeds. Lenses of 14 different focal lengths range from 30 to 500 mm and these can be extended further with 1.4X and 2X converters.

The timeless Hasselblad system is built with the photographer in mind. The modular construction of the 500 series means, for example, that Hasselblad lenses, magazines and most accessories - both new and old - are fully compatible, regardless of age.

Hasselblad 501CM: Technical Specifications

Camera body. One-piece, cast aluminium alloy shell with 3/8" and 1/4" socket threads and tripod plate for rapid mounting with the Hasselblad tripod quick-coupling accessory.

Film format. 6x6 cm (21/4 x 21/4") or 6x4.5 cm

(21/4 x 15/8") with appropriate magazines. 6x4.5 cm (21/4 x 15/8") or 6x3 cm

(21/4 x 11/5") with format mask.

Film choices. 120 and 220 rollfilm, 70 mm perforated film and Polaroid film with accessory magazines.

Film advance. Simultaneous manual shutter winding and film advance.

Lenses. Interchangeable Carl Zeiss CF- and C-lenses with focal lengths of 30, 40, 50, 60, 80, 100, 120, 135, 150, 180, 250, 250SA, 350 and 500 mm. Converter 2XE, PC-Mutar 1.4X Shift Converter and Teleconverter 1.4XE.

Shutter. Between-lens shutter with speeds from 1 s to 1/500 s and B.

Flash synchronization. The between-lens shutter provides flash synchronization at all shutter speeds.

Exposure Metering. Meter Prism Viewfinders available as accessories.

Viewfinder. Fitted with GMS, Gliding Mirror System, which provides a full image in the viewfinder with virtually all lenses. Interchangeable focusing screens for different applications. Folding focusing hood with 4.5x magnifier that can be exchanged for: reflex viewfinders, magnifying hood, prism viewfinders (45° and 90° viewing angles) either with or without built-in light meter.

System compatibility. All CF- and C- lenses. All magazines, viewfinders and most other accessories.

Dimensions. With focusing hood, Planar C 2.8/80 mm, film magazine A12: length 180 mm (7"), width 114 mm (4.5"), height 110 mm (4.3").

Weight. With focusing hood, Planar C 2.8/80 mm, film magazine A12: 1500 g (3.3lb) Camera body only: 600 g (1.3lb)

Camera finish. Chrome, supplied with focusing hood, carrying strap and front and rear protective covers.

HASSELBLAD

www.hasselblad.se

Desire and the Void. Contemporary Japanese Art and Photography at Kunsthalle Wien Museumsquartier, Vienna

Desire and the Void. Contemporary Japanese Art and Photography
Kunsthalle Wien Museumsquartier
25 April - 20 July 1997

Pictures of large cities, streets, commotion, noise, and permanent movement alternate with timeless views of vast water surfaces, close-up views of the skin, petrified, ageless human beings, standing in empty halls of abandoned Japanese baths. These pictures show female nudes, who are tied up, brilliant flowers, sensuality, eroticism, lust. Desire and emptiness, ecstasy and contemplation, the quick pace of the hustle and bustle of everyday life, and meditation are characteristic pairs of opposites found in contemporary Japanese culture and in their reflection through artistic photography.

In twelve series of works accomplished by leading Japanese artists/photographers, the contradictory positions encountered in the exhibition are brought into an equilibrium by polarizing confrontations. The show also attempts to eliminate existing stereotypes of, and prejudices against, Japan (ranging from the regret over the loss of Japanese identity and of the exotic in general to the criticism of the Japanese tendency to copy Western culture), thereby opening our eyes to Japan's art and, hence, Japanese society of the 1990s.

After the exhibition "Japanese Art of the 1990s" (Frankfurt/Bregenz/Vienna 1990/91), which was organized by Peter Weiermair, the curator of this exhibition, and Fumio Nanjo, "Desire and Void" is the first comprehensive show of Japanese contemporary art which takes into account the remarkable achievements of Japanese artists, particularly in the field of photography, in the past few years - both in a formal and technical sense (regarding the variety of the techniques employed) and as far as topics and contents are concerned.

When using photography as a means of creative expression, Japanese artists, unlike their Western counterparts, tend to deal with the issues of postmodern civilization with mirth and detachment, engaging in a discourse on images and media.

Participating artists: Nobuyoshi Araki, Naoya Hatakeyama, Noritoshi Hirakawa, Miyako Ishiucchi, Osamu Kanemura, Mariko Mori, Yasumasa Morimura, Sakiko Nomura, Hiroshi Sugimoto, Manabu Yamanaka, Miwa Yanagi, Toshihiro Yashiro.

Kunsthalle Wien Museumsquartier
Museumsplatz 1, 1070 Vienna
www.kunsthallewien.at

Updated 03.07.2019

Joan Mitchell at Lennon, Weinberg Gallery, New York - Selected Paintings 1975 - 1977

Joan Mitchell

Selected Paintings 1975 - 1977

Lennon, Weinberg Gallery, New York

April 22 – May 24, 1997

Twenty years ago, the painter JOAN MITCHELL was in the midst of a period of complex change and development in her work. Lennon, Weinberg have chosen eight of her monumental and magnificent “fields” and “territories” paintings of the early 1970’s and the strong and vivid “tilleul” (linden tree) paintings of the late 1970’s. The former group of work was shown in 1974 at the Whitney Museum and the latter group has as yet still been seen in depth only in France. Some of the paintings in the exhibition have never been shown in New York, and the others have been rarely seen in the twenty years since they were painted. 

Canada III (1975) carries a vestige of the “fields ” paintings in its juxtaposition of a deep brown flat mass with a lively, impastoed cloud of white and blue. Chris’ Dead Tree (1975) adds green to Canada III’s limited palette and along with Cypresses (1975) introduces a vertical brushstroke which derives from a shift in focus from Joan Mitchell’s reaching to embrace entire landscapes to considering the individual tree. In Red Tree and Green Tree (both 1976), these vertical gestures are elongated and increasingly entangled. An Island (1977) shows Joan Mitchell layering a shorter, staccato strokes over a thicket of longer movements, and into No Room at the End (1977) are tucked dashing marks of bright yellow and hot orange amongst the cooler blues and greens like sunlight sparkling through deep shade.

LENNON, WEINBERG

514 West 25 Street, New York, NY 10001

www.lennonweinberg

John Baldessari at Margo Leavin Gallery, Los Angeles - New Work

John Baldessari: New Work

Margo Leavin Gallery, Los Angeles

19 April – 24 May 1997

Margo Leavin Gallery presents an exhibition of new large-scale works on canvas by John Baldessari. 

A leading and highly influential conceptual artist, John Baldessari has produced work incorporating photographic images and, on occasion, text since 1960s. Through a careful process of editing, selection, repetition, and re-combination of images, John Baldessari creates works that are at once narrative, wry, provocative and poignant.

In contrast to much of his recent work, which has used images appropriated from film stills and popular media, the works in this exhibition use images taken from photographs by the artist. These works re-introduce John Baldessari’s examination of the dialogue between imagery and text which he first explored in his seminal works on canvas made in National City, California, during the first years of the 1960s. Reductive in palette and uniform in scale, each of the works in this exhibition (which also reflect the artist’s return to working on canvas) consists of a single photographic image, often juxtaposed with titles derived from Francisco Goya’s ground-breaking 19th century etching series, Los Caprichos (The Caprices).

John Baldessari’s work has been the subject of numerous exhibitions, including major recent shows at the Serpentine Gallery, London, the Kunstverein, Stuttgart, and the Cornerhouse, Manchester, England. The Museum of Contemporary Art, San Diego, presented John Baldessari’s early works on canvas from National City in an exhibition during the summer of 1996, and in 1990-92 a retrospective of the artist’s work was seen at the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. This is the artist’s seventh one-person exhibition at Margo Leavin Gallery.

MARGO LEAVIN GALLERY

812 North Robertson Boulevard, Los Angeles, CA 90069