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[Timecodes:]
0:00 I Tried Hasselblad
1:20 The Cameras & Lenses
3:47 The Photos I captured
13:40 Switching Lenses
📷 Hasselblad X2D (Official page): https://bit.ly/X2D100c
📷 Hasselblad 907x (Official page): https://bit.ly/907x
📷 Wide Angle Zoom: https://geni.us/XCD2035
📷 55mm Prime: https://geni.us/NezFnV
🎨The BEST Lightroom Presets: https://geni.us/DIV2
✨Get Artlist (2 months FREE): https://bit.ly/3GshKNA
✨ Make Money with Your Photos ➡️ https://bit.ly/PhotoLicense
✨ Limited Edition LUTs: https://bit.ly/4buszOy
📷 The BEST Entry Level Cameras: https://geni.us/Beginnercameras
🎨 More Lightroom Presets: https://bit.ly/3TDLKMx
📷 MY GEAR and Lenses
Cameras I recommend: https://geni.us/Mirrorless
My Favorite Camera: https://geni.us/t93yc
My Favorite Lens: https://geni.us/RF15-35mm
Beast Prime Lens: https://geni.us/RF50f1-2
Budget Prime Lens: https://geni.us/RF50
Best Beginner Lens: https://geni.us/RF3518
Best Zoom Lens: https://geni.us/RF70-200mm
This Lens does Everything: https://geni.us/RF2470
Best Wireless Mic: https://geni.us/Vnew3
My Drone: https://geni.us/0NF33v
My Favorite Vlog Microphone: https://geni.us/SwPS
My Favorite Tripod: https://geni.us/jB4foVv
Fast memory cards: https://geni.us/b2r4ya
My Lights: https://geni.us/osStP
Capture Smooth Footage: https://geni.us/DL9f8G
Everything Else: https://gugliotta.one/gear
📷 My Camera Bag:
My Camera Bag: https://geni.us/Shimoda
Save 10% at checkout with code: "Gugliotta10"
🎵 My MUSIC and Sound Effects
Artlist 2 months FREE on an annual plan: https://bit.ly/3GshKNA
Musicbed (1 Month Free): https://geni.us/AOL10
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*Please note, I may earn a commission on some of the links above.
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[Timecodes:]
0:00 I Tried Hasselblad
1:20 The Cameras & Lenses
3:47 The Photos I captured
13:40 Switching Lenses
Category
🗞
NewsTranscript
00:00This is the Hasselblad X2D-100C.
00:04And if you've never seen one of these cameras or you've never tried a Hasselblad,
00:08you might be curious what it's like to use one of these.
00:11Or maybe you've seen a camera like this.
00:13This is the Hasselblad 907X CFV-100C.
00:18Both of these cameras are 100 megapixels and can capture 16-bit RAW photos,
00:25which is unique and special and produces some incredible imagery.
00:30So rather than me talking about it, I'm actually going to show you.
00:34We're going to go through some of the photos that I've captured
00:36over the last four months of shooting with these cameras.
00:40But to start, a little bit of a disclaimer.
00:42So both of these cameras were sent to me by Hasselblad
00:46to produce a bunch of YouTube shorts and Instagram reels.
00:49I do get to keep these cameras,
00:51and they also reached out and asked me to do a long-term preview demo,
00:56basically this video that you're looking at now.
00:59So thanks to Hasselblad for sponsoring this video,
01:01and I'm going to try to be as objective as possible.
01:04So rather than giving you a review,
01:07this is going to be an overview of kind of like how I've used these cameras,
01:11and I'll show you the photos so you can kind of make your own objective opinions
01:15about what you think Hasselblads are like and how the photos turned out.
01:20But to start, the gear that I used,
01:22because that's what everyone's interested in, of course.
01:25So the X2D is more of your traditional-style camera body,
01:29whereas the 907X is more like that old film-style Hasselblad
01:34with a split front-back.
01:36So that's why you have the 907X plus the CFE100C.
01:40It actually splits into two different components.
01:43I also have the 20-35.
01:45So this is like an ultra-wide zoom lens,
01:47which is kind of equivalent to like a 16-27mm on full frame.
01:53And then I also have the 55mm f2.5,
01:58which is close to a 43mm equivalent in full frame.
02:03And I had a few of you reach out and ask
02:05what the differences are between these two cameras.
02:07I'm going to save that for its own video
02:09because that will probably be a little bit longer in itself.
02:12But there are three main things that I look at when comparing both of these cameras.
02:16One is who it's going to be intended for.
02:19Personally, I feel that the X2D is more my style of camera
02:23where you have a grip, you have image stabilization.
02:27So the 907X doesn't have image stabilization inside the body,
02:30which is part of the reason that the form factor is so small and compact.
02:35So Hasselblad has made this camera where it's a little bit modular.
02:38You can get a grip, you can get some top attachments.
02:40So if you want to build out this camera, you can do that.
02:45And not to mention the X2D does have a viewfinder,
02:48whereas the 907X doesn't.
02:51And one of the things that I actually did like about the 907X,
02:55despite the fact that it doesn't have image stabilization
02:58and as many buttons on the body,
03:00is the fact that it is extremely tiny.
03:02So when I went to Banff, I actually brought this camera with me
03:06and was able to fit it in the size of one lens.
03:11Traditionally, a lot of the lenses I use are larger
03:14or even just like something like a 24-70 on full frame
03:18is probably going to be larger than this entire camera package.
03:22So the fact that I could take this, you know, I have the lens hood on,
03:24so you can take that off and make it even smaller.
03:26But the fact that I could take this, fit it into my camera bag,
03:30pull it out for those moments when I want to capture
03:32a super high quality 100 megapixel photo
03:35is something that I wouldn't have even thought possible
03:39until I had the opportunity to test this camera.
03:41But enough of that, we'll save the technical things for another video
03:45and get a little bit more into the photos.
03:47I found myself slowing down and being very intentional
03:51when taking photos with both of these cameras
03:54and almost treating it like film where I would go,
03:57okay, where is my subject?
03:58In this case, you know, maybe my subject is this picnic bench
04:01with some of this like water beating texture
04:04and some of this frost that's on this foreground of this grass
04:08and thinking, okay, do I have enough foreground?
04:10Do I need more background?
04:12How is it aligned? Is it level?
04:13Are my settings correct?
04:15And so instead of taking 10 photos, I would take one.
04:19Or, you know, what is my subject?
04:21In this case, my subject is this coin binocular machine.
04:25I'm not sure what these are called.
04:26So if you know, let me know down below.
04:28But then maybe doing a wide angle shot that's a little bit farther back
04:32because, you know, at 28 millimeters,
04:35I can still grab my crop tool
04:38and I have a second version of this photo that goes from what?
04:4011,000 pixels to...
04:43I've basically zoomed in to 50%
04:45because I still have 6,000 pixels here to work with.
04:48And I mean, you can still read.
04:50Quarters only, 25 cents.
04:52So the detail that you're getting from a 100 megapixel sensor,
04:56the ability to crop is super flexible,
04:59which again is why in a case like this,
05:01I took a single photo at 35 millimeters
05:03because I still have all of this foreground texture,
05:07all of this really interesting moss.
05:09But then if I want,
05:10I can zoom in and see that it's 4,867 feet above sea level.
05:16I have all this really windblown snow frost texture
05:20on the side of these like cedar shakes
05:23on this like research weather silo.
05:25Like I don't need to recompose this.
05:28I need to compose it once,
05:30make sure my settings are good.
05:31And then if I want, I can crop this later.
05:34You might notice that I really like center framed subjects
05:37because it makes it very obvious what this photo is about.
05:40In this case, of course,
05:41had to take some lifestyle photos
05:43in front of Lake Placid at the top of Whiteface Mountain.
05:46And of course you take some without the subject too
05:49in case you ever want to print this or hang it on your wall
05:52or you want that nice clean landscape shot.
05:54And now while we were in upstate New York,
05:57the Adirondack Whiteface Mountain area,
05:59we did several hikes.
06:01One of them was this one,
06:03which is kind of a little bit of the reason
06:06why 100 megapixels in some cases can be too much.
06:09Because if I go to the unedited version of this photo
06:12and I zoom in you'll see that I removed a few things.
06:15I removed I think there's like a little church here.
06:17There's a construction site and then there's this road.
06:20And so if I go like that,
06:23you can see I used some of the Lightroom tools
06:25just to kind of give myself a cleaner friendlier photo
06:29that I'm going to post online.
06:31If you're curious what the 20 to 35 millimeter looks like,
06:34so here at 20 millimeters, the widest end of this lens,
06:38we have all of this foreground, all of this texture.
06:41And that's kind of like 16 millimeter equivalent
06:44on a full-frame lens.
06:46But then if we zoom into 35,
06:48that's closer to 27 millimeters.
06:51So not a huge difference,
06:52but enough that if you wanted to then take this further
06:56because we have 100 megapixels to work with,
06:59maybe I want to crop this for my Instagram grid.
07:02And then, oh, Anthony was not smiling.
07:04Look at that.
07:05He is just, maybe he should have smiled a little bit
07:08and remembered that the Hasselblad
07:10can actually zoom in this far.
07:13That is the edited version.
07:15That is the unedited version.
07:16So I always like to make my fall photos
07:18look a little bit brighter, a little bit more saturated.
07:21And while we were at this location,
07:23this happened, which is super fun and I made a reel about.
07:26So I won't spoil it too much
07:28other than to say this rainbow appeared insane
07:32and this couple literally got engaged underneath a rainbow.
07:37So she's obviously super stoked about it,
07:39but she's got her phone,
07:40which I guarantee couldn't capture
07:43the full wide angle of this rainbow.
07:45And I think I was the only one at the top of the hill
07:48who had a lens wide enough
07:49to capture this rainbow from end to end.
07:52Thinking about composition is great,
07:54but also thinking about storytelling
07:56and what this image says
07:59as a memory of their time at the top of the hill
08:02and our time obviously being able to witness it.
08:04You may have remembered that there was a geomagnetic
08:07like Aurora Borealis northern light storm
08:09that happened back in the fall.
08:11And this is where we were when that happened.
08:14Now I had never shot with this camera at night
08:18and usually at night you need to manual focus
08:20in order to capture an image of the stars.
08:22So this is a slightly longer exposure,
08:2423 seconds, f3.2, a pretty high ISO.
08:29So if we zoom in, you'll be able to see what this looks like.
08:32Now, I may have slightly missed focused a bit
08:35because I was still getting used to this camera.
08:37So some of the stars might be a little bit, you know, soft,
08:41but at 23 seconds, probably the right amount of time
08:44because you can also see the clouds are starting to stretch out
08:48and look a little bit wispy from that long exposure.
08:51I also captured photos downtown Toronto.
08:53And if you are a Toronto photographer,
08:55you've probably captured this photo spot more than once.
08:58But what makes this photo unique is this in the center.
09:03So if I undo and I show you that's before.
09:06So I underexposed intentionally
09:08because I was trying to capture this eight pointed starburst.
09:13If I go back to the edited, you can see that's what it looked like.
09:15I think I may have used my South Shore preset on this photo,
09:20but the Hasselblad lenses produce this really unique lens starburst effect.
09:25So when you're shooting at higher apertures, like in this case, F 16,
09:30or in this case of this vertical one, which I actually like this composition better.
09:33And I didn't edit it until probably like a week ago.
09:37And so looking at this now, I probably should have posted it in the fall.
09:41And you're looking at it going, okay, why is this photo better compositionally?
09:45What makes this one better?
09:46We still have that starburst there.
09:48We still have the same subject.
09:49You know, Anthony rotated his camera.
09:51So like, why do I like this one better?
09:54Or maybe you don't.
09:55So let me know down below.
09:56But the reason I like it is the framing.
10:00So instead of just having a blank road in front of us,
10:03or maybe like a car or a bike sitting there,
10:05which, you know, maybe having a biker there would be cool.
10:07We have this arrow, which is this very strong compositional element.
10:11And this tree, which is a very strong compositional element,
10:15kind of doing like opposite movements,
10:18almost like hugging the building and filling in that void foreground space.
10:24Now, I did do a little bit of cleaning up
10:25because there were tons of oil stains on the road
10:27from people pausing at the light before turning.
10:30So there is the unedited underexposed version,
10:34you know, me thinking to keep as much color in the sky as possible.
10:37There is the edited version, I think, with using my South Shore preset.
10:41But architecture is a great example of what to capture with this lens.
10:45In this case, you know, me looking up at this Calatrava atrium on Bay Street.
10:50Super cool, you know, making sure I retain a lot of that blue
10:53and a lot of that color in the sky.
10:55But then skyline shots.
10:57So whether you're doing architecture or big expansive views,
11:01I think this is an application for particularly the X2D.
11:06If you are someone who is going to be doing a lot of street photography,
11:10a lot of architecture photography, you know,
11:12here I can get all the details of the building.
11:14I can read, look, what does it say, Toronto Star?
11:16I can see the Toronto Star logo.
11:18There's a few elements going on in this photo
11:21that you'll see in another photo coming up.
11:23But I want to point out a few of them to you now.
11:25So this is one of my favorite hiking spots, like, in the Toronto area.
11:28I'm on this, like, hilly incline with this stair.
11:33And the stair is naturally pointing towards the subject,
11:36which in this case is me.
11:37So we have this line.
11:39So I'd set my camera up on a tripod, so this is a self-portrait.
11:42So I had to do, like, 20 of these
11:44before I finally got myself in the right position.
11:47But the line of the railing, the line of the stair is kind of, like, pointing.
11:51And then we have this frame.
11:53So we have the frame of the two trees,
11:55which is kind of saying, like, you know, this is where to look.
11:58Again, focus in on here.
11:59And then, of course, we have the nice fall colors
12:02and the contrast between, you know, the orange leaves
12:04that have already fallen on the ground
12:06and then these evergreen trees that are kind of up in the space.
12:09So thinking about color, thinking about line, thinking about texture.
12:13In this case, I am a little bit backlit or maybe a little bit sidelit.
12:16So the light on the side of my face is creating that nice falloff
12:20so that I'm not, like, too shadowy.
12:23And, of course, you know, when you have access to a Jaguar E-Type,
12:27you have to capture photos of it, especially at 100 megapixels.
12:31So this was handheld.
12:32This was ISO 200.
12:34This was closer towards the end of the day.
12:35So we're looking at a lower light condition,
12:3735 millimeter, 1 over 50.
12:39So that image stabilization on the X2D is definitely helping here
12:43because if I zoom in, I'm going to go into 300%, you know.
12:46We're seeing all the pixels, but you can actually read, you know,
12:50the Jaguar logo.
12:51What does it say?
12:52Right side?
12:53Unedited.
12:54That's what it looked like.
12:55So already a great photo.
12:56I think I threw my Lost in Japan preset on
12:59just to give it a little bit more of a green vibe
13:01and, again, add that contrast between the orange and the green,
13:05which for fall photos, I absolutely love.
13:07Or in this case, you know, where all the leaves have fallen on the ground
13:11and we drove this Jaguar into the middle of the forest,
13:14which some people probably won't like.
13:16But here's the unedited.
13:17Here's the edited.
13:19Not too much of an edited.
13:21Edit?
13:22But it's one of those moments that you absolutely need to capture
13:25because of how unique it is.
13:26And, of course, you know, when you have your fluff buddy,
13:29your pal over here, unedited, edited.
13:34Typically, when I'm doing cars,
13:35I want to underexpose a little bit to maintain the detail
13:38and the color in the headlights.
13:40But you get the idea.
13:41Speaking of strong center frame subjects,
13:43we are now on the 55 F 2.5,
13:47and that lens is going to be closer to a 43 millimeter equivalent on full frame,
13:51which is pretty close to my favorite focal length of 35 mil.
13:55But then when we edit this up, you know,
13:57that's going to edit up really nice,
13:59kind of going for that wintery vibe,
14:01that color contrast between the desaturated snow
14:05and the very vibrant cabin.
14:07But then, of course,
14:08you got to shoot some portraits of your friends inside the cabin.
14:11So Barris here, I had him stand next to the window.
14:14So I had that blocking of that dark window mullion.
14:18And then Barris' grid is a little bit more moody than mine is.
14:22That's kind of like his style.
14:23So the original photo is a little bit more blue hour.
14:25So I tend to, again, desaturate those blues.
14:28You got to shoot portraits of all your friends.
14:29So here's one of Tiffany.
14:30And the thing that I like about it is that it started to snow.
14:33So we actually have those point snowflakes that are, you know,
14:37farther away from the lens.
14:38And then these bokehed out snowflakes that are kind of like these blobs
14:42that really create that nice depth in an image like this
14:46or in an image like this that I then gave the camera to Tiffany.
14:50And she captured this one of me.
14:52There's the unedited.
14:53So what did I do?
14:54I brightened up the background a little bit just to give it that snowy vibe.
14:57Both of these cameras have the same sensor, which is a medium format sensor,
15:00which is not only bigger than what you're used to seeing on full frame,
15:04but the aspect ratio is taller.
15:06So it's about three by two.
15:08And in this case, you can see, you know,
15:10I've framed up Anna here in this very, like, magical wintery scene.
15:14I've given her a little bit more headroom because I really want to show
15:17that texture of the forest.
15:19But when I flip this photo vertically,
15:21this is where that aspect ratio, to me at least, makes sense,
15:25where I get a little bit more width now.
15:28So my photo isn't as skinny.
15:30And I think that helps frame portrait subjects a little bit more naturally
15:36than maybe what you'd get with your typical aspect ratio on a full frame
15:40or on an APS-C camera.
15:42Before, edited with my white cedar preset.
15:46And again, thinking about compositional elements here,
15:49I intentionally framed, like, part of the TV stand on the left
15:53to blur out that background to say, you know,
15:55there's something happening where there's foreground,
15:58there's Taha, my subject,
16:00and then there's something filling the right side of the frame.
16:03So if I didn't have that, it would kind of just be him flat against a window,
16:07which can be fine if you're going for minimalist.
16:09But because I'm trying to sell the story of this space,
16:13of, you know, it being a cozy cabin,
16:15of there being a coffee table and some pillows,
16:18and again, that background with that forest that's bokehed out,
16:22blurred out with some snowflakes.
16:24You're looking at all the layers and thinking, how does this work?
16:27How does this work for my story?
16:29Again, like the image where I showed you that I had the trees framing me in the scene,
16:34I also have the window mullions framing him.
16:37So the window mullion, this thing over here,
16:39is not going through the top of his head,
16:41where here we're not necessarily dealing with window mullions,
16:44but we have buildings.
16:45I wouldn't want a building, you know,
16:47to be sticking out or overlapping with Taha in a weird way.
16:51So again, we switched.
16:53Obviously a little bit underexposed.
16:55That's just because the way I like to expose and then bring it up later.
16:58But we're at ISO 400, so really no issues with no...
17:02Oh gosh, look at all my skin texture.
17:04Back to Toronto and a classic photo that I've taken time and time again.
17:08You know, here's one taken on the Hasselblad that I've made a little bit warmer.
17:11This might shock you a little bit.
17:13Here's the unedited version of this photo.
17:15Now, I intentionally set the settings to underexposed,
17:20knowing that I'd get some pretty bright, you know, sun highlights here,
17:25which you can only recover so much,
17:27but because we are dealing with the sun and, you know, ISO 100,
17:32after I edit it, I can bring it back.
17:35Oh gosh, my skin texture again.
17:37So here I think I'm focused, you know, maybe on my eye.
17:40My nose is out of focus because it is such a shallow depth of field at f2.5.
17:46So another example of composition, if you're trying to improve your photos, is this.
17:51So we have the subject, which is these Muskoka chairs,
17:541 over 500 on the 55 millimeter.
17:57Nice and bright, nice and contrasted, so we have that color pop.
18:01But then we also have our framing.
18:03We have these two trees on either side that are saying, you know,
18:07forget that, focus in on this.
18:10Same thing with the depth in this image.
18:13So depth is one of those elements where, you know, you can create it with layers, which we are,
18:17or you can create it with aperture, which we are.
18:20So we have the foreground here, which has nice texture, which is,
18:23we don't want it to distract, so I'm shooting at f2.5 to blur it out.
18:27You could also do the opposite if you want to see that texture.
18:30It all depends on what you're shooting.
18:32But foreground, mid-ground with our trees, framing, subject, which is this,
18:39and then the background.
18:41In a case like this, this was just an organic moment where I was shooting photos with Stefano,
18:45and he just walked up to the edge of Lake Louise,
18:48and we kind of came out from under this tree canopy,
18:51saw the moon perfectly positioned over the lake,
18:55and I just, I didn't say anything, I just stood back, I let him go.
18:58In this case, with my BAMF photos, I was shooting on the 907X,
19:03kind of just framed it up, took the photo,
19:06and didn't really edit it too much.
19:09It was very blue because you're dealing with early morning light,
19:12so typically I will try to white balance a little bit so that the snow doesn't look as blue.
19:17Same thing here, you can see kind of for scale, which is fun,
19:20there's a camera and tripod down in the corner,
19:24and a little bit of mist coming over this scene.
19:27Now because the 907X doesn't have image stabilization,
19:30you'll probably notice that I'm shooting at faster shutter speeds.
19:34Like I probably could have done a lower shutter speed and done tripod,
19:38but I'm at, you know, 1600 ISO.
19:40Or here, I guess I did 1 over 50, which was very brave of me.
19:44You can see, you know, the image stabilization, there's none,
19:47so it's a little bit blurry.
19:49More portraits on the lake, which turned out great.
19:52I actually shot this photo of Stefano with the moon in the background,
19:56and said, okay, this is good, you need to shoot one of me.
19:59So then we swapped and he did the same thing.
20:02There's the unedited, so still very early, like blue hour type conditions,
20:07and you can see probably because I was a little scared,
20:10I bumped the shutter speed back up to 1 over 400,
20:13and there's the moon, all bokehed out.
20:15But for a tighter version of that photo, we have this.
20:18The moon is really bokehed out now.
20:21And if I zoom into, oh gosh, my skin texture.
20:24Probably should have wiped my mustache off a little bit.
20:27But again, you know, 100 megapixels,
20:29we're still getting used to having that much resolution.
20:32So here's a cleaner, non-shaky photo of the Lake Louise boathouse.
20:36I did it vertical and horizontal, even though I didn't need to,
20:40sometimes because, you know, I was at a little bit of a tighter focal length,
20:43not knowing how I would crop it later.
20:45But, you know, I'm still thinking about foreground.
20:47I'm still thinking about this line of this ice,
20:50you know, the subject in the mid-ground,
20:53and then that mountain rising in the background
20:56that is going to fill up my frame
20:58so that I have something interesting to look at,
21:00kind of at each level of this image.
21:03But by far, my favorite photo that potentially I've ever shot,
21:08or at least that I've shot with these cameras, is this one.
21:12Now, before I show you the unedited,
21:14let's walk through why this photo is so good
21:18and probably why I'm going to print this one and hang it up on my wall.
21:21One, timing.
21:23You can't just show up to a spot like this and capture a train.
21:26You need to wait for it.
21:28Position.
21:29We got ourselves into a position, like we got there early,
21:32we figured out, okay, where do we want to be?
21:33We probably want to be elevated,
21:35so we climbed up a little bit of a hill to this overlook point
21:38where all the other photographers were down below,
21:41and, like, maybe not sure, should they go up as well?
21:43Should they stay down below?
21:45But we had scouted the location in advance
21:47and knew that we wanted a little bit of elevation
21:49so we could get the length of the train
21:52and take advantage of the element of a line,
21:55of this leading line of, you know, the color pops here,
21:58so color, color contrast,
22:00but then it leads you down the composition of this image
22:05towards that mountain that is off in the background.
22:08So in this photo, we don't have as much of a foreground,
22:11but we have elements that lead us from the foreground to the background.
22:15So we have this river here, which is nice and bright and blue,
22:18that also follows the train,
22:20so again, you kind of have these, like, two interwoven subjects.
22:23We have really nice mid-ground texture of all these trees,
22:28and then there's this mist.
22:30So the sun is a little bit lower,
22:32which is going to give you less harsh light
22:35than what you would get, you know, in the middle of the afternoon,
22:37but then because it was being obscured by a little bit of haze,
22:42which you can also see some of the snow and haze
22:44blowing in between the mountains,
22:46the lighting kind of had this soft, ethereal,
22:49almost mist-like glow to it,
22:52as if you were using a mist filter, except we weren't.
22:55So here is the unedited version,
22:58and of course, I've white-balanced it
23:00so that the snow looks a little bit more white in the shadowy areas,
23:03but you can see there's just a natural mist everywhere,
23:06which is going to soften that photo
23:08and really make it amazing to edit
23:11because you have 100 megapixels
23:13and because you have those 16-bit RAW photos,
23:15and adding a little bit of warmth to an image like this
23:18absolutely sells it for me.
23:20And lighting is always going to be important
23:22to light up your subject, to light up your background,
23:24to make sure it's either the right intensity,
23:26the right softness,
23:28so that when you do capture a photo with your Hasselblad,
23:31whether it's the 20-35,
23:33whether it's the X2D, the 907X, or the 55mm.
23:38So hopefully you've enjoyed this.
23:40Hopefully you have a sense of what's possible
23:43on these Hasselblad cameras,
23:45and if you learn something new about these cameras
23:47or about composition or about lighting
23:50or about anything that I mentioned,
23:51let me know down below
23:53or let me know what else you want to see from these cameras
23:56because I do get to keep them, which is fun and awesome.
23:59And thanks to Hasselblad for partnering with me
24:02to allow me to create these shorts and these reels
24:05and these YouTube videos.
24:07So hopefully there will be more in the future.
24:09And until the next one, grab your camera,
24:11get out, and go shoot photos.
24:23www.ottobock.com