venchka
Veteran
Never mind some of the above. Just do it.
For my personal style & aging eyes, the Acute-Matte (spelling might be off), with the split image & micro-prism focusing aids and MUCH brighter overall viewing is easily worth the extra price of the newer bodies that were equipped with those screens at the factory.
I must be brain dead. I go out with a Pentax 6x7 & Hasselblad 501/cm. The tripod usually stays in the car or at home.
My last version 80/2.8 Planar CFE flares about as easily as my Dual Range Summicron. Which means a lot easier than my Konica lenses. I'm aware of the failings of both lenses and work accordingly.
The silver lenses with the unrepairable shutters are probably cheap enough that you could use them until they break, sell them for parts, and buy a newer lens down the road. If the shutter ever breaks.
Enjoy!
Wayne
For my personal style & aging eyes, the Acute-Matte (spelling might be off), with the split image & micro-prism focusing aids and MUCH brighter overall viewing is easily worth the extra price of the newer bodies that were equipped with those screens at the factory.
I must be brain dead. I go out with a Pentax 6x7 & Hasselblad 501/cm. The tripod usually stays in the car or at home.
My last version 80/2.8 Planar CFE flares about as easily as my Dual Range Summicron. Which means a lot easier than my Konica lenses. I'm aware of the failings of both lenses and work accordingly.
The silver lenses with the unrepairable shutters are probably cheap enough that you could use them until they break, sell them for parts, and buy a newer lens down the road. If the shutter ever breaks.
Enjoy!
Wayne
kkdanamatt
Well-known
my 2 cents
my 2 cents
I would recommend a 500CM, so the screens can easily be interchanged. Some late production 500C's (cheaper than those marked 500CM) also have interchangeable screens, but the cameras were not marked 500CM. You must examine the camera to determine if the screens are easily interchangeable. Remove the focus hood and check to see if there are two thin chrome levers on opposite sides of the screen. Those are the locks which press down onto the screen's frame and hold it in its proper place.
Buy the lenses from someone who will offer a warranty or at least a refund option. Why? Because any chrome lens is decades old and might need an expensive CLA. Synchro-Compur shutters need to be serviced periodically. Lenses that have been unused for many years may look like new cosmetically, but may cost you dearly to get them into proper working condition.
Make sure that the magazines and the film inserts have matching serial numbers. Mismatched magazines and inserts might cause problems and are hard to sell. Replacing magazine light seals takes about 15 minutes if you do it yourself, so it's no big deal. The light seals cost about $14 (they used to be $2).
A 60mm or an 80mm is a great way to start; a used 150 is the best bargain Hasselblad focal length. If you skip the 80mm altogether, you might get away with just the 60 and the 150, depending, of course, on your shooting style.
I shot weddings for years with those two lenses...the 60 for candids and tables, and the 150 for the formal head shots and the longer shots in the church.
The Hasselblad classic 500 Series sold all over the world in huge numbers, so lenses and accessories can easily be bought and your kit can be perfectly suited to your needs.
Good luck!
my 2 cents
I would recommend a 500CM, so the screens can easily be interchanged. Some late production 500C's (cheaper than those marked 500CM) also have interchangeable screens, but the cameras were not marked 500CM. You must examine the camera to determine if the screens are easily interchangeable. Remove the focus hood and check to see if there are two thin chrome levers on opposite sides of the screen. Those are the locks which press down onto the screen's frame and hold it in its proper place.
Buy the lenses from someone who will offer a warranty or at least a refund option. Why? Because any chrome lens is decades old and might need an expensive CLA. Synchro-Compur shutters need to be serviced periodically. Lenses that have been unused for many years may look like new cosmetically, but may cost you dearly to get them into proper working condition.
Make sure that the magazines and the film inserts have matching serial numbers. Mismatched magazines and inserts might cause problems and are hard to sell. Replacing magazine light seals takes about 15 minutes if you do it yourself, so it's no big deal. The light seals cost about $14 (they used to be $2).
A 60mm or an 80mm is a great way to start; a used 150 is the best bargain Hasselblad focal length. If you skip the 80mm altogether, you might get away with just the 60 and the 150, depending, of course, on your shooting style.
I shot weddings for years with those two lenses...the 60 for candids and tables, and the 150 for the formal head shots and the longer shots in the church.
The Hasselblad classic 500 Series sold all over the world in huge numbers, so lenses and accessories can easily be bought and your kit can be perfectly suited to your needs.
Good luck!
Vics
Veteran
Go to Amazon and order The Hasselblad Manual by Ernst Wildi (get a nice used one) and it will answer all your questions. Mine is the 4th edition (1990).
Sejanus.Aelianus
Veteran
It will but don't you find it boring? I have Exacta, Leica, Minox and Praktica manual books that are so much more exciting with interesting pictures and an interesting style of writing. Mr Wildi manages to make Hasselblad seem so, well, uninteresting...
Harry Lime
Practitioner
I agree. I even went as far as only buying the silver lenses and a few replacement springs for the shutter.
Richard G
Veteran
I did a lot of homework on this in February and March and decided I would get a 500CM or a late 500C with interchangeable screen and hopefully already with the Acute Matte screen. I also decided I would get a CF 80. My problem was finding such a thing second hand in Australia or for under the import tax limit here. In the end I bought an M9.
But mid-year, still not cured of the MF and 'got to try one before I die' philosophy, I bought a TLR Rolleiflex from the RFF calassifieds. I have loved using that. Maybe there's still a Hasselblad in my future....
But mid-year, still not cured of the MF and 'got to try one before I die' philosophy, I bought a TLR Rolleiflex from the RFF calassifieds. I have loved using that. Maybe there's still a Hasselblad in my future....
ray*j*gun
Veteran
I can't imagine using a TLR for fast field shooting. Talk about a tripod camera!
venchka
Veteran
When all you have is a TLR. You don't own a tripod. You do the best you can.
Mamiya C220 Professional. 105mm lens.
September 14, 1969
Mike Hailwood
Formula 5000 Lola T142 Chevrolet V8
Sachs Curve, Hockenheimring
Interior. Notre Dame de Paris.
October, 1969. Mamiya TLR. 105mm/3.5. ASA 100 Agfa Isopan ISS.
Wayne
indianavince
Member
+1 I have had a few, i like the CF lenses... most of the C lenses are kinda used up.
Rubbish that the 500 is a tripod camera!!!
I use it for aerials!!!, street, journalism, lab documentation, portraits, an awful lot off tripod. I even shot NCAA basketball with mine just to do something different. I love the square!
indianavince
Member
Cameras I won't sell till I am near dead...
500 cm and 80mm and 150mm
M3 and 90 and 50
Minolta 16 -- na burry me with it.
Nikon F100 and D700 and 105mm f 1.8 and 16-35 af is n blalalala
500 cm and 80mm and 150mm
M3 and 90 and 50
Minolta 16 -- na burry me with it.
Nikon F100 and D700 and 105mm f 1.8 and 16-35 af is n blalalala
agfa100
Well-known
If I were to buy one today, I would get the 60mm and the 100mm and the bellows lens hood, it really works great.
wbill
wbill
Vics
Veteran
Oh, yeah. It's pretty dry.It will but don't you find it boring? I have Exacta, Leica, Minox and Praktica manual books that are so much more exciting with interesting pictures and an interesting style of writing. Mr Wildi manages to make Hasselblad seem so, well, uninteresting...
x-ray
Veteran
The 501c will vignette just like the 500c and cm. the 501cm is a totally different mirror system like the 503cx. The 501c is basically a late version 500cm. The 501cm uses the oversize gliding mirror system. I have used Hasselblads since 1969 when they were the 500c.
You won't see much cutoff of image with the non gliding mirror cameras till you get to 150mm and then you only lose about 1/4" of image in the vf. This is only in the vf not on the film. On the film you get the full image no matter the body and lens.
Don't worry about T* vs non. The difference is almost non existent. I've owned both in many focal lengths and shot T* along side non and never seen a difference on chromed or B&W. A good hood will serve you better than the added cost of T* lenses.
Again I've used both Rollei and Hasselblad for most of my career and the Hasselblad is just as easy to handhold as the Rollei end even better with a 45 degree prism.
As to shutters, the compur shutters go back st least to the 30's and are some of the best and most reliable shutters ever made. I spoke to David Odess who's a factory trained repairman for Hasselblad. He works on mine if they need it. He says parts aren't made any longer for the compur but there are many years of parts still available. I wouldn't hesitate to buy a compur model.
The biggest annoyance for me regarding the older compur lenses is the. Dry thin focus ring and the coupled aperture / shutter speeds. The CF and later lenses have prontor shutters but IMO its no big deal. The big deal is a very nice rubber ficusing ring and non coupled shutter and aperture unless you elect to couple them.
Magazine repairs are relatively cheap. Usually seals need repaired unles the back has been abused. I replace my own seals I buy off eBay for under $10 each and can replace them in less than 10 minutes.
Contact Dave Odess and talk to him. He's a factory trained tech and knows about everything about every 500 model and lens. If you need a CLA or adjustment it's much cheaper than owning a Leica.
The only repairs I've had we're to replace shutter blades in a 150 sonnar. They can develop stress fractures over many years of use and self district. It's been a few years but the repair was less than $100. I had to have the mirror/screen adjusted for focus with my 501cm and 500el/m. When I bought my digital back I found the focus off slightly. The cost was around $60-80 each and took about a week including shipping. My 500cm was perfect. I had the shutter and body CLA by Jimmy Koh and was $180. I replaced seals and that's about it. Oh yes if you shoot a couple of thousand rolls a year you will need your backs rebuilt every 4-5 years. A rebuild is fairly cheap.
Give Dave a call. He has cameras and lenses for sale and you know those seeing first class shape.
Best values, 50, 80, 150 & 250. All great lenses.
Very best lenses money can buy - 100 planar, 120 f4 macro planar and 180 sonnar.
Very good lenses - 40 cf FLE, 50 FLE, 120 planar f5.6
Good lenses 40 c, 50 c, 60, 80c, 150, 250
Vincent.G
Well-known
I've decided that I want to look seriously into getting a Hasselblad. A classic one. However, I'm a bit confused by the differences between the models (500, 501, C, CM, etc etc).
Is there a good guide to the differences between these somewhere? Of the classic 'Blads, is there a specific one to get?
All I know is that I want one with a chrome lens
Composing and shooting with a Waist Level Finder (WLF) may not be your cup of tea especially if you are used to using RF and SLRs.
The 500 series body with a 80 lens is very common. I will not bother with a C or CF lens or chrome or black for a start. Just set aside a reasonable budget and buy the best WITHIN your budget.
Godfrey
somewhat colored
What I do really like about the Compur shutter lenses is the DoF indicators, particularly on the SWC model. Makes setting the focus easier, the 903SWC's more typical DoF scale was harder to read. Since my '78 SWC has the Compur shutter lens with EV locked system, I just set my meter to output EV numbers and use it. Used to do the same with my Rolleiflex MX-EVS and got used to it.
Post some contact info for Dave Odess..? Thanks!
G
x-ray
Veteran
I. Ever used the dof indicator except on my SWC/M. Fabulous cameras but sold mine last year. I found with a digital back I liked the 40 CF FLE better. I just don't shoot much film any longer but when I did the superwide was a killer.
Gumby
Veteran
How so? Are you talking about the discontinuation of that pesky "body ready" indicator or something more substantial? I'm interested in this very much.
The C lenses also have self timers which can be useful for tripod work if you're caught without a cable release. I took a family portrait recently and the timer made it possible for me to be in the image. On the other hand, setting the exposure is less fiddly with the later lenses. But then again the C lenses have their shutter and f stop scales engraved whereas my 80mm CF has these simply printed on the rings and eventually they can start to rub off.
Of course there are also the focal plane shutter models; both the 1600/1000F and the newer 2xxx series types. Personally I'd quite like a 1600F but neither these, nor the 1000F can really be recommended for regular use anymore.
Regards,
Brett
Of course there are also the focal plane shutter models; both the 1600/1000F and the newer 2xxx series types. Personally I'd quite like a 1600F but neither these, nor the 1000F can really be recommended for regular use anymore.
Regards,
Brett
When all you have is a TLR. You don't own a tripod. You do the best you can.
Mamiya C220 Professional. 105mm lens.
September 14, 1969
Mike Hailwood
Formula 5000 Lola T142 Chevrolet V8
Sachs Curve, Hockenheimring
What a memory! And what a racer. Maybe the best to ever mount a bike. Poor Mike, it all ended so sadly for him. Thanks for sharing that, made my day.
Regards,
Brett
venchka
Veteran
Your welcome.
When I was researching the particulars of that race, I ran across some color images of Mike's car taken by a Nikon SLR on color film. Mike's car was red.
That was creepy and cool at the same time. Photos from so long ago available on the internet.
Wayne
When I was researching the particulars of that race, I ran across some color images of Mike's car taken by a Nikon SLR on color film. Mike's car was red.
That was creepy and cool at the same time. Photos from so long ago available on the internet.
Wayne