Much can be said about the rangefinder format. While watching this YouTube video:

Joel Meyerowitz talks about the way a rangefinder helps to frame his visuals. In essence, a rangefinder helps us capture not just the things inside the frame, but situate and capture its context to things outside the frame.

With this view in mind, we can hope to capture the connections between the photo and subjects beyond the borders of the photo. The image doesn’t exist in itself, but in balance with what is outside the framelines. In his words “I didn’t want copies of objects. I wanted the ephemeral connections between unrelated things.”

I like a rangefinder, because it also removes the distraction of out and in focus things in the frame. All you are provided is a frameline and focus patch. It’s up to you to deterine what the depth of field will look like. Very clean in that regards.

What can be better then a rangefinder medium format! So the time came to impulse buy a Plaubel Makina 67 medium format lens. This was designed in Germany (where you would, and I will, send it to for repairing. In my case the light meter), later made in Japan in the ’80s. It takes 120 format film and has a built in light meter. It has collapsing bellows (which forces you to treat it gently - e.g. no long fingernails). And to top it all, it has a beautiful Nikkor 80mm f/f2.8 lens and weights a god awful 3 pounds! The shutter is a mechanical leaf and as quick as 1/500. You focus, not by turning the aperture ring, but a knob on the top of the camera. The two rings on the bellows are used for choosing the aperture and shutter speed.

In the following, the squares are Hasselblad with Trix 400, the rectangular ones are Plaubels with either Ilford HP5 or Tmax (or neopan?, i really should just settle on one) 400.

Some of the Plaubels were captures in Stern Grove as the sun was almost setting for the night. Thus the shadows are deep and the highlights are strong. Others, are pictures of comfortable domestication.