Richard G
Mentor
I have the brochures for the 500CM I wrote away for as a teenager. I nearly bought one in 2012, but got the M9-P instead. I tried the Rolleiflex, but the view was dim and it gets some use but not much. Finally I bought a Hasselblad kit from the classifieds here: a beautiful 1983 500CM with the 80 Planar, the 60 f3.5 Distagon and a spare film magazine.
When picking up a 500cm Hasselblad and 80mm Planar f2,8 what impresses immediately is that it is a lot bigger than it seems in brochures or photographs or videos online. It is nevertheless lighter than it ought to be by Leica standards of weight per volume. The Leica IIIf with a collapsed 50 Elmar feels dense compact and airless. The Hasselblad is light and full of air.
Next is the waist level finder opening to reveal the cinematic view through the acute matte screen in vivid colour. In a single moment the Rolleiflex on the shelf seems doomed to stay there. But the weight of two lenses and two backs and the camera in a bag will soon revive interest in the lightness of the little Rolleiflex Automat.
There is lot of initial enjoyment in seeing first hand the miracle of the removable film back, half way through a roll quite possibly. Then there is the slightly annoying, somewhat entertaining dance of lens and body and back to get used to. The body needs to be in sync with the film back, and also with the lens. Only a lens that is cocked can be mounted on the body, and it too must be cocked. The shutter button will not move when you pull the camera out of the bag. The dark slide must be out to take a picture. Where do you put it? A shirt pocket is good. A trouser pocket puts the slide at risk of being bent. The back cannot be removed without the dark slide being put back in.
The camera has two shutters, the leaf shutter in the lens and the rear body shutter in front of the film plane. The shutter button must remain depressed as long or longer than a slow exposure through the lens’s leaf shutter, lest the rear body flaps close before the leaf shutter has closed. The legendary mirror slap, flaps and shutter cacophony turns out to be nothing of the sort, but is quite a wondrous sound, the audible summation of the many coordinated actions triggered by the shutter release.
Film loading is if anything even more foolproof than with the Rolleiflex, where some have reported forgetting to run the film under the roller in an Automat. There seems to be nothing to go wrong with loading a Hasselblad. I've never seen threads on tricks for loading a Hasselblad. LTM Leica threads on this abound.
Taking photographs is not necessarily quick. Scale focus or prefocus will allow candid shots where perhaps the shutter release sounds will not be noticed. More critical shots require careful focus with the magnifier in the viewfinder, and with the camera close to the eye. The acute matte screen has horizontal and vertical line engravings. These are for ensuring perfectly upright images, and for levelling horizons. In fact scale focus and use of the depth of field markers and hyperlocal distance shooting will work like with any other camera, so long as the photographer has knowledge of the limitations of that approach.
The large mirror movement makes the slower shutter speeds inadvisable unlike with the Rolleiflex or Leica. Experts online maintain that only on a tripod is a Hasselblad worth the investment of money and time. Others dismiss this as rubbish. The chief impediment to a sharp image is vertical mirror movement evident in vertically elongated round lights in the frame. As my advisors in real life have told me, where possible it is best to shoot at 1/250s. But in line with the Hasselblad Manual’s Ernst Wildi’s analysis, the vertical component of the mirror slap can be very effectively negated just with a monopod. I use a Gitzo with a Manfrotto quick release tilt head, RC234. I use this at 1/60s but especially 1/30s and will experiment with going even slower. The accompanying photograph was taken at 1/125s and f8 on the monopod.
What is it all in aid of, in the era of brilliant compact digitals, autofocus, and endless image making for minimal recurrent expense? Why buy film with 12 exposures per roll? 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.
I value the lightness and quietness of the Rolleiflex, but I just can’t see the screen except in bright light. The Hasselblad waist level view is astonishing and this is going to be a long-term love affair with the camera and what it produces.
When picking up a 500cm Hasselblad and 80mm Planar f2,8 what impresses immediately is that it is a lot bigger than it seems in brochures or photographs or videos online. It is nevertheless lighter than it ought to be by Leica standards of weight per volume. The Leica IIIf with a collapsed 50 Elmar feels dense compact and airless. The Hasselblad is light and full of air.
Next is the waist level finder opening to reveal the cinematic view through the acute matte screen in vivid colour. In a single moment the Rolleiflex on the shelf seems doomed to stay there. But the weight of two lenses and two backs and the camera in a bag will soon revive interest in the lightness of the little Rolleiflex Automat.
There is lot of initial enjoyment in seeing first hand the miracle of the removable film back, half way through a roll quite possibly. Then there is the slightly annoying, somewhat entertaining dance of lens and body and back to get used to. The body needs to be in sync with the film back, and also with the lens. Only a lens that is cocked can be mounted on the body, and it too must be cocked. The shutter button will not move when you pull the camera out of the bag. The dark slide must be out to take a picture. Where do you put it? A shirt pocket is good. A trouser pocket puts the slide at risk of being bent. The back cannot be removed without the dark slide being put back in.
The camera has two shutters, the leaf shutter in the lens and the rear body shutter in front of the film plane. The shutter button must remain depressed as long or longer than a slow exposure through the lens’s leaf shutter, lest the rear body flaps close before the leaf shutter has closed. The legendary mirror slap, flaps and shutter cacophony turns out to be nothing of the sort, but is quite a wondrous sound, the audible summation of the many coordinated actions triggered by the shutter release.
Film loading is if anything even more foolproof than with the Rolleiflex, where some have reported forgetting to run the film under the roller in an Automat. There seems to be nothing to go wrong with loading a Hasselblad. I've never seen threads on tricks for loading a Hasselblad. LTM Leica threads on this abound.
Taking photographs is not necessarily quick. Scale focus or prefocus will allow candid shots where perhaps the shutter release sounds will not be noticed. More critical shots require careful focus with the magnifier in the viewfinder, and with the camera close to the eye. The acute matte screen has horizontal and vertical line engravings. These are for ensuring perfectly upright images, and for levelling horizons. In fact scale focus and use of the depth of field markers and hyperlocal distance shooting will work like with any other camera, so long as the photographer has knowledge of the limitations of that approach.
The large mirror movement makes the slower shutter speeds inadvisable unlike with the Rolleiflex or Leica. Experts online maintain that only on a tripod is a Hasselblad worth the investment of money and time. Others dismiss this as rubbish. The chief impediment to a sharp image is vertical mirror movement evident in vertically elongated round lights in the frame. As my advisors in real life have told me, where possible it is best to shoot at 1/250s. But in line with the Hasselblad Manual’s Ernst Wildi’s analysis, the vertical component of the mirror slap can be very effectively negated just with a monopod. I use a Gitzo with a Manfrotto quick release tilt head, RC234. I use this at 1/60s but especially 1/30s and will experiment with going even slower. The accompanying photograph was taken at 1/125s and f8 on the monopod.
What is it all in aid of, in the era of brilliant compact digitals, autofocus, and endless image making for minimal recurrent expense? Why buy film with 12 exposures per roll? 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.
I value the lightness and quietness of the Rolleiflex, but I just can’t see the screen except in bright light. The Hasselblad waist level view is astonishing and this is going to be a long-term love affair with the camera and what it produces.
sepiareverb
genius and moron
What a wonderful review and appreciation. I shot a 500CM for a good while years back, mostly handheld, so I come down with those who scoff at poor quality without a tripod. Careful working will allow for lovely images with or without a tripod.
The newer backs have a little piggyback thing to accept the withdrawn darkslide, and there are aftermarket versions available as well. A worthwhile item IMO.
Shoot well!
The newer backs have a little piggyback thing to accept the withdrawn darkslide, and there are aftermarket versions available as well. A worthwhile item IMO.
Shoot well!
dave lackey
Mentor
Welcome to the Dark Slide!
Or is it the Dark Side?
Congratulations on your new world of Mediun Format... like most, I spent the majority of my life in 35mm, film and digital. Last year, I sold everything I could and traded for a 503cxi. My world is a different place now, everything has changed and I have to say that I could not be happier.
Although most of what we do is digital, the 120 film format is where it's at.
Looking forward to your posts and lots of photos!
Or is it the Dark Side?
Congratulations on your new world of Mediun Format... like most, I spent the majority of my life in 35mm, film and digital. Last year, I sold everything I could and traded for a 503cxi. My world is a different place now, everything has changed and I have to say that I could not be happier.
Although most of what we do is digital, the 120 film format is where it's at.
Looking forward to your posts and lots of photos!
dave lackey
Mentor
Richard,
Lovely image by the way.
Lovely image by the way.
Richard G
Mentor
Thanks Bob and Dave.
I realize I’ve put this in the wrong forum. If it matters, the moderator might kindly move it.
It’s interesting that there is so much out there to discourage one trying the Hasselblad. The insert might not have the same serial number, the magazines need yearly servicing or there’ll be light leaks, if you lock up the camera it’s an expensive repair, the lenses need servicing etc etc. I’m probably not going to take as many shots in my total ownership as a busy studio would have shot in six months.
I even did lock mine up half way through the first roll, possibly changing lenses indecisively. I was able to winkle the lens off and recock it with a screwdriver. No problem since.
I realize I’ve put this in the wrong forum. If it matters, the moderator might kindly move it.
It’s interesting that there is so much out there to discourage one trying the Hasselblad. The insert might not have the same serial number, the magazines need yearly servicing or there’ll be light leaks, if you lock up the camera it’s an expensive repair, the lenses need servicing etc etc. I’m probably not going to take as many shots in my total ownership as a busy studio would have shot in six months.
I even did lock mine up half way through the first roll, possibly changing lenses indecisively. I was able to winkle the lens off and recock it with a screwdriver. No problem since.
Larry Cloetta
Mentor
Teenage dreams realized, that's lovely. Great summary of the niceties of the Hasselblad as well; enjoy the camera, and thanks for posting.
Dogman
Mentor
I can recall lusting for the 500C/M back in the early 1970's. If I'm recalling correctly, the 500C/M body, WL finder and A12 back with 80mm lens was selling for a thousand bucks from the New York mail order photo shops at the time. That was an unattainable dream from a beginning photographer who had just spent his savings for a used Nikon FTn and 50/1.4 lens.
I almost bought a Hasselblad a few years back when the used market apparently was saturated by so many pro studios dumping them when switching over to digital. I recall KEH having a ton of them in various configurations and conditions at very attractive prices. Alas, by that time I was also moving to digital and didn't see the wisdom in it--now I regret that decision.
Thanks for the review. I'm glad you finally achieved your young man's Hasselblad dream. Enjoy that great camera!
I almost bought a Hasselblad a few years back when the used market apparently was saturated by so many pro studios dumping them when switching over to digital. I recall KEH having a ton of them in various configurations and conditions at very attractive prices. Alas, by that time I was also moving to digital and didn't see the wisdom in it--now I regret that decision.
Thanks for the review. I'm glad you finally achieved your young man's Hasselblad dream. Enjoy that great camera!
Rob-F
Likes Leicas
Well said! The Hasselblad is my choice for MF, over the Rollei. I always seem to jiggle the Rollei when releasing the shutter, while the Blad sits dead solid in my hand. There's no problem at 1/250 hand held. Even 1/125 is OK with wide angle lenses. And a monopod is easy to use when needed. I use the Bogen with a ball head. And I agree, viewing and focusing is far superior with the Blad. And I absolutely must have the interchangeable lenses--especially the 50 and 60.
Nice review, Richard!
Nice review, Richard!
Godfrey
somewhat colored
Good luck with your Hasselblad! Lovely cameras. They were so stratospherically over my pay grade for so many years that it's kind of a marvel that I was able to build up a complete kit in the middle '00s, sell it off, and then re-acquire essentially the same kit again in 2013-2014.
There's never been anything to discourage my trying the Hasselblad other than cost. I studied the system for so many years prior to ever buying one, all the serial number, lens etc. stuff was all well known to me. I've never locked one up.
(I came from Rolleiflex TLRs first ... It sounds like yours needs one of the Maxwell screens, like two of mine did.)
My Hasselblad kit now includes a '78 500CM, a '78 SWC, three '78 A12 backs, and 50/80/120 Makro/150 mm lenses. Plus a host of accessories and filters. (Tip: get a rapid focusing lever for your lenses, it makes a world of difference in being able to nail focus more accurately and consistently).
I've made a number of exposures at 1/30-1/60 exposure times with good results, with the 80mm lens at least. You can close the shutter diaphragm with one button on the lens, and then pre-fire the rear shutter and mirror with another on the body. That nets vibrationless exposures. (Of course, I use a tripod a lot with these cameras too.)
Although I only rarely use them, I love my Hasselblads. I'm sending the 150mm lens off for an overhaul this year coming... it needs it ... but otherwise I just use the kit and don't worry about it much.
G
dave lackey
Mentor
Blad to the bone...
A Hassy and a Rollie... what else does anyone really need ? LOL...
We live in great times!
A Hassy and a Rollie... what else does anyone really need ? LOL...
We live in great times!
Hogarth Ferguson
Well-known
My photographic journey has led me to the Hasselblad 501c that sits on my desk right now, delivered yesterday, actually.
Having run the gamut of cameras, starting with the ricohflex and currently using two Fuji GF670 cameras, one regular one wide, the 501c is such an amazing camera that when I borrowed a 501cm recently, I had a hard time giving it back. I always pined for a rolleiflex 2.8gx or 2.8f, it seemed more my style, having shot for years with a Yashica EM. Something about the Hasselblad, though, is simply stunning in both use and what it produces.
I really cannot wait to get the normal 80mm f2.8 for this camera. I'm replacing the pm5 with a waist level (not really a prism guy), and then I'll be set.
I've also found this.
"Light leaks, the horror!"
"Why would i buy a camera that comes with a tool to unjam it?"
and many other hasselblad horror stories. I'll tell you what, this is the most beautiful box one could own.
Having run the gamut of cameras, starting with the ricohflex and currently using two Fuji GF670 cameras, one regular one wide, the 501c is such an amazing camera that when I borrowed a 501cm recently, I had a hard time giving it back. I always pined for a rolleiflex 2.8gx or 2.8f, it seemed more my style, having shot for years with a Yashica EM. Something about the Hasselblad, though, is simply stunning in both use and what it produces.
I really cannot wait to get the normal 80mm f2.8 for this camera. I'm replacing the pm5 with a waist level (not really a prism guy), and then I'll be set.
I've also found this.
"Light leaks, the horror!"
"Why would i buy a camera that comes with a tool to unjam it?"
and many other hasselblad horror stories. I'll tell you what, this is the most beautiful box one could own.
dave lackey
Mentor
Richard,
I would like to see a photo of your brochure!
I would like to see a photo of your brochure!
Richard G
Mentor
The brochures are very ‘70s, garish clothing and big hair and moustaches. The 500CM brochure is comparatively tasteful, and has the camera over the shoulder of someone wearing a denim jacket, all tightly cropped. It’s at the office. I’ve had them in a filing cabinet all these years.
It was of course Apollo 11 that turned me to Hasselblad. I was very surprised when our science teacher talked about the Rolls Royce of cameras and what he was holding was some compact thing in a brown leather case with the tripod bush attachment all the way to one end of the base. How weird was that? “Leica.” He had to be joking.
It was of course Apollo 11 that turned me to Hasselblad. I was very surprised when our science teacher talked about the Rolls Royce of cameras and what he was holding was some compact thing in a brown leather case with the tripod bush attachment all the way to one end of the base. How weird was that? “Leica.” He had to be joking.
MikeL
Go Fish
Enjoy your Hasselblad Richard!
And my experience differs from what you hear on the internet regarding shutter speed. I haven't found the mirror slap to be a problem. The ka-whumpf is loud, but I'm not convinced it is causing shake problems. I'm the problem. I've been using a 645 with an 80mm lens and the focus length is the challenge to keeping things sharp and not the mirror. If you do things well, like brace the finder against your head and are careful with tripping the shutter, you'll be fine at speeds lower than 1/250th, irrespective of the mirror slap.
And my experience differs from what you hear on the internet regarding shutter speed. I haven't found the mirror slap to be a problem. The ka-whumpf is loud, but I'm not convinced it is causing shake problems. I'm the problem. I've been using a 645 with an 80mm lens and the focus length is the challenge to keeping things sharp and not the mirror. If you do things well, like brace the finder against your head and are careful with tripping the shutter, you'll be fine at speeds lower than 1/250th, irrespective of the mirror slap.
dave lackey
Mentor
Mike is right! And,
I absolutely LOVE the KA-WHUMPF!!!
With MF, go big or stay home! Lol....
mooge
Well-known
I think I've done 1/15 at least, handheld, with the Hassy, with decent results. Maybe it was the 50mm though. The finder is pretty rigid and you can push it right into your face (with the magnifier) and that helps alot.
Design-wise, the interlocks are one of the coolest features of the Hasselblad, to me. The camera's not foolproof, but the designers made it hard for the user to make mistakes.
Design-wise, the interlocks are one of the coolest features of the Hasselblad, to me. The camera's not foolproof, but the designers made it hard for the user to make mistakes.
Richard G
Mentor
The Leica shutter sound is the stopping and capping of the curtains and the running of the gears. Very nice. Very delicate. The Hasselblad ka thump seems much less the sound of a weighty, clumsy mechanism, even though the mechanism is so complex, and more just the sound of the movement of air — an indrawing of breath, or a satisfied exhalation. "Look what I just did."
Richard G
Mentor
Some brochures on the Hasselblad system. These are from 1980.
Front cover of one on the system:
The system by Richard, on Flickr
Another system brochure:
The system by Richard, on Flickr
The system:
The system by Richard, on Flickr
The 500 CM brochure, smaller, and square:
The system by Richard, on Flickr
The system by Richard, on Flickr
The system by Richard, on Flickr
A reveal set....
The system by Richard, on Flickr
The system by Richard, on Flickr
Another system brochure:
The system by Richard, on Flickr
More of a catalogue of cameras, lenses and accessories, all in black and white:
The system by Richard, on Flickr
Front cover of one on the system:
The system by Richard, on Flickr
Another system brochure:
The system by Richard, on Flickr
The system:
The system by Richard, on Flickr
The 500 CM brochure, smaller, and square:
The system by Richard, on Flickr
The system by Richard, on Flickr
The system by Richard, on Flickr
A reveal set....
The system by Richard, on Flickr
The system by Richard, on Flickr
Another system brochure:
The system by Richard, on Flickr
More of a catalogue of cameras, lenses and accessories, all in black and white:
The system by Richard, on Flickr
Range-rover
Mentor
Richard what a great review, I too purchased a Hasselblad from a friend at a great
price and have been using it and love the photos from it. Along with a Rolleiflex
they're great cameras, so much so I sold most of my 35mm cameras. I think all
you need for the Rollei is a new screen, that's what I did with mine and it's pretty
bright compared to the Hassy.
price and have been using it and love the photos from it. Along with a Rolleiflex
they're great cameras, so much so I sold most of my 35mm cameras. I think all
you need for the Rollei is a new screen, that's what I did with mine and it's pretty
bright compared to the Hassy.
dave lackey
Mentor
Richard!
Thanks, the brochure is really cool! I saved them and will pour over those pages this weekend.
Happy New Year!!!
Thanks, the brochure is really cool! I saved them and will pour over those pages this weekend.
Happy New Year!!!