paul_lassiter

Hasselblad should offer diopter correction eyepieces for this and the PM45 viewfinder. While it is true this viewfinder has an adjustable diopter correction range, it does not cover those users outside the built-in range. Hasselblad offers a supplemental eyepiece for the PM90 to extend the range but does not, for some reason, offer a supplemental eyepiece correction eyepiece for the PME45 to extend the range of the built in diopter correction range. Hasselblad's answer seems to be, "If your eyes don't fall within our built-in correction range, just wear glasses or live with it!"

I recently purchased a Maxwell Screen for my Hasselblad. I bought a screen with the rangefinder surrounded by a microprism donut. It is a good quality product and works as advertised.

 

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It is possibily a tad less bright that an AcuteMatte D screen but still pretty close. The rangefinder is more sensitive in the Maxwell than in the AcuteMatte D: this means that the rangefinder splits more quickly when focusing than with the standard Hasselblad screen (probably so for other MF cameras as well). This makes for more accurate focusing when using the rangefinder. The microprism also seems a bit more helpful on the Maxwell Screen. Overall, I find it a bit easier to focus with the Maxwell Screen than with the Hasselblad AcuteMatte D screen although it is close.

 

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For MFD readers not familiar with the Hasselblad AcuteMatte D screen: To say that the Maxwell Screen is as bright as a Hasselblad AcuteMatte D means it is pretty darn bright. Maxwell makes screens to fit most cameras including the P67. I suggest that you call Bill Maxwell at (404) 244-0095 in Decatur, Georgia if you have questions. A straight matte Maxwell screen is about $145 for a Hasselblad and about $200 with split image rangefinder and microprism. He does not make the screens until you order them. Hope this information helps.

The difference in the Hasselblad C and CM is that the CM has a replaceable viewfinder screen. The 500CM replaced the 500C. The original viewfinder screen that came with these cameras was fairly dim. The newer Acutemate and Acutemate D screens that comes on the 501, 503, 553 and 200 series camera are much brighter and making focusing easier. Many folks with 500C/500CM camera replace the old screen with the new Acutemate screens. This is easier to do on the 500CM due to its replaceable viewfinder screen. As far as I know, the replaceable viewfinder screen is the main difference between the 500CM and 500C.

 

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As you have probably gathered from the MFD, the A12 replaced the 12 back and automatically stops a "1" when you loading a new roll of film and you wind it to the first exporsure.

 

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In addition to the "C" lens, there are also the newer CF lens and now the "budget" CB lens line.

 

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Wildi Hasselblad Manual is in its foruth addition and is not out of prints. You can order it from B&H and other mail order places.

I should have also added as did Phil on the photo.net site that you have to watch out for flare/low contrast with this lens if any light is coming towards the lens, even peripherally. For example, I have to be very careful in setting up my studio shots to absolutely prevent any accent or hair light from striking the lens; otherwise, contrast takes a very deep nose dive! This happens much more so with the 120 than my other Hassy lens, and the problem isn't always easily observable under the modeling lights.

I have a Hassy CF120 which I often use for portraiture. In fact, I recently took some portraits of a bride for an upcoming wedding that turned out drop dead gorgious. Even though she is a young bride, I took a good number of shots with a Softar I to soften the image a bit. For my studio shots, I probably use the 120 more than any other lens (my "studio" is a converted bonus room and is on the small size for a studio).

 

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When taking the actual wedding shots, I tend to use my 80 and 60 the most. For example, the dressing rooms and other places tend to be a little small to use the 120 for all the shots--and, rather than keep switching lens, I go usually go with the 80.

 

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I have used the 120 for Alter Returns shots, but generally the 80 works better for me. There is generally a premium placed on getting the Altar Return shots taken as quickly as possible, and so it is quicker to stay with the 60 or 80 for most of the shots. I try to finish my alter returns with a few close ups with my 180 of the bride and groom (the 120 would work here, too).

 

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The macro capability of the 120 is an added plus for me--mainly for non-wedding shots. I do use for the ring/hands shots.

 

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In looking for a used 120 for wedding work, you will probably wanted to consider the CF120 as it has a f4.0 aperature versus the older C120's aperature of 5.6. Generally, you need as much help as you can get in focusing in wedding work. My 2 cents worth.

The sequence for taking shots with a Hasselblad 500 camera is as follows: (1) Cock shutter with the film advance/lens cocking knob on camera. This will cock the lens and advance the film. (2) Compose your picture and remove the dark slide. (3) Take your shot. (4) After releasing the shutter, the viewfinder will go dark. (5) The next step is to cock the shutter for the next shot--at which point you can take another picture. Whether you want to reinsert the dark slide between shots is up to you. (6) The key is to reinsert the dark slide after shooting your last shot AND making sure that the dark slide is in the A12 back before you attempt to remove the A12 back. Whether you keep the lens cap on or off between exposures is up to you--the roll of the cap is protection for the lens and not to prevent fogged film.

 

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The Hasselblad has a number of safety interlocks to keep you from messing up. It is important to remember the following: DO NOT ATTEMPT TO REMOVE YOUR LENS UNLESS THE CAMERA/SHUTTER IS COCKED. Trying to remove the lens without cocking the camera will jam the camera (possibly major problem) and will fog your film if the dark slide hasn't been reinserted. The camera is designed to prevent you from removing the lens if the camera/shutter is uncocked--but a little extra musclepower done in hast can override this interlocked and cause jamming (I haven't done it but have come very close on one occasion). The second point is DO NOT REMOVE THE A12 BACK WITHOUT MAKING SURE THAT THE DARKSLIDE HAS BEEN REINSERTED. The camera is designed to prevent you from accidentially removing the A12 back without first reinserting the dark slide.

 

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I suggest you get a manual or a copy of the operating manual.

While several contributors have expressed opinions on Condenser v. Cold light enlargers, I am wondering how prints made with a diffusion enlarger compare with prints made with a cold light head. For example, I use my Beseler 23C with a Dicro-colorhead (with the color filters our of the light path) for making B&W prints. I prefer the prints to those I make with the condenser head--the prints seems to show a greater range of tones. I do, however, seem to lose a bit of snap in some of the prints by using the dicrohead head versus the condenser head.

Quoting from Wildi 4th Hasselblad Manual:

 

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The only obvious difference from the outside between the 205TCC and the 205FCC is in the mode selector dial. The 205FCC dial has the program (Pr)setting on the top, followed by automatic exposure with automatic bracketing (Ab), differential (D), zone (Z), and manual (M) modes. The 205FCC model selector dial has programming (Pr) on top, followed by automatic and automatic bracketing (Ab), differential (D), zone (Z), and manual (M) modes.

 

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That is all Wildi says. I suppose you could email Hasselblad (info@Hasselblad.se) or call Hasselblad and they could tell you.

 

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Wish I could tell you more, but I generally use a 503Cxi and have only a passing familiarity with the 200 series Blads.

I have both the Hasselblad CF120 and CF180 lens. These are both great lens. As I have to use my den as my studio, I find myself using the 120 lens more than the 180. In addition, the macro feature of the 120 also comes in handy. Most of my studio shots, however, are not limited to head shots. If you are going to concentrate on pure head shots, the 180 is probably the better lens. The 180 is sharper than the 150 yet has the same minimun focusing distance.

I would be interested in knowing what film (negative/transparency) scanners are being used by subscribers for medium format film scans and with what degree of success.