Battle of the Vintage TTL-Metering 2-1/4 Square SLRs:
The elite Hasselblad 205TCC/FCC & 203 FE vs. the humble Bronica EC-TL
By Jason Schneider
Film Royalty: 6x6 cm film SLRs with interchangeable viewfinders, focusing screens and interchangeable backs occupy elite territory in the film world. Narrow that down further with built in TTL metering and you will find yourself entrenched firmly in film royalty territory of but a very few very capable professional cameras. The Hasselblad vs Bronica battle has caught my eye, complete with focal plane failures and Bronica envy for Hasseblad and Hasselblad envy for Bronica. Along the way both built some of the best 6x6 film cameras ever more than their share of often overlooked surprises today. It’s a bit surprising these classic TTL beasties are so overlooked today by film newbies who don’t know they exist.
To say that Hasselblad struggled to come up with a reliable focal plane shutter for its acclaimed modular 2-1/4-square format film SLRs is something of an understatement. It took them over 50 years, and they finally solved the problem in 1991 by opting for a shutter with traditional silk curtains, a solution they probably should have considered back in 1948! As many of us film dinosaurs recall, the original Hasselblad 1600F of 1948 had interchangeable film backs, finders, and manual stop-down screw mount lenses, including the excellent 80mm f/2.8 Kodak Ektar normal prime, but its corrugated stainless steel focal plane shutter was notoriously unreliable, especially at its vaunted industry leading top speed of 1/1600 sec.
Hasselblad 1600F of 1948 with 80mm f/2,8 Kodak Ektar lens was brilliant and beautifully made, but its metal focal plane shutter was notoriously unreliable.
It's said that a watchmaker was responsible for the mechanical design of the Hasselblad 1600 F’sshutter and that supposedly is why it was too delicate to withstand the rigors of field use. I remain skeptical. For one thing, some watches, especially marine chronometers, and railroad watches, are designed to keep functioning under tough conditions, and most modern mechanical watches incorporate sophisticated shock absorbing systems like Incabloc, that was developed by the Swiss watch industry. Furthermore, there didn’t appear to be a clear correlation between “hard use” and shutter woes—many 1600F users who weren’t working pros also experienced shutter problems. Nevertheless, when the pros who comprised the bulk of Hasselblad’smarket began deserting it, Hasselblad took decisive action, introducing the Hasselblad 1000F in 1952. It had what was billed as an improved metal focal plane shutter with a lower top shutter speed of 1/1000 sec and was marketed in Europe with a new line of less costly Carl Zeiss lenses (does that seem like an oxymoron?) including an 80mm f/2.8 Zeiss Tessar. Alas, the new shutter was only marginally more reliable than the one in the 1600F and it was still constraining sales, so, in 1957 Hasselblad finally bit the bullet and brought forth the Hasselblad 500C, a camera with the same iconic form factor and modular design but based an entirely new concept—a Synchro-Compur MX leaf shutter in each bayonet mount Carl Zeiss lens, and a new line of film backs an finders that were incompatible with previous models. Today the early focal plane Hassys are best considered collectibles, not shootable every day film cameras.
Hasselblad 1000F of 1952 with 80mm f/2.8 Carl Zeiss Tessar lens. Its top speed was lowered to 1/1000 sec but it was only a bit more reliable than the1600F.
The 500C and its leaf shutter V-series successors such as the C/M and CW, all of which have auto-stop-down, leaf shutter lenses and full flash-sync at all shutter speeds, were a roaring success. However, they all have a top shutter speed of “only” 1/500 sec, limitations on maximum aperture and close focusing ability (3 feet with the standard 80mm f/2.8 Zeiss Planar), and no provision for in-camera metering other than an uncoupled accessory meter prism. They scored on performance, flexibility, and compactness, becoming the mainstay of countless studio and wedding photographer and a crucial element in their brand image.With wonderful Zeiss lenses the 500 system achieved fantastic success and for many became the classic 6x6 pro system camera. Even so Hasselblad developed a bad dose of Bronica envy.
Hasselblad 500C of 1957, with a Synchro-Compur MX leaf shutter in each Zeiss lens, ushered in the hugely successful V-series, the mainstay of many pros.
Finally, in 1977, 20 years after the introduction of the 500C, Hasselblad decided to have another go at the metal focal plane shutter and brought forth the 2000FC with a titanium foil focal plane shutter with a top speed of 1/2000 sec. Finally, Hasselblad had a camera series capable of shooting not only new faster lenses made for focal plane shutters, but also the previous 500 series lenses! Sweet. While mechanically sound the shutter was still very delicate and an inordinate number of ham-fisted photographers managed to poke their thumbs through it, leading to very expensive repairs. Hasselblad solved this problem in 1981 with the 2000FC/M which retracted the shutter when the film back was removed, and then added motor winder capability in the 2000FCW of 1984. Alas there was still a big fly in the Hassy focal plan shutter department – self destructing shutter curtains. These two cameras, and the 2003FCW (with brighter Acu-Matte screen and internal flocking to reduce flare), are the best of the meter-less 2000 series but are not as reliable as the cameras that followed. They currently fetch about $2500-$3,000 with 80mm f/2.8 Planar lens, back, and waist-level finder.
Hasselblad 2000FC/M cleverly retracted its fragile titanium foil focal plane shutter when the back was removed but it had other problems. Still, it's a classic.
Then, in 1991, Hasselblad brought forth the 205TCC, the new flagship of the line and the company’s first camera with in-body metering, a sophisticated silicon cell TTL system using a silicon (SPD) meter cell in the base of the camera behind the mirror that points upward to take ambient, flash, and ambient plus flash readings off the film. They also wisely switched to a traditional much tougher silk cloth curtain focal plane shutter in place of the fragile titanium foil. While we can’t provide a comprehensive analysis of all the 205TCC’s multifarious features here, suffice it to say that it was and is a technological tour de force that provides such advanced capabilities as coupled spot metering at full aperture, aperture priority autoexposure, comprehensive LCD finder readouts, TTL autoflash, and a zone metering mode that provides complete control of exposure and tonal range based on the zone system protocols set forth and promotedby the legendary Ansel Adams. Indeed, it's said that the 205TCC was essentially created at the behest of a small but passionate group of elite European studio and landscape photographers who were zone system devotees that worshipped at Ansel Adams’shrine.
Hasselblad 205TCC, the first Hassy with a more robust cloth focal plane shutter, it had a top speed of 1/2000 sec, aperture-priority AE, and a passel of sophisticated electronically controlled features and readouts, including a Z (zone system) mode, It's a great camera but was and is hellaciously expensive.
Hasselblad 205FCC is closely based on the 205TCC but added auto bracketing. It took a new series of CFE lenses that were introduced in 1999.
The 205TCC camera was accompanied by a new series of shutterless F/TCC Zeiss lenses (since referred to as FE lenses) and ECC film backs with electronic data bus communications, though it will accept older backs and lenses as well. The main problem is that all this sophisticated Swedish high tech cost a pile of money—the camera debuted at about $7,000 and a clean functional one lens 205TCC outfit with finder and ECC back with set you back about $6-7K today. Ditto for a 205 FCC of 1995, basically a 205TCC with auto bracketing and other additions taken from the successful 203FE of 1994. It used a new series of CFE lenses beginning in 1999, and E film backs with electronic data bus connections recognizable by electrical contacts and a blue line of trim.
Hasselblad 203FE of 1994 deleted the Zone System Mode and added center-weighted metering. It's the shooter's choice among 200-series Hasselblads.
Aside from its extravagant price, the 205TCC was beset with major and minor foibles. To begin with the Z (zone system) mode is overkill for anyone who isn’t already a zone system junkie—Ansel’s acolytes loved it, but few others were enticed into mastering and using the zone system mode; they simply ignored it even though they had paid for it. Other problems encountered with the 205TCC and 205FCC include occasional erroneous viewfinder readings when intermediate shutter speeds are set, and weak aperture stop-down springs on some shutterless FE lenses, leading to irregular exposures and expensive repairs. But perhaps the biggest problem with these cameras is the inherent contradiction of using a narrow angle spot meter in conjunction with aperture-priority autoexposure mode. The TCC/FCC’s metering spot is indicated by a 6mm circle of dots in the center of the focusing screen that represents approximately 1° of the total image area. The corresponding angle of view is 4° with the 80mm f/2.8 Planar F, 7° with the 50mm Distagon, and 1° with the 350mm Tele-Tessar. To use this system in AE mode, you must select and take a reading off that part of the subject you want to render in a tone equivalent to 18° neutral gray, lock in the reading, recompose and shoot. That’s why a center-weighted or multi-zone system is preferable when shooting active subjects in changing light, such as a basketball game or kids frolicking in a playground.
Many of these excesses and problematic contradictions were solved in the Hasselblad 203FE of 1994, which provides coupled open-aperture center-weighted metering, aperture priority autoexposure, auto-bracketing, and has no zone mode. It’s probably the best choice for anyone thinking of acquiring and using a “200 series” Hasselblad, but it ain’t cheap. A pristine body with 80mm f.2.8 FE Planar lens, waist-level finder and E back currently runs about $4,500-$6,500.
Don’t get me wrong. None of the “200 series” Hasselblads referred to here are unreliable or underperforming cameras. All three are beautifully made objects with excellent lenses and they’re capable of pro caliber results. Yes, like all cameras, especially 2-1/4 x 2-1/4-inch film SLRs, they have their peccadilloes and design flaws, but the chief problem is that the cameras and their system accessories are too gosh-darned expensive and don’t deliver a great bang for the buck.
The Bronica EC-TL: An affordable classic
The Bronica EC-TL isn’t perfect either, but if you’re searching for a 2-1/4 square film SLR with TTL autoexposure and built-in metering capability it’s an amazing value for the money that will perform almost on a par with its elite Swedish rivals at roughly 1/10[SUP]th[/SUP] the cost! Based on the Bronica EC of 1972-1978, the first medium format SLR with an electronically controlled focal plane shutter (Japan Patent No, 43/94431, December 1968), the Bronica EC-TL was the first medium format camera to provide through-the-lens (TTL) aperture priority autoexposure as well as manual TTL metering capability. It uses a TTL, center area (in effect, center-weighted), instant stop-down metering system that makes measurements at working aperture using a fast response silicon blue cell (SPD) behind the two-piece reflex mirror, and displays 13 LED-illuminated shutter speed settings and 2 exposure warning arrows along the top edge if its dedicated interchangeable finder screens, the display also providing a de facto battery check. The camera’s waist-level finder was also upgraded so that the magnifier section no longer leaves a gap for light to enter, which could possibly cause erroneous readings. Still, real world the Bronica EC TL arguably has a much better and more useful TTL metering system than Hassy as the Bronica system can shoot all Bronica S/EC lenses without any sort of additional modification! How’s that for a futuristic design?
Bronica EC-TL: Shown here with the superb 80mm f.2.8 Zeiss DDR-made Zenzanon MC lens, it was introduced in 1975, provides built-in TTL metering with aperture priority AE and metered manual and modes, plus on-the-screen LED finder readouts. It's not as sophisticated as a 200-series Hasselblad, but it's an affordable classic and an amazing value for the money on the current used market
The EC-TL’s center weighted metering system can measure light levels from EV4-19 at ISO 100 and covers film speed settings from ASA 25-3200. Like the EC, the EC-TL is powered by one 6v silver oxide No. 544, PX-28, or equivalent battery, provides shutter speeds from 4-1/1000 sec plus B plus a mechanical 1/40 sec flash sync speed, sets stepless shutter speeds in AE mode, and provides intermediate shutter speed settings in manual mode. It accepts the full range of legacy Nikkor, Zenzanon, Zeiss, and Komura lensesfrom 40mm to 1200mm in Bronica bayonet mount and was offered with a range of topnotch normal lenses including the (multicoated) 75mm f/2.8 Nikkor-P.C , 75mm f/2.8 Nikkor-H.C (a superb 6-elemewnt, 4-group double Gauss design), the 75mm f/2.8 Zenzanon, and the outstanding 80mm f/2.4 Zenzanon justly prized by Japanese Bronica fans.
Bronica EC-TL II, shown here with 75mm f/2.8 Nikkor-P.C multicoated lens, is the last of the focal plane shutter Bronicas. Basically it's a simplified EC-TL with fewer finder readouts and no manual metering. But it's newer than the EC-TL and it's a good choice if you can find one in pristine shape at a reasonable price.
While the electronically controlled cloth focal plane shutter in all EC-series models is generally reliable, getting one repaired is challenging since spare parts are no longer available. Ditto for the focusing screens,which occasionally go on the fritz and provide faulty or (more likely) no shutter speed or other readouts. As one EC-TL fanaticphilosophically observed, “If you purchase an EC-TL make sure you can return it if the metering system or readouts aren’t working properly. However, if the camera is functioning well, it has stood the test of time and it’ll most likely continue to work just fine.” Of course, so long as the shutter is working a meter-less EC-TL is basically an EC, and that’s not a bad thing. The very last focal-plane shutter Bronica, the EC-TL II of 1978-1980 has revised and simplified electronic circuitry, does not offer slow speeds below 1 sec, does not display shutter speeds slower than 1/30 sec in the finder, and has no manual metering mode—an “M” just lights in the finder to tell you you’re on your own. Operationally, the EC-TL is more sophisticated, but the EC-TLII still provides center weighted autoexposure and it’s a little newer, so if you can live with its limitations, it’s not a bad choice. The electronic Bronica EC / EC-TL shutters are MUCH quieter than the earlier all mechanical S series cameras. The EC / EC-TL cameras are robust and on the large and heavy side—the EC-TL measures 139mm x 170mm x 117mm (W x L x H) and weighs in at 2050 g (4.52 pounds) with 75mm f/2.8 Zenzanon M.C. lens. However, they’re very well balanced, handle surprisingly well thanks to their well thought out controls, and are capable of topnotch performance. Add to that the Bronica EC / EC-TL magazine shoots 120 or 220 and can be interchanged without losing a frame mid roll – an impossibility with the classic Hassy film magazines.
You can currently acquire a pristine fully functional Bronica EC-TL with 120/220 back, standard waist-level finder and 75mm f/2.8 Nikkor-P.C lens for about $600 and a similarly equipped EC-TLII in the same condition for about $100-$200 more. They’re something of an acquired taste, but they’re fine cameras, fun to shoot with, and amazing values. Stars of the later Bronica EC lenses include the 40/4 Zenzanon, 50/4 Zenzanon, 80/2.4 Zenzanon, 80/2.8 Jena, 80/2.8 H.C Nikkor, 150/3.5 Zenzanon, 200/3.5 Zenzanon, and 300/5.6 Nikkor. The larger, longer 400 to 1200mm Nikkors are HUGE and HEAVY, heavy enough for ocean liner ballast. Avoid the 100/2.8 Zenzanon with the EC or EC-TL. If not mounted correctly and carefully you’ll get a not so free broken mirror!
The elite Hasselblad 205TCC/FCC & 203 FE vs. the humble Bronica EC-TL
By Jason Schneider
Film Royalty: 6x6 cm film SLRs with interchangeable viewfinders, focusing screens and interchangeable backs occupy elite territory in the film world. Narrow that down further with built in TTL metering and you will find yourself entrenched firmly in film royalty territory of but a very few very capable professional cameras. The Hasselblad vs Bronica battle has caught my eye, complete with focal plane failures and Bronica envy for Hasseblad and Hasselblad envy for Bronica. Along the way both built some of the best 6x6 film cameras ever more than their share of often overlooked surprises today. It’s a bit surprising these classic TTL beasties are so overlooked today by film newbies who don’t know they exist.
To say that Hasselblad struggled to come up with a reliable focal plane shutter for its acclaimed modular 2-1/4-square format film SLRs is something of an understatement. It took them over 50 years, and they finally solved the problem in 1991 by opting for a shutter with traditional silk curtains, a solution they probably should have considered back in 1948! As many of us film dinosaurs recall, the original Hasselblad 1600F of 1948 had interchangeable film backs, finders, and manual stop-down screw mount lenses, including the excellent 80mm f/2.8 Kodak Ektar normal prime, but its corrugated stainless steel focal plane shutter was notoriously unreliable, especially at its vaunted industry leading top speed of 1/1600 sec.
Hasselblad 1600F of 1948 with 80mm f/2,8 Kodak Ektar lens was brilliant and beautifully made, but its metal focal plane shutter was notoriously unreliable.
It's said that a watchmaker was responsible for the mechanical design of the Hasselblad 1600 F’sshutter and that supposedly is why it was too delicate to withstand the rigors of field use. I remain skeptical. For one thing, some watches, especially marine chronometers, and railroad watches, are designed to keep functioning under tough conditions, and most modern mechanical watches incorporate sophisticated shock absorbing systems like Incabloc, that was developed by the Swiss watch industry. Furthermore, there didn’t appear to be a clear correlation between “hard use” and shutter woes—many 1600F users who weren’t working pros also experienced shutter problems. Nevertheless, when the pros who comprised the bulk of Hasselblad’smarket began deserting it, Hasselblad took decisive action, introducing the Hasselblad 1000F in 1952. It had what was billed as an improved metal focal plane shutter with a lower top shutter speed of 1/1000 sec and was marketed in Europe with a new line of less costly Carl Zeiss lenses (does that seem like an oxymoron?) including an 80mm f/2.8 Zeiss Tessar. Alas, the new shutter was only marginally more reliable than the one in the 1600F and it was still constraining sales, so, in 1957 Hasselblad finally bit the bullet and brought forth the Hasselblad 500C, a camera with the same iconic form factor and modular design but based an entirely new concept—a Synchro-Compur MX leaf shutter in each bayonet mount Carl Zeiss lens, and a new line of film backs an finders that were incompatible with previous models. Today the early focal plane Hassys are best considered collectibles, not shootable every day film cameras.
Hasselblad 1000F of 1952 with 80mm f/2.8 Carl Zeiss Tessar lens. Its top speed was lowered to 1/1000 sec but it was only a bit more reliable than the1600F.
The 500C and its leaf shutter V-series successors such as the C/M and CW, all of which have auto-stop-down, leaf shutter lenses and full flash-sync at all shutter speeds, were a roaring success. However, they all have a top shutter speed of “only” 1/500 sec, limitations on maximum aperture and close focusing ability (3 feet with the standard 80mm f/2.8 Zeiss Planar), and no provision for in-camera metering other than an uncoupled accessory meter prism. They scored on performance, flexibility, and compactness, becoming the mainstay of countless studio and wedding photographer and a crucial element in their brand image.With wonderful Zeiss lenses the 500 system achieved fantastic success and for many became the classic 6x6 pro system camera. Even so Hasselblad developed a bad dose of Bronica envy.
Hasselblad 500C of 1957, with a Synchro-Compur MX leaf shutter in each Zeiss lens, ushered in the hugely successful V-series, the mainstay of many pros.
Finally, in 1977, 20 years after the introduction of the 500C, Hasselblad decided to have another go at the metal focal plane shutter and brought forth the 2000FC with a titanium foil focal plane shutter with a top speed of 1/2000 sec. Finally, Hasselblad had a camera series capable of shooting not only new faster lenses made for focal plane shutters, but also the previous 500 series lenses! Sweet. While mechanically sound the shutter was still very delicate and an inordinate number of ham-fisted photographers managed to poke their thumbs through it, leading to very expensive repairs. Hasselblad solved this problem in 1981 with the 2000FC/M which retracted the shutter when the film back was removed, and then added motor winder capability in the 2000FCW of 1984. Alas there was still a big fly in the Hassy focal plan shutter department – self destructing shutter curtains. These two cameras, and the 2003FCW (with brighter Acu-Matte screen and internal flocking to reduce flare), are the best of the meter-less 2000 series but are not as reliable as the cameras that followed. They currently fetch about $2500-$3,000 with 80mm f/2.8 Planar lens, back, and waist-level finder.
Hasselblad 2000FC/M cleverly retracted its fragile titanium foil focal plane shutter when the back was removed but it had other problems. Still, it's a classic.
Then, in 1991, Hasselblad brought forth the 205TCC, the new flagship of the line and the company’s first camera with in-body metering, a sophisticated silicon cell TTL system using a silicon (SPD) meter cell in the base of the camera behind the mirror that points upward to take ambient, flash, and ambient plus flash readings off the film. They also wisely switched to a traditional much tougher silk cloth curtain focal plane shutter in place of the fragile titanium foil. While we can’t provide a comprehensive analysis of all the 205TCC’s multifarious features here, suffice it to say that it was and is a technological tour de force that provides such advanced capabilities as coupled spot metering at full aperture, aperture priority autoexposure, comprehensive LCD finder readouts, TTL autoflash, and a zone metering mode that provides complete control of exposure and tonal range based on the zone system protocols set forth and promotedby the legendary Ansel Adams. Indeed, it's said that the 205TCC was essentially created at the behest of a small but passionate group of elite European studio and landscape photographers who were zone system devotees that worshipped at Ansel Adams’shrine.
Hasselblad 205TCC, the first Hassy with a more robust cloth focal plane shutter, it had a top speed of 1/2000 sec, aperture-priority AE, and a passel of sophisticated electronically controlled features and readouts, including a Z (zone system) mode, It's a great camera but was and is hellaciously expensive.
Hasselblad 205FCC is closely based on the 205TCC but added auto bracketing. It took a new series of CFE lenses that were introduced in 1999.
The 205TCC camera was accompanied by a new series of shutterless F/TCC Zeiss lenses (since referred to as FE lenses) and ECC film backs with electronic data bus communications, though it will accept older backs and lenses as well. The main problem is that all this sophisticated Swedish high tech cost a pile of money—the camera debuted at about $7,000 and a clean functional one lens 205TCC outfit with finder and ECC back with set you back about $6-7K today. Ditto for a 205 FCC of 1995, basically a 205TCC with auto bracketing and other additions taken from the successful 203FE of 1994. It used a new series of CFE lenses beginning in 1999, and E film backs with electronic data bus connections recognizable by electrical contacts and a blue line of trim.
Hasselblad 203FE of 1994 deleted the Zone System Mode and added center-weighted metering. It's the shooter's choice among 200-series Hasselblads.
Aside from its extravagant price, the 205TCC was beset with major and minor foibles. To begin with the Z (zone system) mode is overkill for anyone who isn’t already a zone system junkie—Ansel’s acolytes loved it, but few others were enticed into mastering and using the zone system mode; they simply ignored it even though they had paid for it. Other problems encountered with the 205TCC and 205FCC include occasional erroneous viewfinder readings when intermediate shutter speeds are set, and weak aperture stop-down springs on some shutterless FE lenses, leading to irregular exposures and expensive repairs. But perhaps the biggest problem with these cameras is the inherent contradiction of using a narrow angle spot meter in conjunction with aperture-priority autoexposure mode. The TCC/FCC’s metering spot is indicated by a 6mm circle of dots in the center of the focusing screen that represents approximately 1° of the total image area. The corresponding angle of view is 4° with the 80mm f/2.8 Planar F, 7° with the 50mm Distagon, and 1° with the 350mm Tele-Tessar. To use this system in AE mode, you must select and take a reading off that part of the subject you want to render in a tone equivalent to 18° neutral gray, lock in the reading, recompose and shoot. That’s why a center-weighted or multi-zone system is preferable when shooting active subjects in changing light, such as a basketball game or kids frolicking in a playground.
Many of these excesses and problematic contradictions were solved in the Hasselblad 203FE of 1994, which provides coupled open-aperture center-weighted metering, aperture priority autoexposure, auto-bracketing, and has no zone mode. It’s probably the best choice for anyone thinking of acquiring and using a “200 series” Hasselblad, but it ain’t cheap. A pristine body with 80mm f.2.8 FE Planar lens, waist-level finder and E back currently runs about $4,500-$6,500.
Don’t get me wrong. None of the “200 series” Hasselblads referred to here are unreliable or underperforming cameras. All three are beautifully made objects with excellent lenses and they’re capable of pro caliber results. Yes, like all cameras, especially 2-1/4 x 2-1/4-inch film SLRs, they have their peccadilloes and design flaws, but the chief problem is that the cameras and their system accessories are too gosh-darned expensive and don’t deliver a great bang for the buck.
The Bronica EC-TL: An affordable classic
The Bronica EC-TL isn’t perfect either, but if you’re searching for a 2-1/4 square film SLR with TTL autoexposure and built-in metering capability it’s an amazing value for the money that will perform almost on a par with its elite Swedish rivals at roughly 1/10[SUP]th[/SUP] the cost! Based on the Bronica EC of 1972-1978, the first medium format SLR with an electronically controlled focal plane shutter (Japan Patent No, 43/94431, December 1968), the Bronica EC-TL was the first medium format camera to provide through-the-lens (TTL) aperture priority autoexposure as well as manual TTL metering capability. It uses a TTL, center area (in effect, center-weighted), instant stop-down metering system that makes measurements at working aperture using a fast response silicon blue cell (SPD) behind the two-piece reflex mirror, and displays 13 LED-illuminated shutter speed settings and 2 exposure warning arrows along the top edge if its dedicated interchangeable finder screens, the display also providing a de facto battery check. The camera’s waist-level finder was also upgraded so that the magnifier section no longer leaves a gap for light to enter, which could possibly cause erroneous readings. Still, real world the Bronica EC TL arguably has a much better and more useful TTL metering system than Hassy as the Bronica system can shoot all Bronica S/EC lenses without any sort of additional modification! How’s that for a futuristic design?
Bronica EC-TL: Shown here with the superb 80mm f.2.8 Zeiss DDR-made Zenzanon MC lens, it was introduced in 1975, provides built-in TTL metering with aperture priority AE and metered manual and modes, plus on-the-screen LED finder readouts. It's not as sophisticated as a 200-series Hasselblad, but it's an affordable classic and an amazing value for the money on the current used market
The EC-TL’s center weighted metering system can measure light levels from EV4-19 at ISO 100 and covers film speed settings from ASA 25-3200. Like the EC, the EC-TL is powered by one 6v silver oxide No. 544, PX-28, or equivalent battery, provides shutter speeds from 4-1/1000 sec plus B plus a mechanical 1/40 sec flash sync speed, sets stepless shutter speeds in AE mode, and provides intermediate shutter speed settings in manual mode. It accepts the full range of legacy Nikkor, Zenzanon, Zeiss, and Komura lensesfrom 40mm to 1200mm in Bronica bayonet mount and was offered with a range of topnotch normal lenses including the (multicoated) 75mm f/2.8 Nikkor-P.C , 75mm f/2.8 Nikkor-H.C (a superb 6-elemewnt, 4-group double Gauss design), the 75mm f/2.8 Zenzanon, and the outstanding 80mm f/2.4 Zenzanon justly prized by Japanese Bronica fans.
Bronica EC-TL II, shown here with 75mm f/2.8 Nikkor-P.C multicoated lens, is the last of the focal plane shutter Bronicas. Basically it's a simplified EC-TL with fewer finder readouts and no manual metering. But it's newer than the EC-TL and it's a good choice if you can find one in pristine shape at a reasonable price.
While the electronically controlled cloth focal plane shutter in all EC-series models is generally reliable, getting one repaired is challenging since spare parts are no longer available. Ditto for the focusing screens,which occasionally go on the fritz and provide faulty or (more likely) no shutter speed or other readouts. As one EC-TL fanaticphilosophically observed, “If you purchase an EC-TL make sure you can return it if the metering system or readouts aren’t working properly. However, if the camera is functioning well, it has stood the test of time and it’ll most likely continue to work just fine.” Of course, so long as the shutter is working a meter-less EC-TL is basically an EC, and that’s not a bad thing. The very last focal-plane shutter Bronica, the EC-TL II of 1978-1980 has revised and simplified electronic circuitry, does not offer slow speeds below 1 sec, does not display shutter speeds slower than 1/30 sec in the finder, and has no manual metering mode—an “M” just lights in the finder to tell you you’re on your own. Operationally, the EC-TL is more sophisticated, but the EC-TLII still provides center weighted autoexposure and it’s a little newer, so if you can live with its limitations, it’s not a bad choice. The electronic Bronica EC / EC-TL shutters are MUCH quieter than the earlier all mechanical S series cameras. The EC / EC-TL cameras are robust and on the large and heavy side—the EC-TL measures 139mm x 170mm x 117mm (W x L x H) and weighs in at 2050 g (4.52 pounds) with 75mm f/2.8 Zenzanon M.C. lens. However, they’re very well balanced, handle surprisingly well thanks to their well thought out controls, and are capable of topnotch performance. Add to that the Bronica EC / EC-TL magazine shoots 120 or 220 and can be interchanged without losing a frame mid roll – an impossibility with the classic Hassy film magazines.
You can currently acquire a pristine fully functional Bronica EC-TL with 120/220 back, standard waist-level finder and 75mm f/2.8 Nikkor-P.C lens for about $600 and a similarly equipped EC-TLII in the same condition for about $100-$200 more. They’re something of an acquired taste, but they’re fine cameras, fun to shoot with, and amazing values. Stars of the later Bronica EC lenses include the 40/4 Zenzanon, 50/4 Zenzanon, 80/2.4 Zenzanon, 80/2.8 Jena, 80/2.8 H.C Nikkor, 150/3.5 Zenzanon, 200/3.5 Zenzanon, and 300/5.6 Nikkor. The larger, longer 400 to 1200mm Nikkors are HUGE and HEAVY, heavy enough for ocean liner ballast. Avoid the 100/2.8 Zenzanon with the EC or EC-TL. If not mounted correctly and carefully you’ll get a not so free broken mirror!
