Why don't you like the Hasselblad V system?

<p>Wow!<br>

A film back dropping off is a serious case of "gross neglect of the need to keep your equipment in good nick".<br>

The way the backs are attached is very basic, very simple, and very secure. So if you have film backs dropping off, there is something seriously wrong.<br>

If it is with more backs, it's likely that the camera's hooks are to blame. If it is just one back, it probably the back (unless it is the only one you ever tried. If so, it's hard to tell).</p>

<p>I always liked the Hasselblad because it is a light weight. You should try some of the other MF systems!<br>

Or even modern 35 mm film and digital cameras! Many of them are not only as heavy as, but also as big as a Hasselblad.</p>

<p> </p>

<p>The V system is fine and cheap now.<br>

Keep in mind that if you don't follow the lens removal procedure it migh jam (I used to carry a very long sloted screwdriver to unjam the body) and that it is better to get the "A" backs with matching inserts (MI) than old non-A backs or with mismatched inserts. The 100 mm lens is the sharpest in the stable this side of the APO optics. I was very happy with the early 500 C/M (transitional model from C) 50, 100 and 150 (and later 180 Sonnar) and the 250 and a couple of backs. Then I switched to Mamiya RZ and never looked back. Well, it was lots of fun while it lasted but it is over now...</p>

<p>For my purposes (slow fine art, landscape, still life, travel, portrait), the V system (503 + 50, 80, 150) has been superb. It is actually really light for a MF system and very comfortable to handhold. I have never found any of the problems mentioned in the other posts above to be a concern for me.<br /> It has only ever jammed on me once, because I tried to put a cocked lens on an uncocked body (or possibly vice versa). I have since carried a small screwdriver in my bag for the easy fix, but have never needed it. As QG says, it only really happens if you cock-up.<br /> There is a very tiny amount of play between the body and the back, but who cares? It can be adjusted if you are obsessive about these things but it makes absolutely no difference to how the camera performs. It is part of the beauty of a robust, simple, manual system.<br /> As for the tinny looks, well I guess that is all in the eye of the beholder. Some people think that a nice new Canon digital is gorgeous, but I think it looks crap. I think the chrome Blad is a beautiful, and unquestionably iconic, design. It is hard to go past the Swedes for stylish product design. The sound of the mirror and film wind is loud and distinctive, but I love it. If you are a street shooter, you may only get one candid shot though before everyone knows you are there!<br /> If I could only keep one camera system, I would hang onto the Blad. Maybe not your thing if you need to shoot 1000 images before sundown, but I am in no hurry.<br /> That's just my honest <em>personal</em> experience. Good luck with whatever you go for!</p>

<p>"Tinny sound"?</p>

<p>"Tinny looks"?</p>

<p>I don't quite think this is a really "balanced" evaluator!</p>

<p>For me, the look of the chrome is pure classic.</p>

<p>As for the sound, I have owned many, many camera systems and that damped sound has to be one of the great mechanical sounds in photography. </p>

<p>No, I'm not a Hasselblad apologist/worshipper and there are other camera systems I own and like just as much. But it is truly an icon and one of the great systems out there. To me it's like the Porsche 911 in the sports car world. It's an icon for a reason.</p>

<p>I think a Hasselblad looks like a perfect travel companion after carrying my Mamiya RZ67 around for a half a day. But everybody finds something else big. I would go for it listening to how you talk about photography and the way you shoot with your 35mm camera. But don't forget the scanner its part of the whole setup.</p>

<p><em>"I don't quite think this is a really "balanced" evaluator!"</em></p>

<p>Let's not forget that this thread is about what we don't like about Hasselblads.<br>

And if you happen to not like the look and sound, you just don't like the look and sound. <br>

Nothing wrong with that.</p>

<p>I was unnverved by the prospect of locking up the macro setup on a 503 Hasselblad. Beautiful build. Macro setup is much better handled by a Rollei 6000. My prime interest is macro photography, I feel my Rollei is better than even the DSLRs in terms of its simplicity of use and comfort.<br>

Vijay's comments about the bright 6000 viewfinder: I shall attest to that.<br>

To me, the potential to lock up is a serious issue. Humans make mistakes. Maybe some don't. And this system is unforgiving! There are many threads on this forum about hasselblad lockup.<br>

In the end, let me state, System V is a fine tool. Rollei suits me much better. However, I am supremely capable of taking lousy pictures with the best of cameras.</p>

<p>You really worry about locking up/jamming far too much.<br>

I have used Hasselblads extensively for macro (and beyond) and it is a fine system. No problems whatsoever!<br>

The only thing i sometimes want is a sensitive enough built-in meter. Get really close up, and the usual thingies won't cut the mustard.</p>

<p>I use a 203FE and it is one of the best cameras I have ever used. Combined with a 50/2.8 and 110/2, you get some of the most beautiful results in medium format in a camera that does its job very well. The meter and AE operation in particular is just outstanding.</p>

<p>There are some downsides though -- let's face it, a Hasselblad is basically a box. It is not really the most ergonomically designed cameras of the ages. You can get very accustomed to it, but it will never work with your body naturally in the way that certain other cameras might. At least for me.<br>

Another gripe is the bayonet filter system -- awkward sizes, hard to find and expensive filters. Why not just have threaded rings like everyone else? Most photographers shoot more than one system, and going out to buy a bunch of dedicated filters for a Hasselblad is indeed a hassle -- especially if you use some of the wider or longer lenses. <br>

There is no satisfactory strap solution for a hasselblad, which means you will have to carry a bag. Yes, they have strap lugs, but they only take certain odd straps, and these straps always seem to get in the way with a hasselblad -- the camera is difficult to carry on a strap as well. There is a reason you never see hasselblads with straps -- something in the design makes them just not work. <br>

The film back system is prone to light leaks, registration problems, and film transport issues (overlapping frames, etc). A properly maintained back generally won't do this, but you really need to keep an eye on it, and they seem to need service more often than the transport mechanisms of other cameras. And let's face it, the loading is not as easy as on some other systems (though it is not hard once you learn it). <br>

For the 200 series only, there are three other very minor things I can think of that are gripes -- 1. You cannot read the display without the flip up magnifier. The Rollei 6000 series managed to make a nice information display that can be read with or without the magnifier flipped up.<br>

2. The design of the accessory winder seems to have been outsourced to aliens -- it looks like it would be easy to hold with SOME kind of appendage, just not a human one.<br>

3. Battery life -- this is not a huge gripe, as the batteries are tiny, but they do use up pretty quick, and they are hard to find and expensive. </p>

<p>Personally, I love the end results that I'm able to achieve with both my 500cm and my 503cw. BUT, getting there is another story... I've got 6 backs and 4 of them are out of commission at the moment. One winds all the way through without locking, 2 have improper spacing and cut off the last frame and a half, and the other leaves depressions on the film around frame 7 and 8. I've had my like new 500cm jam several times for no reason. Apparently I'm the only one having problems. Recently I've been shooting an RZ and a Contax 645 which I love and haven't had any problems with (knock on wood). I'm not hard on my gear and I know how to shoot but things just seem to keep happening with the Hassy. I love it when it works, but she's a fickle beast. All that aside, when she's working properly, there's nothing else like it.</p>

<blockquote>

<p>There is play between the back and the body.</p>

</blockquote>

<p>I can't detect any play between my backs and body (and my body is old!). Do other people run into this?<br>

I've had a Hassy for roughly five years and once it jammed when trying to take a shot. I assume it was due to the gear being quite old (60's vintage) and it being the first shot outdoors on a cold winter day. The repairperson didn't find anything obviously wrong with it. I don't think the jamming problem is a huge issue; I've since used the Hassy in all kinds of weather and unsurprisingly my experience is that old and worn equipment is less reliable than new and well serviced.<br>

The backs can be annoying, though; even the second hand backs aren't that cheap and servicing seems to be the norm for the backs. In particular, the back can develop light leaks and uneven spacing. But I guess that it's just an expense to factor in.<br>

In general, I'm quite happy with the system, although it's clearly heavier and takes more space than an equivalent setup on my 35 mm system. On the other hand the build quality of the Hassy, especially the lenses, is excellent. The overall design of the camera makes it excellent for tripod work, the center of gravity is low and above the head. Not so with typical 35 mm SLRs. It would be very nice if the WLF magnifier would extend reasonably well into the corners, now the focusing needs to be done on the central area.<br>

And I like the bayonet filter system, it's a royal pain to frequently screw filters on and off, the bayonet is much faster. Too bad the bayonet system is mainly a feature of Hassy and Rollei.</p>

<p>Much of the reported faults come down to a lack of service. Somehow, people seem to think that mechanical gear like this doesn't need service. It of course does.<br />I believe a lot of the problems too occur in gear that was purchased used. Probably bought from people who haven't serviced the equipment properly, who are getting rid of it when the first signs of trouble appear.</p>

<p>And it's true that you can get by with minimal service without problems. As long as you use the stuff a lot.<br />Because a great deal of the faults that occur are nothing more than hardened grease obstructing the thingy. You need to keep the grease in condition by making it move enough.</p>

<p>Magazines do need a new dark slide slot light seal regularly. There is no way round that.<br />But many seem to wait for a light leak to happen before thinking about the state of the seal. That's like only caring about the oil level of your car engine when it seizes up because the sump is dry.</p>

<p>Other problems with backs (and cameras and lenses) are easily fixed, by a simple clean, lubricate and adjust job. It's very rare for something to break.</p>

<p>Or in short: the stuff is made to last. And it will almost forever.<br />But - like anything else - it does need attention!</p>

<p>And of course there are things that go wrong even when serviced properly. The diaphragm mechanism in the 110 and 150 mm F/FE lenses, for instance, can be a pain.</p>

<p>Like Stuart, I use 203FEs ... one with a CFV-II back, and the other with e-film backs ... along with most all of the fast aperture FE Zeiss lenses ... and CF/CFi/CFE lenses which I've managed to collect over the years. It is my favorite MF camera.</p>

<p>Prior to the 203FEs I used a long line of 500 series V cameras. In 30+ years of use I never had one jam. Not once. Keep the gear in good repair and use proper technique.</p>

<p>Hmmm, not sure there's much to dislike with the 203FE. Probably the fact that it can't fully use digital backs past the 1/90th sync speed (not a limitation of the CFV) , and it's been out of production for awhile. But parts and service have not been a problem ... with the exception that minor parts can cost a lot ... like $50. for the little battery drawer I once lost : -( </p>

<p> </p>

<p>Ive tried a fair amount of MF gear -- such as Rollieflex, RZ, My6, My7, Makina 67 -- and the 'blad gets a nod from me. I find it very easy to shoot handheld. In the early 1990's when I first shot Hasselblad I could have never imagined the low prices for the gear today. Last year I picked up a 100mmCF MINT for $600. Ive picked up 50mm CT* and 150mm CF in EX cond for $350-450. What's not to like about this?</p>

<p>Ive pieced together a one camera, two lens kit that I am very happy with -- 501CM/100mmCF/60mmCB. For compactness I shoot WLF.</p>

<p>Good luck making your decision.</p>

<p> </p>

Asim,<br>

<br>

Allow me to add my enthusiasm for the Hasselblad V system. I bought one used a few years ago and have had no

problems with it, although magazine malfunctions have caused some frustration.<br>

<br>

"No problems" is an understatement. This camera keeps on going, even after being dropped in mud. It's sturdy, reliable,

and the Zeiss lenses are terrific.<br>

<br>

It took me some getting used to, using a handheld meter and tripod, both of which you have down. I also found the waist-

level finder difficult to use--the difference between the angle of view from my eye level versus that of the viewfinder drove

me crazy--so I purchased an eye-level finder. Problem solved.<br>

<br>

A good waist camera bag helps with the weight of the body and lenses, the weight is carried on the hips instead of the

shoulders. I've carried the Hasselblad, two lenses, several backs, and a pair of binoculars for hours with minimal discomfort.<br>

<br>

I wasn't sure I'd like it when I bought mine and now wish I'd bought one sooner, can't imagine using anything else. If you

think you'd like a Hasselblad, can you rent one before purchasing? Or buy one with a full money-back guarantee?<div></div>

<p>I would add that for a newbie it's not obvious what part needs servicing and when and buying 2nd hand Hasselblad gear can be a bit challenging since it may be in great shape externally but internally needs some work done. This is especially true when buying over the Internet when one can't inspect the gear, but even when inspecting the gear one needs to know what to look for. Again, not a big deal, but good to assume that when buying 2nd hand gear some amount of money needs to be set aside in case in needs service (unless buying from a dealer who offers warranty for this kind of work).</p>

<p>Watch out for film backs with light leaks. I replace the light baffles myself but can be a daunting task for someone new to Hasselblad. I have bought many filmbacks and I would say 80% have light leaks when bought used.</p>

<p> </p>

<p>For someone considering a Hasselblad V system, there is a <em>lot </em> of bad information on this thread, some of which have been corrected.</p>

<p>Bottom line, Asim: You will find any MF system has its drawbacks. You will also find other MF systems to be quite satisfactory (e.g. Rolleiflex, Contax, Mamiya, etc.).</p>

<p>From a strict economics standpoint, few other MF systems can provide so much bang for the buck when it comes to build, reliability, availability of components, optical quality in every lens, etc. You will find the pro level MF systems did not <em>happen</em> to succeed without merit, but rather the ability to deliver the goods and getting the job done. Hasselblad falls into that class.</p>

<p>Having worked for the US distributor of Hasselblad some years ago, I would know if people were unhappy with their purchase. I cannot think of a single person who asked for their money back or had a serious problem with their system. I do know people who wandered to other systems because they wanted a bigger negative or smaller camera, but not because of dissatisfaction with their Hasselblad. I can, however, think of many more photographers who went to Hasselblad because of problems with their other systems. And these were the days when pros relied on the V system to make money.</p>

<p>To paraphrase Stuart R. from above,They are not hard once you learn how to operate them,which pretty much goes for any camera system. What`s not to like? Well the older ones are getting on,500c came out in 1958, 500cm 1970. The change from C type lenses to CF type occurred in 1982, A12 backs 1968, and be aware that most were used professionally, so will probably need a service of some sort. Weight,smeight, my 500c/m, A12 back, 80mm f/2.8, PME prism weighs 1.85kg, my F2/DP11,50mm f/ 1.4, MD2/MB1 combo weighs 2.2kg ! Buy the latest `blad you can(they are cheaper than ever), and enjoy .</p>

<p>I love my Hassy, but hardly ever use it nowadays, I am a particular fan of the C chrome lenses - pure works of art. It makes good pics too! Very simple and robust. I agree with the others that jamming is rare. I have had only two jams with over 10 years of use, and it is easily solved. The Rollei 6008 system is/was a superior modern design -- in theory--but its complexity militates against its longevity. The RB/RZ is also a classic design, don't forget. But the Hassy is very portable and comparatively light.</p>

<p>I inherited some money in 2003 and bought a brand new Hasselblad 501CM with 80mm, 120mm prismfinder and some other gadgets. During the years I also bought other lenses, so I have now 50,60,80,120 and 250 with additional backs etc.<br>

This winter, I made some photographs and then my 12 exp. back (new one) suddenly broke. I use this particular back only for colour film and therefore it has ran only about 40 films in those years.<br>

I had it repaired and the problem was a small bearing that couldn't stand the cold (-5 C) this is not what one would expect of a filmback used so little. Also, every time I remove the 120mm it uncocks the shutter, so I have to rewind the spring before mounting it the next time.<br>

Mind you, this is new gear, never been thrown with or anything, taken good care of by an enthousiastic amateur doing mainly landscape!<br>

So the legendary Hasselblad quality is maybe not as advertised. Then again, I like photographing with it very much, and have to accept these small unconveniences from such a thoroughbred I guess!</p>

<p>Jeroen</p>

<p>I Have a 500c purchased in 1970 and and a 503 cw. I shoot about 200 - 300 rolls a year.<br>

I also use two Canon 21 megapixel digital cameras. The 500c is my preferred camera.<br>

Most problems that I have with my hass are caused by me and not the camera,<br>

but I also can fix what I have done with a dime or small screwdriver. I like the film look<br>

and my quality is always very high. I use a 40 mm lens 99% of the time and a 150<br>

occasionally, I have sent the whole Hass system in for cleaning once about 15 years ago.<br>

Cheers !</p>

<p> </p>

<p>good thread, interesting observations from across the board. i bought a 500c/m from a pro that went D, nothing matches back wise, both CF lenses have had the shutters serviced a few times with blackout covering screwdriver marks.</p>

<p>I made my living for many years shooting aerial photos with a 500CM. I shot thousands of pictures without a single jam even though I was constatntly switching between the 80 and 150mm lens and swapping backs. I did all this while flying my little Cessna 150.<br>

I very sorry that I ever sold it.<br>

Here's a sample:</p>

<p> </p><div></div>

<p>What I really hate in Hasselblad V system is that there is no Kodachrome in 120/220 format.. :)</p>