A Hasselblad, more than 40 years after first looking.

Kingswood Gardens Hassy 30mm Distagon Fisheye 1 by Nokton48, on Flickr

Frog Pond, Kingswood Gardens, Mansfield Ohio. Kodak 70mm Surveillance Film, ADOX Borax MQ dev, Hasselblad 500C/M 30mm T* Distagon, Handheld exposure. Arista #2 8x10 Matte RC paper, Multigrade dev. Processed in 70mm Kindermann Dev Tank

Kodak Surveillance reminds me a lot of the older Tri-X emulsion.
The sun was just out of the frame upper left corner. The circular garden works well with the Hassy Fishy lens.

This was a fun shoot! :) More from this trip forthcoming.
 
Very nice shot with the 30: the big foreground works well as you say. I can remember when I first graduated from 50 to 35mm focal length in 135 format: what to do with all that space in the foreground was a challenge.

In my shot above I don't think I missed focus but I should have tried f8 rather than wide open at 5.6.

This one is the 150 Sonnar, which is a sharper lens, and I think this is f8.


Velvia 100 Hasselblad 500CM Sonnar 150 by Richard, on Flickr
 
Precious in a different way to my flowers: Rugby Union.


U28906I1566832297.SEQ.0.jpg
 
From static to more dynamic. This is with the Sonnar 150 and using the monopod. A bit underexposed with Ektar 100 and needing 1/125s. With that kit and with the waist level finder I got some shots of this little dragon clambering up a tree overhanging the river, with me sitting on the bank and the monopod foot against the base of the tree.


Eastern/Australian Water Dragon. Yarra River by Richard, on Flickr
 
Some fun photos have been posted ... Thank you! I enjoy looking at them. :)

I recently acquired a clean, minty A16 back for my 500CM bodies. This will be fun: with the same format proportions as the CFVII 50c digital back, I can swap between the two easily and also easily see the difference in FoV using the focusing screen designed for the CFV 50c back.

With my V system lenses, it comes up to a maximum of about 10° more FoV with 6x4.5 cm format compared to 4.4x3.3 cm format. Use the frame lines for the sensor with the digital back, and imagine the 645 frame lines by extending the diagonals to the vertical edges of the viewfinder.

Fun stuff!

G
 
Godfrey said:
Some fun photos have been posted ... Thank you! I enjoy looking at them. :)

I recently acquired a clean, minty A16 back for my 500CM bodies. This will be fun: with the same format proportions as the CFVII 50c digital back, I can swap between the two easily and also easily see the difference in FoV using the focusing screen designed for the CFV 50c back.

With my V system lenses, it comes up to a maximum of about 10° more FoV with 6x4.5 cm format compared to 4.4x3.3 cm format. Use the frame lines for the sensor with the digital back, and imagine the 645 frame lines by extending the diagonals to the vertical edges of the viewfinder.

Fun stuff!

G
Click to expand...

Thanks Godfrey. Missed this post when I put in the last photo.

The similarities of the A16 and CFV 50 II will be an interesting exploration. Love your shots in your thread on all this.
 
Today I went down a hunt for dragons with the prism finder attached. I found I was often pulling the camera the wrong way, my hand and the feel of the camera perhaps programmed to the waist level finder. Quite unexpected, but completely explicable.

No more trouble with light leaks since I stopped unnecessarily using the dark slide so much.

And finally I realised with the prism, more than the magnifier with the WLF that it is important to use the upper part of the multifocal lenses in my glasses to get quick accurate focus.
 
This thread needs a bit more camera and lens porn :)


60mm Distagon by Vince Lupo, on Flickr

I just got this lens back from the Camera Wiz himself, Frank Marshman, who did the full spit'n'polish and calibration. It's a rare 60mm f/4 Distagon - according to Richard Nordin's fantastic book, Hasselblad Compendium, only 1900 examples were made in 1962. It was another one of those 'as-is' specials from KEH that turned out to be a stunningly beautiful lens that only needed a good CLA. Not sure if I'm going to keep it or not, but I'll enjoy it for the time being.
 
And the dragons I mentioned.....




Eastern Water Dragon trying to be invisible by Richard, on Flickr

Like many Lizards this one too has chameleon properties, controlling colour by blood flow and the tail matches the fallen leaves and the characteristic elevated head and shoulders quickly changed to green and black, matching the dark trees and greenery of the forest.



Juvenile below, ready to drop to the water if necessary, where the adult had fled and dropped into the river from the overhanging tree bole. This one underexposed unfortunately. ISO 100 and f4 not great for nature photography. This was taken with me ignoring the warning about snakes and sitting on the bank with the monopod applied to the foot of the tree and the camera almost in my lap. WLF might have been easier for this one.




Juvenile Eastern Water Dragon by Richard, on Flickr
 
james.liam said:
What’s purportedly special about this particular lens?
Click to expand...

According to Richard Nordin: “It’s an improved and redesigned version of the f/5.6 lens with more light available for focusing and picture taking. It was available in 1962 and 1963. The two known serial number blocks are 3281640 to 3282514 and 3472132 to 3473106 both from 1962. Total production of this lens was about 1900 pieces. Early factory code was OBDIC.”

So I don’t know that there is necessarily anything ‘special’ about the lens - I’ve read elsewhere that it was a Hasselblad ‘special edition’ - why it may have been or what it possibly was commemorating I have no idea. Also well, I don’t know why it was only produced in such limited quantities. And in his book, Richard doesn’t show the subsequent 60mm f/3.5 lens being introduced until 1976, so I’m not sure if that means that between 1963 and 1976 there wasn’t another 60mm lens in Hasselblad’s lineup.

One thing I do like about the lens is that it focuses to just under 22”, and I’m almost preferring the 60mm focal length to the 80mm standard.
 
Interesting lens, Vince. I have the Distagon 50mm f/3.5 T* from about 1973 or so. I like it but it's large and somewhat heavy compared to the Planar 80 f/2.8 T*. Lovely imaging qualities, however.

The new screen I bought for the 500CM body that are made to use with the digital backs improve focusing for any lens. Expensive but I'm glad to have them, makes lenses like the 50 much easier to nail focus with regardless of back.

As I mentioned elsewhere, the A16 back I acquired turned out to need seals and a general clean up and service. David Odess has it now, has sent me the repair estimate that I approved, so hopefully I'll have it back for some shooting again soon.

A problem that I'd noticed with the 907x/CFVII-50c SE back when I bought it has resurfaced: intermittently, when I fit the camera to a copy stand nose down for negative or print capture, the control screen stops working consistently and the camera eventually locks up. After some more discussion with Customer Service, it was decided to send the camera and back to them so that engineering in Sweden could look at it and determine what was going wrong, do whatever repair is required. So it's on the way there now, I'll likely be without it for a month or so.

No matter, really. I have plenty of exposures I've made to work on, and of course I have plenty of other cameras to keep myself amused. Time to spend thinking about and working on a new book project rather than be out shooting is a good thing.

G
 
Hmm that’s interesting that you’re having that issue with your camera - I regularly use the back with an old 500c and automatic bellows on a copy stand and haven’t had that issue at all. Hopefully I haven’t just jinxed it!
 
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