Hasselblad, black or not? Rare...?

[znapper]

Hello

I own a whole-black Hasselblad kit and I've always struggled a little concerning focusing properly with it.

This was caused by two things: Muppet-3rd-party ground-glass and the extremely long and heavy throw of the Hasselblad-lenses.

I got an Acumatte-D, which made life easier (things still glide in and out of focus, as opposed to snapping in and out, but it is clear and my eyes are good, so I manage), but the lenses can hardly be done much with I suppose.

So, this weekend, I loaded it up with film and went out shooting, determined to check if I did get focus or not.
I decided that if I still didn't have the nack for it, I would sell it. (mind you, it's working properly, I guess it's just not for me).

Anyway, for once, all my shots were sharp and in focus (dammit!), so I am not going to sell it after all.

But that got me thinking: Price-wise, will an all black Hasselblad-503CW be worth more, same or less than a chromed one?

Are the completely black Hassys more rare, less rare, not rarer than most other Hasselblads?

I must admit that I never really gave this a second thought with I bought mine.

But it got me thinking.

Anyone know? (I would assume it's more or less the same, but many prefer the classic chromed ones?).

 

[Timmyjoe]

For some cameras, a black version is more rare than chrome, but I don't think that applies to Hasselblad V series cameras. I remember, back in the day, they were selling new for the same price. I got a black one, just because all my camera gear was black (thought it looked more professional) 😀

When I sold the whole kit, I don't remember noticing a price difference between what the black and what the chrome cameras were selling for.

Best,
-Tim

 

[FrozenInTime]

Black is probably worth slightly less - in the late 90's it was the only option on budget models like the 501c.
The black paint has flaked on my A12 magazines revealing a basic metal core.
I get the feeling back in the days of commercial use a shinny chrome camera would shout Hasselblad and impress clients - stealthy black less so.

 

[Sarcophilus Harrisii]

It may depend on age and condition. I bought a black 500C/M years ago which has been faultless, but I now prefer the classic style of a chrome Hasselblad with silver lenses. Makes no difference to functionality of course. I would say that based on years of monitoring websites such as KEH and others that a really tidy 70s or 80s black kit would probably fetch slightly more than all but the most immaculate chrome equivalents in age. Indeed if KEH have the relevant items in stock you will note that even today Eg an excellent black A12 mag will have a slightly higher asking price than an Exc chrome of same spec. As I wouldn't mind another black back or two to go with my mostly all black body and lenses I certainly notice such differences! Wish I had bought more stuff around 2010 when nobody wanted medium format stuff and good clean A12s could be had for around $50. This price difference based on finish can carry over to other components also, depending, perhaps on which ones they are.

Regarding lens focusing. I don't use them myself but some owners find a quick focusing handle speeds things up for them. If you find rotating the long throw focus ring particularly tedious it may be worth seeing if you can try one out in case it helps you?
Cheers
Brett

 

[sevo]

I always bought black ones - around 1990 they were the standard version bought by studio pros, to make do with less baffling when photographing reflective objects. It is prone to scratches and wears out rather ugly, and most have seen lots of use, so they are generally less desirable than chrome these days...

 

[Nokton48]

I favor chrome bodies (70s vintage) and black T* lenses. That is what I bought new back in 1977, and that is what I have now

 

[znapper]

Regarding lens focusing. I don't use them myself but some owners find a quick focusing handle speeds things up for them. If you find rotating the long throw focus ring particularly tedious it may be worth seeing if you can try one out in case it helps you?
Cheers
Brett

Hm, yes, I've seen those around here and there online.

I don't know, it just seem a little extreme to be able to work the lens properly =)

I checked my 80mm and I see that you twist 3/4 of a turn to get from 0.9m to 3m, then the rest of the twisting is from 3m to infinity, strange.

I normally work in the 1-3 meter range for portraits, so that explains the constant turning and twisting.

I am wondering if it is worth re-lubing the helical and put on lighter grease,

Not sure if I want to do that myself though.

 

[Sarcophilus Harrisii]

Hm, yes, I've seen those around here and there online.

I don't know, it just seem a little extreme to be able to work the lens properly =)

I checked my 80mm and I see that you twist 3/4 of a turn to get from 0.9m to 3m, then the rest of the twisting is from 3m to infinity, strange.

I normally work in the 1-3 meter range for portraits, so that explains the constant turning and twisting.

I am wondering if it is worth re-lubing the helical and put on lighter grease,

Not sure if I want to do that myself though.

Having delved into a few Hasselblad lenses myself over the years I would not recommend it unless you have some experience working on helical thread lenses, with a shutter also included in the equation they are not the simplest of lenses to strip down and it is possible to re-assemble them with all the parts in the correct order, and still have issues if alignment has been impacted. Unless you're confident of your skill level being up to the job definitely one to leave to a professional technician.
Cheers
Brett

 

[sevo]

I checked my 80mm and I see that you twist 3/4 of a turn to get from 0.9m to 3m, then the rest of the twisting is from 3m to infinity, strange.

That is the normal behaviour on every helical-focused lens, where the amount of twist must be proportional to the amount of extension (this is not necessarily true for geared, curve-focused or electrically focused lenses, so it does not apply to all lenses). It is obvious once you calculate it as dioptres - 0.9-3m is about 1.7 dioptres, 3m to infinity is 0.33.

 

[sepiareverb]

All my hasselblad equipment has been black except for the 500 I had back in the 80s. The black paint is fragile, so if you are rough on equipment it will soon look pretty tattered.

 

[znapper]

I have taken apart a few lenses for re-greasing and cleaning, but I understand the Hasselblad-lenses to me much more complicated indeed, so I will leave mine alone 🙂

All my hasselblad equipment has been black except for the 500 I had back in the 80s. The black paint is fragile, so if you are rough on equipment it will soon look pretty tattered.

Indeed, I try to keep my Hassy safe from bumps and accidents, and I do use it quite sparingly, so it's still pretty nice looking.

But good to know that they are more prone to scratches and cosmetic reduction more easily.

Thanks to all for enlightening me about this variant, like I mentioned, I haven't really given this much thought before I started to ponder about selling it. (but I will hold onto it for a while longer, since the new screen, acumatte-D with the cross, has improved my hit-rate in the focus-department.)

 

[jazzwave]

I have Black 500CM..thinking to change to the chrome one 😀

“The Grass is Always Greener on the Other Side”

~ron~

 

[sepiareverb]

I have Black 500CM..thinking to change to the chrome one 😀

“The Grass is Always Greener on the Other Side”

~ron~

I think a few minutes with a scotch-brite pad would change your black CM to chrome.:angel:

 

[ruby.monkey]

It's the Leica-collecting nut-jobs that made black paint cameras overvalued. It used to be the cheap finish aimed at the common peasants - chrome was for the more up-market models.

 

[oftheherd]

It's the Leica-collecting nut-jobs that made black paint cameras overvalued. It used to be the cheap finish aimed at the common peasants - chrome was for the more up-market models.

Funny how times change. In the 70s and 80s, to my recollection, most black cameras were considered more for professionals, and costs were a little more for the black models.