OP
OP
Yeah, you guys are right. I can't go wrong either way. I think I'll stick with the 501c. I'm excited to get it!
Hasselblad.. It's time! Which model though?
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A
- Thread starter brian steinberger
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You can get the dark slide holder from B&H or Adorama for $15.
Steve
Steve
... But please don't stick that ugly thing on a back.
In my opinion, the dark slide holder is a solution looking for a problem.
I never misplaced or lost a dark slide (that's not quite true: i once was looking for my spare slide - silly me thought you needed one when i first started using Hasselblads - and couldn't remember where i put it those many, many years ago).
I always had a place where to store the thing, and you will have too. It's the same place where the lens caps and other stuff goes, the place where you take the camera from: your equipment bag.
Shirt (and other) pockets will do fine too.
The problem this thing thinks it is a solution for being nonexistant, aesthetic considerations (which might otherwise be silly) will weigh a lot.
So please don't spoil that design classic by sticking that ugly bit of plastic on it!
(And if you do anyway, get those chinese copies of the Hasselblad holder. They, at least, and contrary to the Lindahl thingies, look as if they were meant to go on the back.)
Personally, I always put the dark slide back in once I've taken the shot.
It stops me accidentally triggering the shutter when moving the camera in and out of my bag.
I haven't lost one yet, but have sat on a few
Mike
It stops me accidentally triggering the shutter when moving the camera in and out of my bag.
I haven't lost one yet, but have sat on a few
Mike
I have misplaced darkslides too many times. The first time I was in Sedona and I could not change the film back to black & white the whole time. I too keep the darkslide in so that the camera does not accidentally fire off. The attached plastic dark slide holders look like the built in dark slide holders.
Also the holders can be carefully removed.
Steve
Also the holders can be carefully removed.
Steve
I would place the latest viewing screen ahead of the mirror fix & slide holder. The latter are easily overlooked or worked around. The viewing screen is full time all the time.
OP
OP
Wayne, isn't the acute matte screen in the 501c and 501cm the latest brightest screen?
Brian,
All I know for sure is that the screen in the 501CM body dated 2003 that I currently use has the bright screen with split image and microprisms. I haven't been around Hasselblad stuff long enough to know what when in each body and when.
All I know for sure is that the screen in the 501CM body dated 2003 that I currently use has the bright screen with split image and microprisms. I haven't been around Hasselblad stuff long enough to know what when in each body and when.
Once you have decided on which model camera to get, you can't do anything about it anymore. Except get another camera.
A focussing screen can be changed for another one whenever you feel like it.
Which also means, alas, that the age of a camera body says nothing about what screen it will have inside.
A focussing screen can be changed for another one whenever you feel like it.
Which also means, alas, that the age of a camera body says nothing about what screen it will have inside.
From what I've seen, it costs more to buy a body and the new screen seperate. Of course you would have a two screens. I think given a choice between a camera with the new screen for a few dollars more than a camera with the older screen, spend the extra money (within reason) for the camera with the newer screen. All other things being equal, which they never are.
I agree.
People will get (if not are) bored with me repeating this over and over again, but though the new screens are definitely brighter, the older screens are better, easier to focus with. So i would live happily with only old style screens.
But i must admit i too did spend the money and do have Acute Mattes in most of my cameras (but all with a focussing aid: split image rangefinder. The Acute Mattes i have without are not in use).
Still, i'd put more value on the larger mirror.
Even though i have 'made do' with vignetting mirrors for many years, they annoyed me often enough.
So all in al, rather a larger mirror and an old screen than vice versa for me.
People will get (if not are) bored with me repeating this over and over again, but though the new screens are definitely brighter, the older screens are better, easier to focus with. So i would live happily with only old style screens.
But i must admit i too did spend the money and do have Acute Mattes in most of my cameras (but all with a focussing aid: split image rangefinder. The Acute Mattes i have without are not in use).
Still, i'd put more value on the larger mirror.
Even though i have 'made do' with vignetting mirrors for many years, they annoyed me often enough.
So all in al, rather a larger mirror and an old screen than vice versa for me.
The difference in brightness is quite dramatic with an Accumatte. When I retrofitted my 500CM's from the standard screens to the 42170 grid AccuMatte's with split image it was like night and day. There was a world of difference and it was worth every nickel. The grid is almost priceless as a tool for framing properly, it makes the camera much easier to use in the field. The split image is a huge benefit as well but you have to keep your eye properly centered or one half of the split image blacks out as with all split image type screens. The screen can be reinstalled into the body to orient the split image from horizontal to vertical as you need. One of the advantages of the 6x6 format. This does not apply to a 500c or EL body which are difficult to change screens in.
To me the screen has more value than the GMS mirror system. It even helps with longer lenses in low light so if you don't have a GMS body you can still make good judgements when composing with the vignette present. Also, keep in mind the vignette changes as you focus. Bottom line is pick your poison or buy a body that has the GMS and Accumatte of your choice already in it otherwise purchasing a body and then a screen will add up as was noted by Venchka. Of course, this is the beauty of Hasselblad system, you can always add and reduce components as your needs change. Tough to beat that kind of flexibility in a system.
To me the screen has more value than the GMS mirror system. It even helps with longer lenses in low light so if you don't have a GMS body you can still make good judgements when composing with the vignette present. Also, keep in mind the vignette changes as you focus. Bottom line is pick your poison or buy a body that has the GMS and Accumatte of your choice already in it otherwise purchasing a body and then a screen will add up as was noted by Venchka. Of course, this is the beauty of Hasselblad system, you can always add and reduce components as your needs change. Tough to beat that kind of flexibility in a system.
Yet that difference in brightness (1 stop) is all the Acute Mattes have going for them.
Important, when light levels are low.
If they are not, the dimmer older screens are very, very much easier/better in helping to get good focus. (The Acute Matte screens really need the focusing aid - hence the change from plain Acute Matte to Acute Matte with split image rangefinder as the 'standard' off-factory screen. And even then...)
Which is what these screens are for. Being bright is an added bonus. But not, by far, the most important thing.
And the screen of choice is easily installed.
The mirror is either there or it is not, with nothing that you can do about it.
So when making a buying decision, a lot more important.
Anyway, though not the same, they all work: dimmer screens and brighter screens, longer mirrors and shorter mirrors.
Important, when light levels are low.
If they are not, the dimmer older screens are very, very much easier/better in helping to get good focus. (The Acute Matte screens really need the focusing aid - hence the change from plain Acute Matte to Acute Matte with split image rangefinder as the 'standard' off-factory screen. And even then...)
Which is what these screens are for. Being bright is an added bonus. But not, by far, the most important thing.
And the screen of choice is easily installed.
The mirror is either there or it is not, with nothing that you can do about it.
So when making a buying decision, a lot more important.
Anyway, though not the same, they all work: dimmer screens and brighter screens, longer mirrors and shorter mirrors.
I wanted to get the 501cm but end up getting 500c/m because of money. I just got it and i REALLY LOVE IT. 
Now read the manual.
It's very short, so no reason not to.
It's very short, so no reason not to.
I wanted to get the 501cm but end up getting 500c/m because of money. I just got it and i REALLY LOVE IT.
Enjoy!
Steve
I wanted to get the 501cm but end up getting 500c/m because of money. I just got it and i REALLY LOVE IT.
Ditto! Try to wear it out.
OP
OP
Just to update everyone, I did order the 501c, 80/2.8 CF, prism and back. I just received it today. My first impression, what amazing precision. An all mechanical camera, it just blows my mind. I can't wait to shoot some film this weekend!
Congratulations!
Pick it up and shake it a bit, and hear that block of solid precision rattle.
Don't worry though. It indeed is a very durable bit of high precision engineering. It will still be going strong 50 years from now.
Pick it up and shake it a bit, and hear that block of solid precision rattle.
Don't worry though. It indeed is a very durable bit of high precision engineering. It will still be going strong 50 years from now.
I bought a 500cm a few months ago, and besides a light seal replacement (and a curious light flare that looked like a leak) it has been an amazing camera, especially ergonomically. I love the way it feels in my hand and the weight is just right. I'm looking forward to using this camera for many years.
Recently shot some Velvia 50, stopped down on a tripod at dawn in California's central valley...the sharpness is incredible, just amazing. I'm not a sharpness addict but I was very impressed...and this was with a T* C lens.
Recently shot some Velvia 50, stopped down on a tripod at dawn in California's central valley...the sharpness is incredible, just amazing. I'm not a sharpness addict but I was very impressed...and this was with a T* C lens.
Brian
Welcome to the club. Click the shutter and listen to that sound. It's music to my ears. The 501c originally came with a slightly cheapened 2.8/80 C lens, so, you must have gotten a good deal.
Here is one tip:
Get into the habit of keeping that shutter cocked at all times.
Get a 503CW camera. CFi or CFE lenses are the best.
Regards, Art.
Regards, Art.
You are a bit behind the times, Art. Brian has already bought a 501 and filled his first album.
Art,
What would you give as the advantages of the 503CW compared to the 501CM?
Tom
What would you give as the advantages of the 503CW compared to the 501CM?
Tom
Tom,
Advantages are debatable, of course: gliding mirror system, TTL flash, winder option, IR remote triggering, digital back compatible <-- is that an advantage?, latest model therefore newer built, colour options (if you can find them and you're into the kewl factor).
Regards, Art.
Advantages are debatable, of course: gliding mirror system, TTL flash, winder option, IR remote triggering, digital back compatible <-- is that an advantage?, latest model therefore newer built, colour options (if you can find them and you're into the kewl factor).
Regards, Art.
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