bengt_ljungkvist1

<p>Werner, I have bought several Hasselblad (=Zeiss) lenses from KEH. None of them bargain, but all of them "collector´s quality". Their denotation being EX, I would have thought them mint. And I have an almost complete series of the CT*-lenses, (40mm Distagon to 350mm Tele-Tessar), could not resist the temptation! I just hope their springs will last another few years!<br>

Bengt</p>

<p>Thank you, Mike, just what I needed!<br>

Greetings<br>

Bengt</p>

<p>Hi,<br>

how do I find a manual for Metz 60 CT-4? Can I find it on the web?<br>

Greetings<br>

Bengt</p>

<p>I have a Hasselblad mask for the 645 format (16 frames per roll 120-film). The long sides are shadowed outside the 645 frame. Now I wonder: Does this limited area affekt the integral metering with my Hasselblad PME 90 finder?<br>

Greetings<br>

Bengt</p>

<p>Hi Graham,<br>

I already have that mask (unless there are different ones) and it feels too "thick" to permit easy handling.<br>

Russ, your idea is the obvious one, but for me maybe not the best, since I change between 6X6 and 645 too frequently.</p>

<p>I have a Hasselblad 503CW body and I frequently, with a PME90 metered prism and an A16 back, enjoy the 645 format. My question is, whether the viewfinder mask should be so difficult to impose the prism upon, or if I am doing something wrong?<br>

Greetings<br>

Bengt</p>

<p>Hi Adam!<br>

I have all three of these lenses, the CT* series. As for optics, all of them are superb (of course). I use the 40mm for "special" purposes, when I am aiming at a distinct wide angle feeling in the picture. As for the 60mm, it is almost like a compact camera standard lens and very handy at that. The 50mm lens is the one I use the most in the wide angle spectrum. And I agree completely with Stever! Good luck in your choise! </p>

<p>Thanks, Stuart and Michael, just the circumstantial knowledge I look for! I mailed Leaf the other day for information about the Aptus-II 7 but have not gotten any answer (including prizes) yet.<br>

In fact, I am trying to be patient enough to wait for a second-hand market including the CFV-39 to emerge. The crop factor of 1,1 is really making it attractive!</p>

<p>What do I gain (apart from a lot of money) and what do I lose (apart from the Hasselblad logo) if I purchase a Leaf Aptus-II 10 or 7 for my Hasselblad 503CW instead of a CFV-back? It is almost the only way of going digital if you are an (enthusiastic) amateur and with a moderate income.</p>

<p>I have a Hasselblad 503CW body and some CT* lenses. Does using filters in some way interfere with the effect of the T* coating? If not, why not? Does not the filter cause glare as any uncoated glass surface would?<br>

Greetings<br>

Bengt</p>

<p>Thanks all!<br>

I will try the "warming up" approach, even though it is more of a mechanic stuck feeling. Nevertheless it is worth a try.</p>

<p>HI!<br>

I have an older, but nearly unused Nikkor AF 70-210mm telephoto lens for an F60 Nikon analogue body.<br>

Now, that I plan to use it as an accessory for my Nikon D80, I cannot twist the zoom ring the slightest!<br>

What has happened? Am I doing something wrong? I do not want to try to force the ring. Has anybody<br>

any suggestions?<br>

Best regards<br>

Bengt</p>

<p>Last(?) in a long thread: As with film versus digital, different situations demand different compositions. Luckily I have <em>both</em> the PME45 <em>and</em> the PME90. An A12 back and an A16 back. And I do not feel ergonomically set back by turning my 503CW 90 degrees anti-clockwise for the vertical compositions with the PME90 making this possible.<br>

Greetings<br>

Bengt</p>

<p>Hi, David Odess or Q.G. de Bakker or someone as wise!<br>

My winder for my dear 503CW is eating batteries! That is, after maybe 50-70 shots with the winder the batteries are empty. A friend once (a long time ago) told me that I could fix the problem by doing something in the battery compartment. I did, it worked, but now the problem is back and I have forgotten the trick. Friends, can you help me?<br>

Bengt</p>

<p>Eric,<br>

I agree with your description of your feelings for the tools and their part in the creative process. Using my daghter´s Nikon D80 I am not quite at a loss with digital photography, but working with B&W in the darkroom, knowing that the "ultimate picture" may emanate because your Hasselblad makes it technically possible, is a very fullfilling feeling! </p>

<p>Edward,<br>

since Larry <em>does</em> have a 503CW including the winder, he has the option of using the rectangular format, also in the vertical orientation, he just needs to add the PME90.<br>

This fact increases his options regarding the digital backs.<br>

Greetings<br>

Bengt</p>

Bruno,

I wonder that too! As a dedicated amateur Hasselblad owner I feel deserted by Hasselblad. Which amateur can participate in Hasselblad´s onesided attention to the proffessionals, with their digital multidollar H1, H2 and H3 equipment? Hardly anyone, I think. So we amateurs have to be content with at the most 60 or 75 or 120mm lenses

(crop factor 1,5 for the CFV back). Hasselblad would gain a lot by introducing a full frame digital back, the technology seems to have come that far, at a reasonable price of course.

Bengt

I agree with Paul 100%, using a H-blad 503CW, a Metz TTL flash and T-Max 100. You do not even need a studio, just find yourself a cosy corner and compose your optimal lightning by using indirect flash. A door opening gives you the dark background, you have as much freedom as your creativity permits.

Jerome,

I had the unfortunate experience of portraying a model who did not realize that analogue MF and digital photo are two diametrically different things cocerning tempo, number of pictures, preparations for each picture and so on. The session was a disappointment for both parties. I ultimately, the fault was mine, I should have anticipated the model�s preconceptions.

Interestingly enough, one can notice, that Hasselblad is purchasing a film back to their H-series! Who is buying that? And a new one, for that? Maybe analogue photographers are not only old fossiles. A little beside the thread maybe, but interesting in its own right.

Bengt Ljungkvist, old H-blad (analogue) neard

Sorry to see the debate going infected with personal misgivings and even attributions! But: If jamming is caused by careless pressing the release button, the 503CW with the winder attached would never get jammed, would it? Mine has not. And: A Hasselblad technician told me when asked about service interval: "-Only when the equipment starts fouling up!". How about that?

Marc,

I have the 40mm, the 50mm and since recently the 60mm Distagon CT* lenses. I had some doubts before buying the 6omm lens but bought it anyway. For me, these wide-angle lenses serv quite different purposes, from the more creative, artistic use (the 40mm lens), over the less extreme (the 50mm lens) to the very handy "standardlike" 60mm lens. I do not regret buying the 60mm lens for one second! It is a wonderful, most versatile lens! And yes, the 40mm Distagon CT* is quite heavy!

I am almost never using the tripod, I do not usually photograph land-scapes or cityscapes. Using my CW503 for "situational", storytelling pictures of people with a 400TMAX roll in the back makes me movable and flexible. And, mentioned by only a few, the standard (80-100mm Planar) or wide-angle lens (such as the 50 or 60mm Distagon) with their more generous dof makes the task even easier. Needless to say, telephoto lenses (250mm Sonnar or longer) demand tripods to a considerable extent. As always, the answer to the question is "depends".

The question of 45 or 90 degrees finder is an interesting one. I have a 45 degrees finder and I take quite a lot of portraits, usually with my 150mm Sonnar CT* and extension tube 10 or the next one (21mm?). One simple way to solve the problem with "frog perspective" is to ask the subject to tilt her or his head forward a little bit to get a straight look into the lens.

Greeting

Bengt

Paul,

I am mailing you at this moment!