#Hasselblad 500cm vs rolleiflex 2.8 iso
#Hasselblad 500cm vs rolleiflex 2.8 professional
#Hasselblad 500cm vs rolleiflex 2.8 free

At first, it seemed a little old-fashioned to use one crank to advance the film to frame one, and another after that to crank the film and cock the shutter, but that was easily mastered, too. At first, I forgot to take the dark slide out of the magazine, but the camera would not operate until I remembered to do so. It's not the type of camera you'd want for snapshots at the amusement park.ДЄt first, loading the film magazines seemed intimidating and complex, but soon I mastered slipping the film around the rollers just right, and closing the latch. I can't speak for everyone, but I found the Hasselblad was most rewarding for portraits and still lifes and landscapes. Most of the time I had to prepare before I was ready to make an exposure. Most of the time I used it in tandem with a hand-held light meter.

#Hasselblad 500cm vs rolleiflex 2.8 free

Most of the time I used it on a tripod, to leave my hands free for operating the camera. This is not everyman's camera, but rather a tool for the discerning and experienced photographer. A small square segment of the farm is then blown up 10 times to show a tractor and even the distinct ears of corn in a bin! Wildi likes to show off a picture of a farm he made on Kodak's Technical Pan film (ISO 25) with a Hasselblad and a 150mm Sonnar lens. Nobody can grind a lens in an hour better than someone who spends three or four hours.' Even my pictures that were undistinguished in other respects, with composition errors or imperfect exposure, were saved by the incredible sharpness of this lens.Д®rnst Wildi, technical director of Hasselblad and author of 'The Hasselblad Manual,' a definitive handbook for the cameras, told me, 'The quality of the lens depends on two things only: how well is it designed and how accurate is each element ground and polished.' In the process of grinding and polishing, he said, 'it's a question of time. And there's a special quality to some Zeiss lenses that goes beyond sharpness - an evenness in the way light is distributed by the optics, and a depth to the perspective of the lens.

#Hasselblad 500cm vs rolleiflex 2.8 iso

Even with an ISO 400 film, these were negatives that begged to be 16-by-20-inch enlargements, so acute was the detail.

When printing my enlargements from pictures shot with the 503CX, it was the quality of the Zeiss Planar 80mm f-2.8 lens that I found most compelling. There are lenses made for some of these cameras that inspire awe, including the Hasselblad lenses made by Carl Zeiss.

#Hasselblad 500cm vs rolleiflex 2.8 professional

Second, most of the professional cameras in this class are true 'system' machines, with interchangeable lenses, bodies and film backs - snap on a film magazine with black-and-white, then snap it off and put on a Polaroid back, then snap it off and put on some color slide film.ДЄ third reason can only be described as: glass. Why do some photographers become fanatics about this kind of camera? For very good reasons: First, the medium-format image holds up better to enlargement than the 35mm one, leading many photographers to become devoted to Hasselblad, Rolleiflex, Mamiya and Bronica cameras that use 120 and 220 roll film. There are things you must do with your hands - a 'dark slide' that must be removed from the film magazine before the camera will operate, and a viewfinder that goes dark until you manually crank it to the next frame. No liquid crystal displays, no motors, no auto-focus. From beginning to end, this is a camera that stimulates thought and brings you control, and it requires more than a little dexterity to use. This enjoyment was manifest in my recent experience with a Hasselblad 503CX, one of the basic models in the line of premier cameras from the renowned Swedish firm. Not only for the nostalgia but for the sheer fun of being totally in control - setting f-stops and forcingmyself to think about depth of field, focus, light and composition. That's why I go back to older cameras from time to time. You set the camera on 'program' mode and forget about it.

You hardly need to set or crank anything, and you surely don't have to worry about focus or exposure. MOST OF today's whirring, purring cameras are designed to separate the photographer from the mechanics of taking the picture.