Rolleiflex 3.5E for Hasselblad

[jc1305us]

Thinking about putting up my mint 3.5e for a Hassleblad. I own a 2.8f as well, so I wouldn't be missing out on the rollei experience, but hassleblad has been itching at me. Are there any drawbacks to buying a used hassleblad that would make you not buy one? I know they are well used cameras, but I'm patient and can wait for a good example. Thanks in advance. 

[orsetto]

Short version: condition is EVERYTHING with Hasselblad. If the seller isn't an owner/user or can't answer detailed questions about operating condition, move on to another example. Trust, but verify: make sure they have a good return/exchange policy.

Long version:

As with Mamiya RB/RZ, Pentax 67, and other classic medium format systems post-pandemic, great condition Hasselblad has mostly vanished from the USA market at sane pricing. Much of whats easily available is either obviously someone else's overpriced headache, or is too good to be true (again, someone else's overpriced headache). I'd recommend spending a little more with a known-good used camera dealer that has honest listings  and exchange/refund/repair support, because chances are good you will need it. Hasselblads require periodic servicing to function at their best (or even properly): since service is expensive, most casual third or fourth owners neglect this until something breaks, then put the item up for sale. You then unknowingly buy it and "voila!", a big repair invoice magically appears in your future.

Outward appearance of the camera/lens/film back tells you nothing about the operating condition. There's a lot of beautiful-looking Hassy gear floating around at prices you would assume indicate mint condition inside and out. But 'blads are tricky beasts: outside can look brand new while inside is utterly DOA. The gear also has an infuriating tendency to work fine for six or seven weeks after purchase, then crap out just after your return/exchange window has closed. 

Unlike Rolleiflex TLR, which gets overhauled once in toto and then should be good to go for several years, Hasselblad is modular (and the leaf shutter/aperture mechanism in each lens is far more complex than TLR). At any point, any of the three major parts can tank on you (lens, body, film back). By far the most common failures are the lens shutter and/or diaphragm, followed by body mechanics, and lastly the film backs. The lenses can be excruciatingly expensive to service: depending on whats wrong and the tech you choose, you'll spend as much overhauling just the 80mm Planar as you would overhauling your entire Rolleiflex TLR. If the problem is shutter-specific, cost is less, but often an intermittent diaphragm issue comes along for the ride (requiring deeper disassembly and higher repair fees).

The Hasselblad bodies are much less prone to failure than the lenses, but a preventative overhaul is worth doing just to be sure the critical mechanical timing is in perfect sync. On all Hasselblads with the original mirror design (500cm, cx series), watch out for focus errors due to rotten foam between the mirror and the plate it flips on: this often needs replacing on perfect-looking bodies that haven't seen active use in years. Film backs can develop spacing issues and mechanical drag, probably the easiest issue to service. The slot for the dark slide has a foam/mylar seal that should be replaced if you see streaks on your film: this is fairly easy to DIY as needed.

As long as you are fully prepared to pay for an unexpected overhaul, the system itself is wonderful, with Zeiss lens rendering comparable to your familiar Rolleiflex. There are some differences between the Rolleiflex and Hasselblad Planars, due to more retrofocal optics and pentagonal aperture in the Hassy lens, but they are close. The mirror action makes the camera much noisier than a TLR, and a bit more difficult to hold steady at slower speeds. As with Rolleiflex TLR, viewing and focusing ease is determined by the screen installed. Older ground glass screens with thick black cross bars or large microprism spot are most common and most easy to focus in good outdoor light, but can be difficult to use indoors. Acute Matte screens are much brighter but can be tricky to focus accurately until you get the hang of them.

The lenses and film backs come in several different revisions, with the newest being most expensive. At minimum you'll probably want the A12 film back as opposed to the older C12 (or just plain 12) back. A12 has the little built-in winding crank that auto-stops winding when you reach the first frame of a film load, older back requires you peep thru a rear window. Nothing wrong with the older backs aside from slower loading and age: condition and service history is everything. A12 comes as "V button", "12 button", "black button", and various film box tab holder styles. Newest versions with built-in factory original dark slide holder are twice the price of more common "V button" backs: its usually a better value to buy the less expensive older back and have it overhauled to like-new condition.

The 80mm f/2.8 Planar had multiple revisions: chrome barrel C single coated, chrome barrel CT* multicoated, black barrel CT* multicoated, CF, New C, CB, CFe. The newest are the most expensive, all but the CB have identical optics (CB has one less element). The all-metal chrome or black lenses have that great vintage appearance, but many find them more difficult to use (serrated metal focus ring, heavy focus drag, coupled EV system for shutter/aperture). They also have the older Compur shutter design, which tends to need service more often.

The CF and newer lenses with rubber focus rings have newer Prontor shutters, with more intuitive separate uncoupled shutter/aperture rings. The CB-CFe-CFi lenses are even more comfortable, with the most modern smooth focus feel. If you can find one, the oddball "New C" 80mm Planar has the look of the CF with the lighter focus ring action of CB/CFe at more reasonable pricing (very nice indeed). The CFe lenses are the only ones with electronic coupling to the rare, expensive auto-exposure bodies: these lenses are the priciest by a considerable margin (unless you pick one up in a nice package deal with the body/finder/back).

Waist level finders come in two common versions: older has silver button clasp with manual folding side flaps and non-interchangeable square magnifier. Newer nicer WLF has a wide black plastic lift-open tab, with auto-ercting side panels and interchangeable circular magnifier. Both work great, but the newer is more comfortable if you wear eyeglasses and like to put your eye to the magnifier to check fine focus.

Edited April 12, 2023 by orsetto

[orsetto]

You might also want to consider being more strategic in your Hasselblad investment, so it complements (rather then duplicates) your Rolleiflex TLR. Aside from the more accurate SLR viewing/framing and ability to switch film types or formats midroll, a Hasselblad with 80mm Planar offers no particular advantage or distinction in film results over a Rolleiflex with its built in Planar. Since genuine bargains in Hasselblad are thin on the ground these days, it may be of more benefit to purchase a body/back and lens separately instead of the usual bundle with 80mm Planar.

Perhaps exploit the Hasselblad more fully for the options it offers you over the Rolleiflex: focal length choice. Instead of the 80mm Planar, consider the 60mm f/3.5 Distagon: this is an underappreciated lens with superbly sharp performance. A versatile AOV for street, groups of people, travel: the 'blad equivalent of a Leica M2 with 35mm Summicron. Wide enough to be a distinct alternative to your Rolleiflex Planar, while still close enough to "normal" to avoid exaggerated wide angle perspective. More daring would be the 50mm CF-FLE Distagon: noticeably wide angle, yet very well corrected (and a fraction of the cost of a RolleiWide TLR with 55mm Distagon).

Pair the 60mm with the 120mm Makro, and you have an extremely flexible two-lens kit that encompasses everything from landscape and street to portraits/events to flowers/nature/closeup work. If you don't think you need the specialized closeup optimization of the 120mm Makro, the justifiably classic 150mm Sonnar is half the cost, gives a bit more reach and is better at infinity for landscape. With a short extension tube, it can double quite effectively for close work if you don't need the exacting performance of the Makro.

[jc1305us]

Wow. This is why I come here for advice! I'm blown away by your knowledge, thank you for taking the time to write such a well thought out, in depth response. This should be pinned in this forum, for others looking for a Hassleblad, or rolleiflex. Superb, Many thanks! 

[orsetto]

Glad you found my posts somewhat helpful! Please note my "negativity" is based on current market conditions, not necessarily anything intrinsic to the Hasselblad itself. Fifteen years ago, there was a glut of medium format pro gear for sale so it was a buyers market: lots to choose from at varying conditions and price points (I snapped up most of my Hassy kit then). There was a greater chance of scoring a Hasselblad outfit in good working order that would remain in good working order so you could enjoy it a year or two before getting pulled into a repair/overhaul. 

Today, not so much. Its a sellers market, most of the better-grade items have been picked over, so whats left is either sold from Japan and/or more prone to break down sooner and require an expensive service. Rolleiflex is much the same now: dwindling supply on the open market of choice examples at reasonable cost. You're more likely to acquire something that needs repair.  And unfortunately, anything designed and mfrd in Europe circa late '50s or early '60s is a ticking time bomb: German leaf shutter + complicated reflex engineering = repair money pit waiting to happen.

As-found Hasselblad in todays distorted marketplace can be more risky than it was years ago., thats all I meant to convey, so budgeting extra for repairs would be wise. The good news is, once overhauled by a competent tech, a Hasselblad should remain in good shape for several years minimum under typical enthusiast use. The best thing you can do is keep using it: the Hasselblad mechanics don't tolerate sitting idly on a shelf, they need frequent exercise. The more you use it, the longer it will go between service intervals, possibly a decade or more. Just be aware that an initial outlay for service will likely be necessary in the near future for currently-available random 'blad gear, just as a randomly-sourced Rolleiflex will likely need some work done. Unless you purchase from a specialist dealer or tech who pre-services the items they sell and offers a warranty.

[Niels - NHSN]

5 hours ago, orsetto said:

As-found Hasselblad in todays distorted marketplace can be more risky than it was years ago., thats all I meant to convey, so budgeting extra for repairs would be wise. The good news is, once overhauled by a competent tech, a Hasselblad should remain in good shape for several years minimum under typical enthusiast use. The best thing you can do is keep using it: the Hasselblad mechanics don't tolerate sitting idly on a shelf, they need frequent exercise. 

Hasselblad appears to be a bit like Leica in that regard. It is good to find yourself some competent places for service already before you venture into the system, because something will need service eventually, probably sooner rather than later.

Familiarising yourself with the pricing is probably also wise. Competent Hasselblad or Leica service comes at a premium. Same can be said for Rolleiflex, but for some reason I have rarely needed it.

[arthur_gottschalk]

On 4/12/2023 at 3:36 PM, orsetto said:

 

Pair the 60mm with the 120mm Makro, and you have an extremely flexible two-lens kit that encompasses everything from landscape and street to portraits/events to flowers/nature/closeup work. If you don't think you need the specialized closeup optimization of the 120mm Makro,

 

 

My set-up exactly.  It's all I most of the time. Just add a 45 degree metered prism and you're golden.