Hasselblad 500 C/M Camera

Since the beginning of my journey into film photography last April, I knew at some point, if the passion didn’t fade, that I would want to invest in a higher end film camera.

I had originally started off with my beloved Pentax K1000 as I knew I wanted a 35mm SLR camera and since this is a fully manual camera, I learnt lots about Aperture in relation to Shutter Speed and ISO with the help of the built in light meter in the camera.

Apart from my investment in some nice instant cameras such as the Leica Sofort and Polaroid SX-70 I suppose my next investment and step up into a film camera was my much loved Olympus Pen FT half frame camera. I love this camera and the image quality it produces.

In recent months I’ve been really getting into medium format photography. I really love having to think about my composition and how it can work into the square style box.

I think I must have a thing for composing a photo in a slightly different photo size as this is what I love about composing shots with the my Olympus FT.

I suppose my love of the medium format style photos first began when I bought a Diana F+ Camera cheaply on eBay.

As the months progressed I then bought another Lomography style camera, the Lubitel 166B which was originally meant to be a present for my husband as he had taken an interest in this camera but couldn’t get on with it when he tried it so I persevered and began using it.

I love the square format of the photos and I was starting to use more black and white film in it since I knew I wanted to do more darkroom work.

I always thought when investing in a high end camera it may be one of the Leica 35mm film cameras but my heart was telling me to invest in a medium format camera.

As we all know, there is so much choice in the medium format world. You can get fairly decent medium format film cameras ranging from a few hundred pounds right up to thousands of pounds.

If you had asked me in the summer of last year which high end medium format camera I would ever consider buying, I would have said the Pentax 67 which isn’t technically square but I was already in love with Pentax since owning the K1000 and thought I would love the fact the camera style and viewfinder can be used like a 35mm SLR camera.

However, I was fortunate enough to try out somebody’s Pentax 67 camera last year during a photography walk in Brighton. I knew instantly that it wasn’t for me. The main reason……because it was too heavy and big! I really struggled to hold that camera up to my eye and I knew that I would never use it or take it out with me if I owned one.

I had always thought that I would never like a ‘shoot from the hip’ style camera as that just seemed too weird to me to take a photo. However, after using the Lubitel 166B, I realised I loved taking photos in this way which I was really surprised at!

I then looked at potentially investing in a decent TLR camera and again was fortunate enough to have a friend who owns a decent Yashica TLR. However, on trying this, the dial placement just didn’t feel natural to me. I can’t really explain why as the picture quality and image in the viewfinder was much better than the Lubitel but I wasn’t falling in love with it. Also, I knew at some point I would like the option of interchangeable lenses. I know some of the TLR’s have this option but I just wasn’t feeling it.

I then looked at the various Bronica’s and Kiev’s at my local camera shop. Clocktower Camera’s had several for sale but again, on looking at each one, I just wasn’t feeling them.

I’m sure there are still loads and loads of medium format cameras I could have tried but by this point I started to consider the Mamiya and Hasselblad cameras.

Whilst I think the Hasselblad camera looks extremely stylish and I love the modular system, I really thought it wouldn’t be the camera for me either. No where locally had one for me to try out and I didn’t know anyone that owned one although one of my friends used to own one years ago and told me how great they were.

Back in December I met up with one of my camera buddies for taking photos around London and we decided to head to the Camera Museum in Museum Street in Holborn so I could check our their Hasselblad collection as they specialise in repairing Hasselblad’s and also sell them.

The staff were really helpful in there and talked me through the different Hasselblad cameras from the more modern ones, to the V series.

Once I held one of the V series one’s (the 500 C/M to be exact) I instantly fell in love! I had seen the prices so knew I would only want to spend within the budget of the 500 C or C/M and I liked the fact they are fully manual which is what I personally look for in a film camera.

I was amazed at how light weight it was for a decent medium format camera! I was easily able to hold it with my left hand and turn the lens and fire the shutter with my right. It felt great. I loved the viewfinder which was very bright and clear, almost like looking at a television screen. The whole camera felt very natural to me.

The quality of the camera was amazing, it felt well built and not at all plastic.

I was very honest with the camera shop and admitted I didn’t have the funds to buy one there and then but that didn’t seem to bother them with the time they took going through the various camera’s with me which was lovely and helpful of them.

Even if I had the funds there and then I would have held back from purchasing one because I knew I needed to do more research. Also, the 500 C/M model from 1981 that I tried in the shop wasn’t in the best of condition cosmetically (although the price they were selling it for reflected that).

I had a lot of chats with different people about the Hasselblad cameras including one of my ex photography tutors who is also a professional photographer and does freelance work for companies such as Sunseeker Yachts and I really like his photography so I value his opinion. He knows my style of photography and also knows you can take photos hand held with this camera and he couldn’t find a bad word to say about this camera either. He also checked with a friend who owned a 500 C/M for quite a number of years before moving to digital and he also only had great things to say about the photo quality and use of the camera etc.

My ex tutor did say that for several hundred less the Bronica’s are quite good but he said I need to go with what I’m feeling and if I settled for a Bronica, I would only end up pining for a Hasselblad so would never be quite happy with the Bronica and I agreed with him.

I could have easily bought a Bronica since I had sufficient funds for one of those but I decided to be patient and save for the Hasselblad.

By this point I had also decided the Mamiya wasn’t for me. Although I had done much research on the different models and heard great things about those camera’s which I know are used by a lot of professional film photographers today. I suppose we have to just listen to what we would like rather than what everyone tells us is best for us and what we should like. Quite frankly my gut told me, buy the Hasselblad.

Through out January, I sold off a load of stuff I’d been meaning to sell for the past year and now I finally had an incentive to do it.

By last week I had made enough money to buy a Hasselblad 500.

I had already decided in my research that I wouldn’t buy a 500C, purely because I wouldn’t be able to change the viewfinder myself and I knew this may be something I possibly would want to change for a particular type of project at some point so it was going to be a C/M model.

I next had to decide on the type of lens as I initially liked the look of the original Chrome lenses but after further chats with the guys at the Camera Museum I discovered that they don’t have the special multicoated layer on the lens so I wouldn’t get as much contrast on clouds etc as I would with a later C T* lens (which are black not chrome). There is also a slightly later lens known as the CF and I was told the image quality wouldn’t be any different to the C T* but it just turned differently so it was personal preference on what style I would like out of these two. The CF lens is also a bit bigger which put me off and is also slightly more expensive so as a newbie to the Hasselblad system, I was quite happy to have a C T* lens when I bought my camera. I also knew for now, I would be happy with the standard 80mm lens since I had tried out the different size mm lenses (from the more zoom type to the wider angle) at the shop and got an idea of the scope of photo I could take through each one.

I already knew that I wanted to buy my camera from the Camera Museum, as they had been really helpful. Also, they provide new light seals with every second hand camera (which would normally cost £80 plus VAT if you asked them to do these for one of your Hasselblad’s) and they provide a 6 month warranty in case of any failures in the camera.

Since I would be spending quite a bit of money, I knew I wanted a warranty. I also knew I wouldn’t be getting any bargains on eBay or Gumtree as they were all going for the same price as what the Camera Museum was charging, if not more on some of them!

Whilst saving for one, the Camera Museum had listed a 500 C/M model for sale which was in a condition I was happy with (unlike the one I viewed in December). This particular model was from 1978 which again, I was happy with. After having a chat with them on Wednesday, I got on a train that morning and tried it out. I spent over an hour with them going through the workings of it. I was extremely impressed by the overall condition, especially the back curtains as you can see in the photo below:

We went through all the shutter speeds which seemed to work perfectly. I was also warned about potentially jamming the camera if I take the lens off and it’s been fired and the camera hasn’t etc so I need to make sure they all match before putting back together. So currently I’m a bit scared of accidentally doing this but hopefully I won’t!

Needless to say I purchased the camera along with a nice original thick Hasselblad strap in excellent condition to give me good support as again, the joys of visiting an actual shop rather than buying the camera online meant that I could try out various straps. I had liked the look of the thin leather strap but after trying it, the camera easily slipped off my shoulder and it just didn’t feel that well supported so I knew that I would need the thicker strap.

They also gave me a free black and white film which I loaded into the camera in front of them so they could make sure I did this properly. It also meant I was ready to go and shoot. I would have loved to have taken some shots in London but I had to rush back to Brighton on the train before rush hour ensued so I used the film locally.

I’ve since got the roll of film developed and am extremely happy with the results. I’ll be blogging about this separately since this blog is really long so thank you to everybody who has taken the time to read it.

For anybody interested in purchasing a Hasselblad, accessories or who would like some more information about the camera or getting a repair done, their website is:

https://www.cameramuseum.uk

Dark Room Photography Part 2

Following on from Part 1 of my Dark Room blog, I had my second lesson on Thursday.

For my homework last week I was asked to take some pictures using my SLR camera and black and white film.

I decided to use my Pentax K1000 camera and Kodak 400TX black and white film for this assignment.

Once I had taken 36 pictures, I unloaded the film from my camera ready for my next lesson.

In this lesson we were taught how to take the film out of its outer case and transfer it onto a plastic reel which winds the film into a circle which is then put in a container which is locked so light cannot get into it. I am telling it in basic terms here (as I know there is plenty of information on various websites that gives good technical information about this).

This all has to be done inside a black light proof bag which has two arm sleeves on the bottom of the outer edges so you can put your arms inside the bag and then you ultimately have to do this process blind.

The reason for this is so that the film won’t get exposed to the daylight before it’s been developed and you won’t lose the images.

We initially had some ‘practice film’ to try on and did it in the daylight without the bag to see what we were doing. Once we felt comfortable with the process, we then used the practice film in the bag before moving onto our actual film.

We were recommended to have 2 x reels in the bag just in case for some reason one of them was faulty. We also had a pair of scissors (for cutting the film from the plastic tube) and a device which is a little like a bottle opener which allows you to prise open the plastic round film case once it’s inside the bag.

I was surprised at how easily I was able to do this process, considering I couldn’t see anything.

Once our film was safely locked in the black plastic container we then had our 3 x chemical process which was timed and measured according to the film we were developing (my development time was around 3 minutes). This was slightly reduced because the developing chemical needs to be around 20 degrees in temperature but it was a warm evening so it went up to around 21-22 degrees, hence the reduction in development time which would normally have been nearly 4 minutes. There are ways to cool down the developer chemical but we didn’t have any ice to hand.

Once we had put the film through the chemical process and rinsed our film, it was time to take it out of the plastic container.

We unrolled the film from the plastic reel and removed the excess moisture by running our fingers down the film. We then hung our film up to dry using a peg at the top and also one at the bottom of the film to weigh it down.

On initial inspection I was pleased to see images had been developed on my film which was a relief. However, my tutor quickly discovered areas on certain images which seemed to be over exposed due to a light leak (shock horror!).

I knew it wasn’t a light leak from my camera since the light seals had been recently replaced and other films I had got developed from my Pentax at the local film lab came out fine.

We then discovered another woman on my course had the same problem and I instantly knew what had happened. What both me and the other lady have physically in common is that we have slender arms!

I could have kicked myself because I already knew as soon as I put my arms into the sleeves of the black bag and started to work on winding my film onto the reel that the sleeves were quite loose on me and I thought to myself at the time ‘I wonder whether light is leaking in?’ but I stupidly didn’t do anything about it or comment to my tutor and just carried on because I was so focused on getting the film wound onto the reel and correctly locked into the plastic container.

The lady also felt the same problem with her sleeves. Our tutor agreed this was most likely the cause of the light leak.

Whilst I’m frustrated at myself about this, I’m also a firm believer of learning from your mistakes and I certainly would never let this happen again!

I’m also positive in the fact that I still learnt the process of unloading the film inside a bag.

Next week we’ll be making a contact sheet / test shots and looking at developing our most strongest shots.

I’m really hoping that not all the images got damaged by the light leak but if they did, perhaps there may be some that might look effective/arty with the light leak (I can but hope!).

This is what I do love about film photography. It’s all about trial and error and I still think it’s great fun. I learnt a long time ago in film photography (pre-digital when I used to shoot film) not to get too precious about my photos (which I know can be hard to do) as there were times years ago where my camera may have not quite wound a film back (if there was a fault with the auto winder of a 90s camera I had and I lost pictures for instance).

There was also an occasion back in the 90s where my family and I had recently returned from a holiday and my mother had left the camera in the car as she was going to get the film developed when next in town but before she was able to do this, her car was broken into and the camera was stolen along with all our precious family photos on the film still in the camera! We were all more disappointed at the time about losing the photos than the actual camera and the car stereo which had also been stolen. Again, it taught me a lesson that I just have to move on and not dwell on it. Besides, it gave us an excuse to book another holiday and take more photos (and not leave the camera in the car)!

Dark Room Photography Part 1

When I was a teenager, I was fortunate enough to have a friend who’s parents had a dark room in the basement of their house.

The enlarger was from around the 1960s and was all chrome and dome shaped which looked really cool.

The dryer was a rack with a cream canvas which was discoloured due to it’s age and the chemicals it had been covered with.

I have fond memories of spending hours down there with my friend developing black and white photographs we had taken. Her parents had shown her how it all worked and in turn, she taught me the developing process which I found great fun at the time.

Now I’m rediscovering film photography again, I really wanted to get back into a dark room to see how much I could remember of what I’d learnt many years ago and also if I still enjoyed the developing process.

I found an adult education course in black and white photography at Varndean College in Brighton which is for a 5 week period on a Thursday evening from 7pm – 9pm.

I attended my first lesson yesterday evening and absolutely loved it!

I was given the basic introduction to the dark room and aside from the enlarger and timer being a lot more modern version to the one I had previously used, I was surprised at how much I still remember from those days. The timer I would be using on this course was digital whereas I’d previously used a manual timer.

There was a massive clock on the wall so I was able to count the minutes for the developing process.

The dryer was also completely different as it was a roller version in which the photo was slotted in one end wet and came out the other end of the machine dry. The tutor informed me that they had to order the drying machine all the way from Japan as they were unable to get hold of one in the UK.

In this initial lesson it was assumed we hadn’t yet shot a 35mm black and white film (although I’ve actually shot several over the past few months) so we therefore created camera-less photograms using objects around us to get a feel of how the enlarger works and how we transfer the image onto paper which we then develop.

I had never done a camera-less photogram before so this was all very new and exciting to me. We also had an introduction to basic camera technique so I only managed to do two photos but I was extremely happy with the results which are shown below:

 

 

 

Tokyo Camera Style Book

I discovered this book by John Sypal during one of my regular visits to Zoingimage in Brighton where they had the book for sale.

I was instantly drawn to the front cover and could tell it would be about film cameras. I also love Tokyo which I visited a couple of years ago as I have several friends who live there (one of them owns a really nice bar called the Ipcress Lounge).

I purchased the book and I certainly wasn’t disappointed. Apart from the introduction, the book is made up of pictures of vintage cameras that people had in Japan. The book also makes a note of the camera the person is holding which I found to be really helpful.

There are so many amazing cameras in this book from the Leica’s to the Nikons, Pentax etc.

As a newbie to film photography I really did enjoy looking at all the different cameras and learning what they were.

One of my favourite looking cameras in the book was the Olympus Pen FT camera.

IMG_0002.JPG