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I want A Hasselblad. Talk Me Out Of It!

Get some 16mm camera instead.

Bigger depth of field for the same apeture, so you dont need to use tripod when you want the photo to be sharp. Bokeh is lazy.

Also the setup will be much lighter, so your back will thank you every day.

The film will be cheaper, so your wife will thank you aswell.

The grain will be more prominent, so even an amateur will be able to say, that you have shot it on analog, which is the ultimate craft.

You can almost always adapt bigger lens to a smaller film, but you can never adapt a small lens to a big film.

Hasselblad sounds like some nut, like hazelnut, so other people will not confuse you with a squirrel if you go super 16 instead
 
These cameras are a thing of beauty. For me the WLF is perfect, occasionally i put a 45° finder on. Chimney finder is great too.
 
David R Williams said:
Actually, that's the 80mm that differs between the CF and CB - the 60mm CB and CF are optically identical and the 60CB incorporated the improvements that subsequently became part of the CFi updates.
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My error; I misread that it was the 60 mentioned. Must get eyes checked, apparently. Thanks for the correction.
 
You can't seriously be talked out of arguably the most iconic camera of all time, accountable for some of the most iconic images of all time.

With a Hasselblad and the same can be said of Leica and Rollei, you don't just buy a camera, you own a piece of history.

No other brands are as legendary with the legitimacy, legacy and loyalty.


(Reverse psychology... te-he!)
 
If you read between the lines you'll see I'm being rather sarcastic since we're supposed to be talking Andy out of the move to Hasselblad. Of course I'm pretty sure he already has his mind made up on the matter.
 
Bah. Get a Mamiya 7 or better yet a Fuji GFX. If you do end up with a Hasselblad add an ArcBody.
 

Lovely image! I've looked at the 60mm Distagon, and I see that it is quite pricey (looking at ebay Japan sellers mainly). Do you own an early or late model?
 
Milpool said:
Bah. Get a Mamiya 7 or better yet a Fuji GFX. If you do end up with a Hasselblad add an ArcBody.
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I've used the Mamiya 7 and didn't care for it (although the optics were top notch!). Prefer SLR. The GFX is digital. Not interested in digital. The ArcBody, however...Thanks!
 
I had a Hasselblad (501 and SWC) for many years. Great cameras and I loved the idea of having a darkroom. Sold it and bought a Leica Monochrom and an M2.

Sometimes I regret selling the SWC
 
John Wiegerink said:
If you read between the lines you'll see I'm being rather sarcastic since we're supposed to be talking Andy out of the move to Hasselblad. Of course I'm pretty sure he already has his mind made up on the matter.
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Actually, I've not quite made up my mind yet!
 
I'll add that the Hasselblad cameras were truly innovative (1st modular 6x6 SLR) when they came out in 1948-49. There were some big improvements with the C-series but the basic design of the body remained. Hence the quirky film back and the auxiliary shutter. It's a fine camera, but I think that today's prices are a bit too high to become an "early adopter" of 1950's technology. So for me it would depend on the asking price (mine was not too expensive).
 
John Wiegerink said:
If you read between the lines you'll see I'm being rather sarcastic since we're supposed to be talking Andy out of the move to Hasselblad. Of course I'm pretty sure he already has his mind made up on the matter.
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Ah! I missed that subtlety Apologies or in Canadian: Soory
 
Andrew O'Neill said:
Lovely image! I've looked at the 60mm Distagon, and I see that it is quite pricey (looking at ebay Japan sellers mainly). Do you own an early or late model?
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All my lenses are CFs or CFis. Mostly purchased used, though a few new when my first system was stolen and the insurance company gave me a rather larger cheque to spend.

Because of my long relationship with all things Hassy, I have used every generation of their optics from C, to C T*, to, now CF/CFi. In truth, they're all absurdly good. Are the new ones better? The T* coating made a big difference in how they handle flare, and the newer shutters on the CF/i lenses are desirable. The floating element FLE 40mm and 50mm lenses are better up close than their original C counterparts, but how much? I don't really know. I have never, ever had any generation of 'Blad lens be the limiting factor on quality of my work. In short, if you find a really good deal on a C T*, I wouldn't avoid it. Just keep in mind that at the age of this stuff, CLAs are sooner or later in your future.

I see 60mm Distagons going for $700-ish USD on eBay here in the US. No clue what pricing might be in your neck of the Pacific.

Speaking of which, here's a scan of silver print from the 60mm. Feeeeeeeel the GAS and let it flow through you:

 
Andrew O'Neill said:
I've used the Mamiya 7 and didn't care for it (although the optics were top notch!). Prefer SLR. The GFX is digital. Not interested in digital. The ArcBody, however...Thanks!
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When my original 'Blad was stolen, I rented an Mamiya 7 system for a planned trip while waiting for the insurance payout.

As you say, the optics are absolutely world class. I also loved the mobility of a MF rangefinder and have often since thought about pushing the GAS pedal to actually buy one for my travels. The problem is that the bodies are electronic and you and well and truly hosed if you need parts. I'd rather not have a $2000 paperweight. Hence I remain attached to my 'Blads.
 
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One problem with a Hasselblad is that it is a pop culture cliche. I am often approached while carrying a Rolleiflex and asked if that is a Hasselblad. This allows for a level of sneering disdain that you will never know with the Hassy- 'why yes, yes I am carrying a pedestrian meme for ''camera.' Would you like to see my Rolex?'

Well, you wanted reasons....

And the 60 Distagon is a killer lens. If you must live the cliche, at least go for the best.
 

No idea how Hasselblad got the reputation of being "trouble prone." Yes, the backs do need to have their seals replaced occasionally, the same as many other film cameras including most RB67s. But I solve this problem with a strip of black masking tape covering the dark slide slot, a cheap and easy fix. And yes, I've had the camera jam, but that was my fault for not having it cocked when I tried to take a lens off. But I've shot hundreds, perhaps thousands of exposures without any problems, and you can too.
 

Yes, but not doing something because of its pop culture image is just as <redacted> as doing it for that image.

I once had a sincere young woman at a local town fair walk up to me whilst carrying a Leica IIIf and ask "Is that one of those Leicas". I said "yes" and let her hold the camera and peer at it. She looked at the back almost immediately with a puzzled look and asked where the screen was. That's not pop culture, that's a generational divide. I explained what was going on very gently in hopes that her fascination with fine machinery might lead to her own exploration of this stuff. I'll never know...
 
Un unusually cynical response from you, Dan! Why should any of us care if strangers say dumb things about our cameras?? I know I don't. People say dumb things.

I would also like to add that because the Hasselblad was a studio workhorse camera for many professionals in the 1960s-1990s, they often got worked HARD and used to the point of destruction. So yes — there are Hasselblads out there that are way past their best days and may require lots of work, and may never be truly reliable. Simply DO NOT buy a camera that has been used to death, and reliability shouldn't be an issue. I bought a CLA'd 1984 500 C/M ten years ago and the only thing I have ever had to have done was a minor repair of one of my A12 backs. These reports of Hasselblads being unreliable are over exaggerated, IMO.
 
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If it must be a Hasselblad how about the XPan? Those are great.
 
I have shot with A CM500 and a SWC and loved using them both, but I have never owned a Hasselblad for a number of reasons which are mainly financial. At the time, I could not afford the system (ran a camera cage at a University) and by the time I could afford it, I already had too many nice medium format cameras to justify the expense.

If it inspires you to shoot, go for it.
 
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