Hassie, where to start??

[jos__garese]

<p>For many years I have wanted to work with a square medium format camera. The closest I have come is a Mamiya 7 rangefinder. I have owned one for fifteen years. I finally would like to try out a Hasselblad. For some time I toyed with the idea of a classic Rolleiflex, but I have sort of had it with parallax inconveniences, and I also would like a camera where I am not limited to a single lens. Hasselblad then!<br>

So the question is: Which camera should I aim at? I am planning to do strictly analog photography so it is not necessary a new body that will eventually accept a digital back (but will cost more money). I know ABSOLUTELY NOTHING about Hasselblads. I would like something that is probably second hand, not too old, not too knew, sturdy, reliable, non-plastic if possible (sometimes cameras of later generations incorporate plastic, think Fujicas of the seventies vs. Fujicas of the nineties, don't know if this occurs with Hasselblads as well...)<br>

Second question: How much should I expect to spend for that kind of camera? Third question: Any reliable places where I can buy it?</p>

[geoff_r1]

<p>The classic 500cm was made for many years, and is by far the most popular model. I've had one, and it was great. I now use the newer 501cm, which is essentially the same, but with a few upgrades, including a mirror which does not vignette with longer lenses, and a lovely screen, which can also be put in the older cameras very easily. </p>

<p>The 503 models have flash functionality. The ELM's have motor winders, and the 200/2000 series have focal plane shutters which can be used with faster versions of the Zeiss lenses. </p>

[leighb]

<p>To answer your third question first... KEH in Atlanta at www.keh.com<br /> They have a large selection of cameras and lenses, either as complete outfits or as individual pieces.<br /> It's an excellent company to deal with, having good prices coupled with conservative grading and an<br /> excellent money-back return policy. It's also a great place to get an idea of prices.</p>

<p>Geoff covered the bodies pretty well. I would recommend a simple 500 C/M as a starter unless you're<br /> shooting with strobes extensively. All Hasselblads will work with electronic flash; it's in the shutter.<br /> The difference between the 500C/M and the earlier 500C is that the C/M has a user-changeable screen.<br /> The focusing screen on the 500C must be changed by a technician using an expensive jig to set it right.</p>

<p>The lenses are the biggest range of choices. <br /> All of the fixed focal-length lenses are from Zeiss (some modern ones may be from other companies).</p>

<p>The first version are called the C (for Compur, the shutter name) lenses. <br /> These began life in a chrome finish, typically with single-coated optics. Later versions came out in<br /> black. The multi-coated version are denoted by the designation <strong>T*</strong> (pronounced Tee Star) engraved<br /> in red on the front trim ring.<br /> The C-series lenses suffer from uncomfortable focusing due to a narrow metal focusing ring.</p>

<p>The next family of lenses is designated CF. This is the group that I would recommend.<br /> All are multi-coated, and carry the T* designation on the front. They use a Prontor shutter.<br /> They have a rubberized focusing grip, much wider and more comfortable than the C-series.</p>

<p>Later lens series such as CFE would not be my first choice. <br /> They're over-priced, and generally identical optically to the CF lenses (a couple are different).</p>

<p>The standard lens for the Hasselblad is 80mm f/2.8 Planar. <br /> Other lenses are available from 40mm through 500mm, including a 120mm macro.</p>

<p>The one lens to avoid unless you really need it is the 135mm bellows lens. It has a shutter<br /> but no focusing helicoid, since it's designed for closeup work using a bellows for focusing.</p>

<p>There is one zoom lens available, a 140mm-280mm version made by Schneider.</p>

<p>One accessory that I always recommend is the little bullseye bubble level. It fits on the rail on<br /> the left side of the body, and allows you to accurately set the camera level on both axes.</p>

<p>There is also a compatible set of hardware (bodies/lenses/accessories) made by Kiev in Russia.<br /> I do not recommend any of these products.</p>

<p>- Leigh</p>

<p> </p>

[mervyn_wilmington]

<p>I got into Hasselblads a couple of years ago, and now have three bodies, four lenses, etc.</p>

<p>Where to start? Read, read, read! Apart from books such as Wildi (can be found very cheaply in the UK, for example, if one looks around) just search this site and more generally on the web. There's an absolute mass of information out there, most of it good. Study dealers' lists and ebay. Read for at least a month, and try to decide where you are. It just needs a bit of time and discipline!</p>

<p>Remember that older bodies and lenses might need servicing - unless you buy from a dealer with a good warranty. Keep the cost of that in mind.</p>

[paul_wheatland]

David odess who contributes here sells services hasselblad check him out

[jos__garese]

<p>Thanks everyone! Especially Leigh, for the thorough reply. I am now browsing KEH's site. Further suggestions from other Hasselblad users encouraged. <br>

With Mamiya 7, I have used this set of lenses: 43, 65, 80, which has kind of worked for my needs. Should I go 40, 60, 80 with Hasselblad, or is the 50mm lens, for example, something not to be missed. In that case I could try 50, 80, and a longer lens...</p>

[peter_phipp1]

<p>I have a set of Hasselblad equipment for sale but I am in the Uk... 500cm, 500El,50mm,80mm,150mm,250mm lenses. </p>

[stp]

<p>Perhaps my favorite film camera was the Hasselblad 501cm. Like you, I got it for the square format; I wanted to shake up my point of view a bit, and I wanted to have the Hasselblad experience. KEH is a good starting point, but I think you can eventually do a lot better price-wise by looking on the boards. Lens prices seem to vary quite a bit, and there are several generations of the same lens, each generation having some improvement over the preceding generation. You need to do some research, but that's a big part of the fun. I couldn't afford a good 40mm lens, but the 50mm was great. The 120mm makro was superb, as was the 180mm. I generally opted to spend a bit more for the newer versions of these lenses. If I were a wealthy person, the Hasselblad 501cm system is the one film camera I would have kept.</p>

[Gary Naka]

<p>I was going to get a 40, until I saw how expensive and heavy they are. Because of those 2 reasons, I switched and got a 50 instead of a 40. I still would have preferred the wider view of the 40, but the 50 is acceptable for me. Only you can make the decision if you are willing to spend the extra money and weight for a 40, over a cheaper and lighter 50.</p>

<p>As you are thinking, plan out the lens kit before you buy anything. Good planning here will prevent you from buying a lens you don't use later. I was going to do a 40-80-180 kit, but ended up with the standard 50-80-150 kit. From your Mamiya 7 lenses, it looks like maybe you don't need the tele. To me, 40-60-80 seems too close together between the 60 and 80. I think 40-60-100 would be a better option. approx 1.5x for each step up, or 50-80-120 (again approx 1.5x for each step). But based on your Mamiya 7 lens, maybe you don't need the 120, and just get a 50 and 80. A 2x step would give you the following options; 40-80-150(or 180), or 50-100-180(or 250). There are so many different lens combinations, that YOU need to sit down and figure what you need based on what YOU shoot. Or if a general purpose kit is what you want, the 50-80-150 kit is the standard 3-lens kit. In reality I think 50-80-150 is the standard because people probably started with the 80, then go wide and long from there. A better method is like I mentioned, think and plan the entire kit FIRST, then buy the lenses to fit the plan.</p>

[david_littleboy__tokyo__ja]

<p>Ditto on KEH and 500CM. Were I to do 'blad again, I'd look at the 60/3.5 and 100/3.5 lenses. Slower, but the MTF charts indicate better edge performance for landscapey things (and I like a slightly wider view than 80mm for normal). If you are made of money, the SWC's seriously kewl, too, giving you a 38/60/100 kit.</p>

<p>One other thing. There's at least one newer 500-series body (503CX) that's much cheaper used (KEH had one the other day). It apparently doesn't have the larger mirror that's a nicety for longer lenses. Sounded like a good option. (Flame me if this is bad advice, QB.) Ouch, prices are currently steep for used 'blad stuff at KEH.</p>

<p> </p>

[ingemar_lampa1]

<p>It is true that prices seem to have increased slowly since perhaps 18-24 months back, not only for Hasselblad stuff but also many other brands and formats. It looks like the all-time low for any classic gear was about the same time as the big economic meltdown in 2008. My analysis of why this is would be simple market economics: supply and demand. The supply of classic gear is drying up and prices go up as the result.</p>

<p>On what model to get, the people above have already answered that. I would like to confirm by listing a complete kit:</p>

<ul>

<li>501c/m body, a good 500c/m will also do</li>

<li>At least 2 A12 backs, ideally 4</li>

<li>Good focusing screen (AcuteMatte D or similar) - best option is to only put your money down for a body already so equipped since they can go for $200 as an afterthought</li>

<li>50mm, 80mm, 150mm lenses cover most situations perfectly well. Make sure you get the lens shades with them. If you can afford, the CF lenses are a bit more reliable than old chrome C lenses just because they are newer with the Prontor shutter. CF's are also all T* coated.</li>

<li>Flash grip and a good used Metz flash unit</li>

<li>At least one extension ring/tube, 8mm or 16mm or both. Or 21mm. These are reasonably cheap</li>

<li>The bubble level thingy</li>

<li>Hand held light meter</li>

<li>A sturdy tripod</li>

<li>A bag to transport it all</li>

<li>Loads of film!</li>

</ul>

<p>Optional equipment:</p>

<ul>

<li>The 40mm and 250mm lenses</li>

<li>A monopod</li>

<li>Another viewfinder, prism or chimney, depending on your preference</li>

</ul>

<p>Have fun!</p>

[jos__garese]

<p>Thanks everybody for the good advice! Following on Ingemar's comment on supply and demand: The supply is for a product discontinued that still works. The demand is ever increasing as new generations of younger photographers enter the market and some want to try out analog stuff. I guess they are a small percentage of "the cake" of photography, compared to those who embrace digital, but "the cake" (people who come to photography, people who get into universities to study photography, etc.) is increasing all the time, so the absolute numbers of analog wanna-bees still grows... and with it, the supply gets meager and prices go up...</p>

[geoff_r1]

<p>In case you decide on a 501cm, I have one for sale with 80mm lens. I currently have two, and don't use the second one. </p>

[jaydesi]

<p>I have the 503cx, and the 80mm and 150mm lenses. Haven't saved enough for the 50mm yet. I went with the less expensive 12 backs, rather than the A12 backs...I can wind to the appropriate point, I don't need to spend so much more for the back to stop automatically at the first frame. I also got the PME 3 viewfinder and a split prism screen. I bought all of my gear from KEH, and it's fantastic.</p>