Fresh owner of 501CM

[zdenek]

Yes, a tripod will solve entirely the problem. I am going to look around for a suitable one. Could you recommend a suitable good ballhead? ... but an amateur has to be mobile, too.

I agree that the main source of difficulty is "unusual" behaviour of the image in the WF. It is something that needs a good deal of skill and practice. Using such a type of WF is now "forgotten knowledge". I remember years ago many people (my father too), more or less succsessfuly, used TLR cameras with the same type of WF. .... practice, practice, and even more practice... A former leader of a power said: "Learn, learn, learn"!

As to the longer focal lens, I currently use 90 mm lens sometimes at 1/30s on Leica, and 18 x 27 cm pictures are sharp. This size surely is not a "philately".

Thanks again for your attention to my case.

Zdenek

 

[qnu]

Zdenek,

A bit off-topic, but anyway:
Your Leica pictures - using a 90 mm at 1/30 - will improve immensely also when using a tripod. The "Tripod Difference" is not format dependent.
So you think they are 'sharp' now? Just wait and see how sharp they can be!

 

[fotografz]

Adding to Q.G.s comment on use of a tripod:

I frequently produce what are called "Photomatics" ... a process where stills are taken in a set sequence of action to simulate motion picture film. It amounts to 3 or 4 frames per second. These are knitted together using an Avid editing machine with cross dissolves much like a cartoon is made. The result is used to test TV commercials before they are actually filmed for real. (Stills are used rather than video tape because on-going client corrections can be made in photoshop which can't be done in video without incurring horrifying costs ... and it's easier to deal with 3 or 4 frames per second than 24 fps).

What I discovered rather quickly was that the images had to be what's called "pin registered",
or the simulated movement would visibly jump around during edit if even slightly off register. I had to not only use a heavy duty tripod, I had to sand bag it and use a quality cable release. Just the slightest finger pressure on the release button would create jumpy movement.

Look for a well d&ened tripod with a hook on the bottom of the center column that you can hang your gear bag on (or sand bag). .. I use a Gitzo. Spend the money on a super head, ... I use a an Arca-Swiss, and a high quality cable release ... the difference will amaze you.

 

[zdenek]

Q.G. de Bakker (Qnu) wrote on August 03:

' 2007 - 8:54 am,Your Leica pictures - using a 90 mm at 1/30 - will improve immensely also when using a tripod.'

I am aware of it and agree without reserve. But at present I have got only one camera support - my hands.

Marc A. Williams (Fotografz) wrote on August 03:

' 2007 - 10:05 am,Spend the money on a super head, ... I use a an Arca-Swiss, and a high quality cable release ... '

Thank you for the tip. I'll try to find a dealer here.


Zdenek

 

[michaelhcothran]

Actually, I believe the "model" holding the camera in Nick Wilson's posting way above IS the "official" way to hold the camera. I bought my first 500CM in early 1972, and have owned 2 other 500 series bodies since. This is the way the instruction manuals indicate, and I have always found it extremely comfortable and ergonomic.
You grip the body in your left palm, 3 fingers on the right side (this is extremely important to do), your index finger on the shutter release, and your thumb on the left side.
With your right hand, you take care of the lens functions, ie focusing, shutter speed and f-stop.
All in all, I have no quarrels with the ergonomics of the 500 body. But for a few wedding stints I had back in the '70's, it has always resided on top of a tripod.
Michael H. Cothran

 

[zdenek]

I trained a while the operation still without a film. For me the best grip is with left palm supporting the camera, slightly pressing it against chest with right hand operating the lens, winding crank and the shutter release. Slowly I am getting used to, for me, anomalous action of the WF. The things start to give the sense. I look forward to my first pictures.

Zdenek

 

[najobskalf]

I think the "official" method, in which the shutter is released with the left hand is better, in that it is less prone to shake than releasing with the right. However, if you really hate doing that, why not try a pistol grip - they often turn up quite cheaply on eBay - which does make life easier. You hold and release with the left hand and the trigger allows a smooth release of the shutter.

 

[zdenek]

I have done my first 6 x 6 film Portra 400NC.

Loading the film, despite it appeared to be complicated according to the description in User manual, is easy and intuitive.

Having no exposure meter I shot the first roll at home using Leica as a meter. The light source was daily light coming through the window. The subject of interest was my Rosenthal coffee mug on its saucer.

Camera was hand held.

The lens (Planar 2.8/80 CFE) seemed to be a bit wider than the 2/50 lens on my Leica. According to a table Planar has somewhat wider angle of view than Summicron. Maybe the square format contributed to the sense of wideness. Using the focusing magnifier Planar could be focused very precisely due to the long thread. Interestingly I began to use the recommended hand held grip almost unintentionally as the most comfortable way.

And the results? Eleven from the twelve pictures are technically (I do not say compositionally) good and sharp. Taking pictures from short distance with wider opened lens (shutter speed 1/125, about twice 1/60) gave the nice effects due to the smaller DOF, and the subject became isolated from its surrounding. Also colour and structure rendition of used table clothes are great. I chose seven pictures and had them done 20 x 20 cm prints. I have not digital form of the pictures to send an ex&le. … to buy 501CM kit I made no mistake … what I need more?

Oh, yes, there things I will have to get. First a good exposure meter – next week I am going to get one from my dealer. Second, a suitable backpack (here I haven’t an idea if there exists a suitable one to accomodate such a camera). Third, a good tripod (Velbon Sherpa Carbon?), and a good if not outstanding reliable ballhead (Fotogafz mentioned an ARCA-SWISS). Of course an additional lens or two could enhance the potential of Hass. I welcome your opinions and suggestions.

And finally the worst thing: Though I do this always when taking pictures, this time I did not took notes!!!

Zdenek

PS: What suprised me that I could do precisely twelve pictures, no more. From 35 mm I can yield 38 to 39 pics.

 

[ttam]

> Hello Zdenek!

Welcome to the Hassy c&!!! I've been shooting with their stuff for close to 40 years! No regrets other than a greatly diminished wallet!

Two recommendations on top of your list of MUST HAVES: 1) a 45 degree finder, like the PM, PME, PM51, PM45 - with the metered version you can delay the purchased of an external meter and have the convenience of NOT having to take the meter out for each reading. A

separate spotmeter is what I prefer if I don't need the convenience of the meter finder. These prism finders give a laterally correct and erect image and I prefer the 45 degree eyepiece rather thaN look down 90 degrees to compose and focus. 2. With a 501, your back must be an A12. If you plan on using film, an A24 back would be useful. The A32, I don't like - I prefer the square format. Also with the A32, group or landscape shots are fine but vertical portrait shots are very inconvenient!!!

Well, that's my $0.02.

Happy snaps! Tsun

>

 

[zdenek]

Hello Tsun,

You have been shooting with Hass for 40 years! Can there exist better recommendation for that equipment? Hat down!!

Thank you for recommendations. But I have to let my wallet to recover.

Surely I will use film and the square format is great!!

I wish you many more years with your Hassies.

Zdenek

 

[ttam]

> You asked for this . . .

Hello Zdenek,

You see, my father gave me a Hasselblad when I was just able to walk and ‘potty-trained,’ so I’m just about 41 years of age! I wish!!!!

As I mentioned before, the A24 back and the PM/PME or the newer models (which are MUCH more expensive) should be starters. The 45 degree prism do make the Hassy more bulky but any MF user would say that bulk is not really a concern.

On your wish list, you may enter these items (not listed in order of preference):

1. An 8mm extension tube - works great with the 150mm Sonnar and will permit tight head shots for portraits.

2. A good carrying case or bag to hold your stuff.

3. A good external SPOT meter - LEARN to use it - it’s one of your best investments. A regular meter doesn’t give you the measuring controls that a good spotmeter gives. Recommendations: Pentax Digital Spotmeter or Sekonic 508 or the newer 558. Both are delightful AND accurate.

4. A good tripod - I like Manfrotto although there are good carbon fibre ones from Slik and Velbron. These are all good unit that will last several lifetimes. Forget Gitzo, way too expensive for what it gives you. IMO, Manfrotto is better constructed and offers longer service life. I don’t like Gitzo’s leg locking mechanism whose main locking part is a collar of ‘phenolic’ or hard paper like substance. I had to my mine totally replaced. Good thing is that they still have the parts for my OLD Gitzo.

5. Get a good head for your tripod. Again I like what Manfrotto offers. Their horizontal/vertical ‘pistol grip’ head is excellent and is certainly robust enough to carry the weight of the Hassy even when equipped with the 150mm. Recommendation: Manfrotto 322RC2

6. A good electronic flash unit - invaluable in outdoor fill-flash situations. Can’t go wrong with the Vivitar 283 or 285. Robust, cheap and give more than adequate light. LEARN TO SHOOT SYNCHRO-SUNLIGHT!!! It’s a skill that I believe all MF user should know. When properly used, the presence of the flash in undetectable and your outdoor portraits will greatly benefit from the use of the flash. Remember-synchro-sunlight! And let your experimentation and preference be the judge as the the amount of fill you should use. Leica and Hasselblad both recommends that the flash’s output be 1-2/3 EV below ambient light. My preference is 1 or 1/3 EV below ambient.

7. A 50mm lens

8. If you shoot B&W, a nice filter collection in the Blues, Yellows, and Reds.

9. A quick release plate for your camera. I used to use Hasselblad’s quick release plates but have since totally adopted Manfrotto. quick release adapter. I believe that the release plates’ catalog number is 357, the same as that used with their 322RC2 ‘pistol grip’ tripod head.

10. 150mm if you don’t have one. With a three lens system (50, 80 and 150), you won’t need anything else. The 150 is great for portraits.

11. A polarizing filter

12. Lens filter adapters. If your lenses are the Bay 50, you can convert them to use 55mm filter and SAVE a lot on the cost of filters. If you have the Bay 60 you should be able to convert that too. Using the same size threaded filters really reduce filter count and cost. The only thing you can’t do is to use the same size filter with the wider diameter 50mm.

Well, Zdenek, that my list of a dozen recommendations. You DON’T need all of this stuff immediately, especially the 150mm the 80 is a very good lens and used well will allow you to delay purchasing the 150mm.

Immediate considerations should be the METER, the FLASH and the TRIPOD/HEAD. In my experience, you can’t live without these. You can delay on the A24 back.

Hope this gives you so ideas.

Happy snaps,

Tsun

>

 

[qnu]

Interesting list, Tsun. I would have other choices on mine.

220 film, for instance, is hard to get, expensive, and there is only a very limited number of emulsions available. So i would not be looking for an A24.
A second A12, however, would be nice.

I wouldn't get a spot meter either. Maybe later.
A good 'normal' hand held meter offering both incident (very important) and reflected light metering modes is very easy to use, and accurate. Perfectly able to help you produce accurately exposed images.
Using a spot meter takes a lot of time, and know how. And - in my opinion - the only thing it offers extra, is the viewfinder showing you exactly what bit you are metering. Measuring contrast (the thing you need reflected light metering for) can be done using a non-spot meter too.

A polarizer would also not be high on my list. It's a 'like' thing though: i just do not like what it does as a 'general purpose' filter much. Great though when you need to get rid of specific reflections. But i find it's not that often that you need to do that.

Those were my 'i would not' bits.

Adding lenses would be my first choice. A 50-80-150 mm set is indeed very usable, and not too hard or expensive to put together.

It goes without saying, doesn't it, that each lens should be fitted with the proper lens hood. Very important!

Something to carry the kit in is something you just need to have.
I like LowePro bags. A S&F Reporter 400, for instance, still is small, yet holds amazingly much. And it offers lots of protection, and is soft too, making it comfortable to carry.

A good, sturdy tripod would indeed be high on my list too.
Gitzos (now made by Manfrotto) are good though. They do last for eons, without showing any decrease in sturdiness. Having to replace the sleeve bits is not a 'given', though it may be needed.
Manfrotto are good too, yes.
What head is, i find, much a matter of personal preference. Some people like ball heads, while others like the separate controls of a 3d head.
Myself, i do not like to add yet another tripod attachment thing to my cameras (i use the Hasselblad quick mount adapters exclusively, and am very happy doing so), and as a result do not like heads that are only available with such a thingy, like most (all?) Manfrotto heads. (That Manfrotto gear head is nice though. I think i might make an exception for that one.)
But again: a matter of preference, i think.

But you do need a cable release too, no matter what tripod and head.

Extension tubes would be a priority too. The 8 mm to begin with, to accompany the 80 mm lens. A 16 mm too when a 150 mm lens gets added to the kit.

A flash unit would be lower on my list. But when you need one, you need one.
I still don't like flash though.

Contrast filters i would start adding as and when needed.
Though they are cheap, and a small set (yellow-green, yellow and orange or red) will cover 'all bases'.

My 'immediate buys' would be a bag, sunshades, and a tripod.

 

[peterbkk]

Lots of good advice in this thread. Tripod is essential.

But I also second the advice about the 45 degree prism finder. A 45 degree prism finder works OK on a tripod but really shines when you need to handhold a shot. Something about the geometry of the 45 finder on a Hasselblad means that the fingers, hands, arms, face and body are locked into the optimal position for stability.

In my personal opinion, spot-metering is important. Once you are used to it, you can do a quick one-click exposure setting just by "spotting" the neutral place in the scene. But, more usefully, for a great shot, you can really optimise exposure by setting a neutral zone and then looking at highlights and shadows to fine tune that first neutral zone setting. I am sure other techniques can be just as useful but, me, I am a control freak...

If you choose to go with a Arca-Swiss-type ball head (I love "The Ultimate Ball Head"), you can change the mounting plate on the bottom of the Hasselblad body. If you are interested, I can give you the website where it can be purchased.

Regards
Peter

 

[wbulte]

Hi Tsun,

I'm not quite following you with regards to the A24? 220 film is more difficult to obtain than 120, and does not have as much available emulsions (anymore :-( )

So I would go for A12 backs.

There is also the question of what lens family to buy, C or CF? This directly impacts things like filters of course.

I would also like to add another item on the list, specifically for 2nd hand equipment: invest in a professional checkout & adjust/service if needed.

Wilko

 

[zdenek]

Hi,

Thank you all for dozens of recommendations, and it appears to me that you want to educate me to be a professional

. I appreciate your advices very much.

Have a nice week-end.

Zdenek

PS: Peter, please, send me the www address for Arca purchase. Thanks.

 

[peterbkk]

Zdenek,

Here is a link to The Ultimate Ball Head. (http://acratech.net/miva/merchant.mv?Screen=PROD&Store_Code=AOS&Product_Code=ubh) I tried several other heads until I used this one and have never searched again. It works. It is strong. And, unlike others, it is easy to clean.

Here is the link to the replacement "foot": (http://www.clearsightusa.com/oscommerce/catalog/index.php?cPath=31&osCsid=af4481908a2fd406276f5ba3ed5f21ba) This product replaces the "foot" on the bottom of the Hasselblad body with a foot that slides straight onto any Arca-Swiss QR mount (most tripod heads). It saves having to use a QR adapter thereby keeping the weight down and making the camera more comfortable to hand-hold, and more stable on a flat surface. It is quite a simple exercise to replace the "foot" with this one, and, if you ever sell the body, you can swap back to the original in a couple of minutes. Make sure you order the right type for your model body.

Regards
Peter

 

[zdenek]

Thank you very much Peter.

Zdenek

 

[ttam]

> Hello Wilko,

I apologize as my recommendations are based on my workflow and HABITS and BIASES. I don't shoot a lot of chromes but if I do, I use Fuji Provia (IMO, an excellent emulsion) and mostly use Fuji's C41 stuff (NPH and NPS). I've STOPPED using B&W altogether! For these films, 220 is widely available from where I'm located (USA, Tri-State, Greater NY). B&H and Adorama have all that I'd need.

A24 back are plentiful and some in EXCELLENT condition is available for

 

[ttam]

> I guess I must have screwed up. Only a small portion of my reply was 'accepted' when I sent it out. Anyway, here is my original lengthy reply to Wilko.

Hello Wilko,

I apologize as my recommendations are based on my workflow and HABITS and BIASES. I don't shoot a lot of chromes but if I do, I use Fuji Provia (IMO, an excellent emulsion) and mostly use Fuji's C41 stuff (NPH and NPS). I've STOPPED using B&W altogether! For these films, 220 is widely available from where I'm located (USA, Tri-State, Greater NY). B&H and Adorama have all that I'd need.

A24 back are plentiful and some in EXCELLENT condition is available for

 

[ttam]

Hello,

For some reason, Yahoo mail failed to send my complete response to Wilko. I'm trying again but from within our Forum.

Hello Wilko,

I apologize as my recommendations are based on my
workflow and HABITS and BIASES. I don't shoot a lot of
chromes but if I do, I use Fuji Provia (IMO, an
excellent emulsion) and mostly use Fuji's C41 stuff
(NPH and NPS). I've STOPPED using B&W altogether! For
these films, 220 is widely available from where I'm
located (USA, Tri-State, Greater NY). B&H and Adorama
have all that I'd need.

A24 back are plentiful and some in EXCELLENT condition
is available for <$120 if you do some searching. I
wish I knew that years ago, could have saved a LOT of
money!

The matter of C or CF - I have both and optically they
perform well and I have both T* and NON-T* lenses and
frankly, I failed to see much difference unless they
are placed side by side. Most of my older glass is C
AND NON-T*. Advantages?

C:

Pros: cheaper on the use market. I recently purchased
a EXCELLENT+/Mint- 150mm Sonnar to go with my other
150mm (and latter give one to my daughter whom I wish
to start shooting MF) used for backups and because it
has a smoother focus helicoid for under $260.

Cons:
1. Most C lenses are NON-T* (if that matters to you,
for me that's a non-issue as I have used non-coated,
coated and multi-coated lens all my life and really
don't see that it's much of an issue for me. Zoom
lenses are another matter. With so many glass-to-air
surfaces, multi-coating is definitely AN ADVANTAGE.
2. Zeiss (owner of Compur and Prontor) no longer
provides parts for the Compur shutters that are used
in the C lenses. The most important part, IMO, is the
main shutter spring. I'm lucky to be informed by Rick
at Hasselblad parts that these parts WILL NO LONGER be
available AFTER their supply runs out. Well, I bought
a half dozen and that should last my and my daughter's
lifetimes. The Prontor used in all CF lenses
supposedly use a main shutter spring that is fashioned
from a special steel alloy for long life. For what
it's worth, my C's are fine.

CF:
Pros:
1. All T* coated optics and Prontor shuttered. They
also, IMO, have a nice wide focusing ring that is
textured for easy movement. The C lenses' focusing
ring is aluminum and narrow.

2. On some of the newer models of the CF/CFE/CFi
lenses, the bayonet mount is chrome. Why is this
important. In low light for me it's important. On all
of my Zeiss/Hassy glass, I've repainted the RED dots
and triangles and curved arrows to YELLOW for
visibility in low light. What could possibly caused a
Zeiss engineer to specify small RED symbols to be
engraved and painted on a BLACK surface? I understand
that RED means caution or danger but it more DANGEROUS
to try to attached a Zeiss lens to a Hassy body and
failed because you can't see those damn little RED
things! RED on chrome is fine.

Cons: more EXPENSIVE! and if it matters, ONLY
AVAILABLE in BLACK.


Service:

Relocate yourself close to a good technician. I've use
Hasselblad USA and I can't say too much great things
about them. They are a bunch of GREAT guys doing GREAT
work. They have in the past overhauled ALL of my C
lens and totally rebuilt a couple of my 2000 bodies
AND they have provided me with excellent service doing
bi-annual check up of my equipment or whenever I
needed anything check. Checking is done WHILE I waited
- what service! Thanks, Hasselblad guys!!

If you can't be near the official Hasselblad agent,
the next best suggestion is fine a factory trained
technician like David Odess. David is a great guy.
I've called him and eMailed in the past and he was
very generous with his knowledge. I've also had two
500s overhauled by Bill Maxwell of Maxwell Precision
Optics and he was anal with his work and was a
PERFECTIONIST. Sadly, he no longer repairs cameras.

(OT) However, if you need a good bright and contrasty
focusing screen, he's you man! All but my 205 (I
needed Hasselblad's spotmetering circle and Bill
could not accommodate my request) have his screens. I
had Bill fashioned a special screen when I do bellows
work with my 135mm. Bill 'grilled' me with a bunch of
question such as the repoduction ratios, my FAVORITE
aperture and the like. Why? My screen was customized
to my EXACT needs! I'm so appreciative of his
attention to detail, generosity of knowledge and
professionalism that I'm lucky to have him listed as
one of my BEST FRIENDS! Fantastic screens! Another
best friend had recently converted to digital using
the V96C back. We had Bill make him a special screen
with a central focusing aid and using his Hi-Lux
process. I specified that the delineated area that
outlines the sensor area be H-Luxed and the rest
non-Hi-Luxed. You don't know what brightness means
until you see my friend's new screen! Having a screen
as describe is invaluable - the sensor area is CLEARLY
defined and the non-sensor area appears much dimmer
(about the brightness on a non-Acutmat-Hassy screen -
not sure of spelling).
This offers what most rangefinder camera users (e.g.,
Leica users) describes as the 'preview' advantage,
i.e., you can visually see your subject BEFORE they
enter the 'film/sensor' area. This can be a valuable
advantage for action photography.

Anyway, please forgive my rambling. I'm a teacher and
that's the reason.

Hope this helps,

Happy snaps,

Tsun

P.S. I've begun to sign off with "Happy snaps" to
honor my very dear late friend Sal DiMarco, a truly
talented photojournalist (NY Times, Time, etc.), a
former member of the elite White House corp of
photographer, friend of the 'famous of the famous' and
'nephew' to Mr. and Mrs. #41. Sal, KNOCK 'em dead up
there with your special edition 'DiMarco' lEICA that
we made together!! Every day I miss you, your
friendship, your knowledge and your White House
presidential stories!!

Sal, hope you like my belated obit!