I took the photo using a Hasselblad 500..

The Hasselblad 500 series is a very successful line of single-lens reflex medium format cameras made by the Hasselbald Corporation of Sweden, using German-made Carl Zeiss lenses with built-in leaf shutters.The 500 series is renowned for its excellent optics, sturdiness, reliability, and compact size. Until the recent popularity of 6~10+ megapixel interchangeable lens digital SLR cameras from Canon and Nikon, it was the standard camera of fashion and portrait studio photographers. Using the text or images on this website without permission on an ebay auction or any other site is a violation of federal law.

I used to own a Mamiya RB67 which I used in the studio, so take these comments in view that I am explicitly comparing the Hassie against the Mamiya. Surprisingly, the Mamiya very much held its own. I've also written an article comparing the different medium format film types, so read that first if you're unfamiliar with medium format. I've since sold my 500C/M and now own a Hasselblad 203FE so you can read that page too if you want to learn about Hasselblad's newest focal plane shutter series.

Born in 1957, the Hasselblad was one of the first system cameras. This means that almost everything is interchangeable: lens, prism/finder, cranking knob, and film back. This allows for tremendous flexibility. The square 6x6 format (56mm x 56mm) on medium format film makes the most of the image circle from smaller lens, means that you do not have to turn the camera sideways for portrait photographs, and allows for cropping flexibility later on. It also allows for 12 shots on a standard 120 roll; or 16 on a 120 roll using a 6x4.5 format back.

Hasselblad refers to the 500 / 2000 / 200 / 900 family as the 'V' series. They can share (for the most part) lenses, film backs, and some prism finders. The other series in the Hasselblad are the 'X' series (X-Pan; X-Pan II) which are panoramic 35mm cameras; and the new H series (H1) which are 6x4.5 medium format and digital-ready cameras.

Like all Hassies until the most recent H1 (and the X-Pan), the 1600F was 6x6 medium format on 120 film, used interchangeable film backs, viewfinders, and lenses. From a distance, a 1600F is indistinguishable from a Hassie 500. Unfortunately, most 1600s have disintegrating shutters and are not useful for anything except paperweights. Their prices on the used market reflect this.

The first V model, the 500C, came out in 1957 and the 500C was made until 1970. The 'C' indicated the Compur in-lens leaf shutter. The next model, the 500 C/M, was produced from 1970 until 1994. The 'M' means Modified. One of the major changes was user-replaceable focusing screens. In the photograph right, you can see the two tabs that hold the screen in. Pushing these outwards with your fingernail allows the screen to pop out.

Much later on (in the late 1980s), Hasselblad replaced the older Hasselblad screens with the brighter Minolta-made Acute-Matte fresnel focusing screen. You can recognize the second-generation Acute-Matte D screens by the two small D-shaped notches in the bottom right or left corner (barely visible in bottom right corner of the screen in the photo above). Many photographers with 500C/Ms replaced their older dimmer screens with Acute Mattes when they came out, so you'll find many 500C/Ms with them. Ask before buying, though!

I believe the 500C/M is the minimum model you should buy used. The 500C models are now almost 40 years old. Some are in good shape, but others need CLAs (clean-lube-adjusts). An Acute-Matte screen costs about $100-300 separately (depending on its vintage, D's are more expensive) so try to buy a 500C/M which has one already installed. A good condition 500C/M kit (body; waist level finder; back; and 80mm C T* lens) should cost you between $800-1400 depending on condition and whether you're getting a used camera warrantee with it.

After the 500 C/M, there were other models in the 500 line, most with relatively minor revisions and some features removed for cost-cutting purposes. The 503CX with TTL OTF (through-the-lens off the film) metering was a god-send for some wedding photographers (including Gary Holt) who shoot PJ (photo-journalist) style using wide, tele or other non-standard lenses; but it's not that critical (non-TTL auto-flash works well enough for most of us). The Gliding Mirror System in the 503CW and 501CM is a Semi-Big Thing (TM) in that it prevents focusing screen vignetting in long focal length lenses. It's really not an issue in most cases unless you're using lenses > 120mm in length.

Posted By: DonLogan, Apr 26, 14:18:00