A Hasselblad, more than 40 years after first looking.

Owners of the model might care to peruse the left hand side of their camera body. If they do, they'll discover that, Hasselblad's designation for their upgraded 500C is, in fact (and has consistently always been) "500C/M"—not "500CM". 😉
 
Richard G said:
Just saw this fantastic three camera review of the 907X / CFV II 50C by a British professional photographer. He used the 907X, a 503cw and a Linhof Techno and Rodenstock lens. https://youtu.be/kl9TCB-GPU0
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This is my favourite review of the 907x, and actually done by someone who knows what they’re doing.
 
My only regret is not getting a 70mm back and film when it was widely available. Not because I really needed that many exposures before swapping a back or reloading, but just because I like the appearance and function of the 70mm back.

Don’t even mention Polaroid…
 
Pál_K said:
My only regret is not getting a 70mm back and film when it was widely available. Not because I really needed that many exposures before swapping a back or reloading, but just because I like the appearance and function of the 70mm back.

Don’t even mention Polaroid…
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My stash of 70mm 24 exp rolls 05 2022 by Nokton48, on Flickr

My plan for this shooting year, Plus-X Pan (the original stuff), Kodak WL Surveillance Film, Agfa Aviphot 200 (Rollei 400s), and HP5 Plus. The Aviphot and the HP5+ are fresh film. I shoot a lot of expired film too, no real differences.

I have collected, cleaned and dusted, added blue tape, to my remaining stock of Kodak 70mm Cartridges. All of these cartridges are complete, including the silver inner clip. It is important that the film go completely into the exposed cartridge, without damaging the film transport. My plan is to load 24 exposures including header and leader, which I can develop on a Unicolor Uniroller, using my JOBO 2500 with modified 120 reels, or my Patterson which holds two 24 exp 70mm modifed reels. I bought up, cleaned up, and modified another Unicolor Uniroller, this one has continuous one way rotation.

 
“ Why carry a tripod or a monopod? It is a different exercise entirely to ‘Leica photography.’ The latter is an intuitive snatching of a picture, scale focused, estimated exposure and 1/60s or 1/40s or even much slower, with a passable result made with the magic of 35mm film and 37 exposures to a roll. The Hasselblad, perhaps medium format generally, is a totally different exercise. Sure, the Rolleiflex was a press workhorse in the 1950s, often still carried in its leather case astonishingly enough, but it is the slowing down with medium format that is one of the chief benefits; and the qualities of the Zeiss lenses, the tonality and finally the sharpness, where that is worth having.”

Brother (of the lens) Richard,
the poetry of your words is matched by the poetry of the image. I really enjoyed the quiet smile I could see on your face as I read this. Please do post more photos as you deepen your live with this gorgeous camera!
 
I bought my first Hasselblad back in the 80’s down in London at Fox Talberts store. It was the 500CM. Still have her and she still works the same as the day I brought her home. Have since acquired a 503CW and a SWC/M and a number of vital lenses. A few years ago I was experiencing dust like particles on my negatives, just could not understand the cause of them. Long story short I discovered it was the 503CW causing the problem, the rear shutter blinds covering was delaminating and coming off. Every time the shutter was fired the particles were being blown around and settling on the film. So i carefully removed the velvet like covering and revealed the same metal blinds that my 500CM has. My problems immediately disappeared, no more dust particles on my negatives.
So if any of you out there have this rear blind covering, get rid of it now before you ruin your negatives like I did. Apparently the stuff was glued onto the two metal blinds to quieten down the exposure sound, it was a shortsighted idea, I notice absolutely no difference in sound after removing the stuff.
 
571514m3 said:
“ Why carry a tripod or a monopod? It is a different exercise entirely to ‘Leica photography.’ The latter is an intuitive snatching of a picture, scale focused, estimated exposure and 1/60s or 1/40s or even much slower, with a passable result made with the magic of 35mm film and 37 exposures to a roll. The Hasselblad, perhaps medium format generally, is a totally different exercise. Sure, the Rolleiflex was a press workhorse in the 1950s, often still carried in its leather case astonishingly enough, but it is the slowing down with medium format that is one of the chief benefits; and the qualities of the Zeiss lenses, the tonality and finally the sharpness, where that is worth having.”

Brother (of the lens) Richard,
the poetry of your words is matched by the poetry of the image. I really enjoyed the quiet smile I could see on your face as I read this. Please do post more photos as you deepen your live with this gorgeous camera!
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Thanks for your kind and encouraging post. Just finished a roll of Ektar, photographing a little maple all yellow here in our autumn. Hopefully something nice will come off that roll. Used the Sonnar 150....
 
Nokton48 said:
Kodak 70mm Surveillance Test ADOX Borax MQ by Nokton48, on Flickr

Playing with the 4490 and some old processed Surveillance film. This film is super high speed in ADOX; I would say EI 800 maybe the way this was developed..........

Hasselblad 500C/M Kodak 70mm Surveillance Film ADOX Borax Developer

This is the woods behind my back yard.
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Nice result. Double satisfaction when this sort of thing pays off.
 
Retro-Grouch said:
There's always some discussion here about the "ker-WHUMPF" of the Hassie. I've always considered it just part of the experience, but annoying. Recently, I sent one of the 500CM bodies in for an overhaul (there was a slight issue with the mirror lock) and was shocked by how quiet and vibration-free the camera now is. I'd call it a "fwip". Not Leica quiet, but really nice. If you find the noise and vibration to be an issue, maybe it's time to treat your precious to a spa treatment.
I think that perhaps Hassies are so well built that they can continue to function well long after they're due for a CLA. Nevertheless, the maintenance should be done. They aren't making any more of them, as we are all too well aware!
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And who knows how longer David Odess will continue to do the work.
 
hap said:
And who knows how longer David Odess will continue to do the work.
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I would suggest that one of the misconceptions prevalent amongst users of high-end classic cameras (Hasselblad, Rollei, Leica, etc.) is that there are only a few Annointed Ones capable of working on those brands. I have had samples of each of those brands serviced by competent, local, "unknown" repair persons who did superb work on my cameras, without the long waits in the queus of the well-known superstars of repair. One needs to be careful, of course; there are certainly hacks out there. But a little research and some contact and discussion with the repair person can give you peace of mind. And if you have doubts, move on!
There are aspects of certain brands (rangefinder problems, for example) that might incline me to go to the experts. But overall, a CLA is certainly within the capabilities of any trained repair person. For example, the Hassie repair I mentioned above was done by a gentleman in Georgia, through my local repair shop (AP-T in Albuquerque). I trust the owner's expertise and judgement implicitly, and was not disappointed.
 
70mm Plus-X Pan Mic-X EI 125 by Nokton48, on Flickr

70mm Plus X dated 1981 processed in Legacy Mic-X straight and replenished. Old and outdated it is great as you can see, the original real deal!
I have a lot of this and I love it. 100mm F3.5 black T* Planar 500C/M

Hedgeapple tree in my back yard
 
Battery and meter works well. More myths. Which do you prefer, the 45 or the 90? The 45 is terrific and only a bit too big and too heavy. For me the 90 is just for certain tasks. I’ve been up a ladder ten minutes ago to shoot my favourite tree silhouetted against the fading light after sunset. I used the Leitz table top tripod on the minuscule real estate on top of the ladder, getting just enough height above my hedge. The spot meter reading plus two stops may work out if I’ve kept the 250 still enough for 1/2s.

I’ve seen enthusiasts online lament the lack of coupling of the PME 90 to aperture and shutter speed on the lens. Seriously. The view is far from squinty which others emphasize. It’s too big and bulky and while I prefer a hand held meter, having a built in spot meter with the 250 saves me buying a Sekonic spot meter. For the moment.

You program ISO and the maximum aperture of the lens on the camera to calibrate for a correct exposure from the meter reading. Simple enough. Change lens and reset the aperture. A cause for complaint? No.

it’s a big thing and heavy to have in the bag just in case. But I already had a subject where it was a must-have.
 
Was using the Sonnar 150 earlier. It’s a great lens. Its reputation for sharpness may be partly how much easier it is to nail focus with than with the 60 or the 80. Should have waited for this afternoon’s results to claim this ….
 
Flowers on Back Deck by Nokton48, on Flickr

Flowers on Back Deck. Hasselblad 500C/M 100mm T* black Planar, Ilford FP4+ 120, D23 1:1 Omega DII laser aligned 180mm black Rodagon 8x10 [NODE="2"]Forum[/NODE] Arista RC.

A cup of strong coffee, and a beautiful key day
 
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