I found the 60mm lens to be too close to the 80mm lens and I bought the 50mm lens. The 50mm lens is used second only to the 80mm lens. What is wrong with lust? It is a special form of GAS.
Say "someone" owns a 40mm FLE, 60mm, 80mm, 120mm, 180mm, and 250mm - all CF or CFi. Now that prices are really in the tank, is it wrong them to lust after a 50mm FLE? I wonder how much one would use it rather than the 40 or 60.
Asking for a friend...
Let's see:
- Hasselblad 503cx. The crown jewel of my collection. This camera is perfect for me because it executes brilliantly in areas that I deeply care about. For example: haptic and acoustic feedback. Everything is positioned where I need it to be and feels just right to touch: the focus rings, the buttons, the leather. It makes an amazingly satisfying sound when a photo is taken or film is advanced. A Hasselblad is extremely engaging to use. I even shoot blanks when I can't find any time for real photography. Of course it uses the perfect negative format: the square. People who need an explanation for why, are not getting it here. Yes, the lenses are all fantastic optically and there's a strong sense of continuity and consistency: optical qualities, the feel, filter sizes across lenses are mostly the same. Also I must mention the vast array of accessories for all kinds of use cases, to this day I continue to discover new Hasselblad toys every once in a while. Still not convinced? Well, consider that it's the only MF film camera that is of metal+leather construction, relatively recently manufactured, of fully mechanical construction, and still serviced by Hasselblad! And finally, it is stunning visually. From the industrial design perspective it's a masterpiece. I've been investing more and more into this platform over the years, amassing two bodies, 4 backs, and every lens produced within the 50-250mm range. To this day I can't believe someone designed a camera so perfectly suited to my personal quirks and idiosyncrasies.
My MF stuff is now just Hasselblad. I have the entire trio—500 EL/M, 503CW, and 903SWC. Lenses are the 40 CFE-IF and 40 CF, 100 CF and 250 CF Superachromat. Am down to just 2-3 120 backs, and a 70mm one. Waiting to get a digital back as big as I can afford! In the meantime I shoot Fujichrome 50 and scan with my rather large Nikon Super Coolscan 8000 ED.
And of course, I have a Hasselblad projector as well as a Zeiss! I love slides!
Dan
I've recently added a few Kodak Duaflex IV cameras to my medium format line-up, and the Kodar version definitely punches above its weight limit for what is essentially a box camera with a 3-element lens, adjustable aperture, and zone focusing.
A few recent examples shot on HP5 and developed in Rodinal 1:100 Semi-Stand method.
Jeremy
Kodar version definitely punches above its weight limit for what is essentially a box camera with a 3-element lens, adjustable aperture, and zone focusing.
Very cool. It's like the American Voigtländer Brilliant/Lubitel.
Even the Kodet versions of these aren't bad for a box camera, but you're right, a scale focus triplet is a better lens than you'd expect for this simple a camera. I've got all four number series (original, II, III, and IV), two with Kodet and two with Kodar. If they were a little easier to load (too tight for trimmed 120 spools) I'd use them more...
Only thing it lacks is a coupled focusing viewing lens and ground spot in the bright finder. It's set up like the first Lubitel and earliest Brilliants.
I love my Mamiya RB67 Pro, except for the stupid red dot that tells whether I advanced the film or not especially from one shooting session to the next. I can never remember. I hate to say how many shots I skipped over on the film to prevent shooting a duplicate. How do you deal with memory loss and red dots? Oh, then there's that little slider that you have to move before advancing the film. Sliders and red dots invented by a sadist.
Me too!
Bronica S
Hasselblad 503cx
Rolleiflex T
Rolleiflex 3.5
Rolleiflex 2.8f
Ansco Readyflash
Kalloflex
RB67
Pentacon Six TL
Zeiss Ikon Nettar
Vermeer 617 (pinhole)
I just spent an enjoyable month in Japan visiting one son who has been (and still) working/living in Tokyo for the past 3 or 4 years. My other son (grad student at UBC in Vancouver) joined us. I took my Rolleicord III with me and enjoyed using it. At 830 grams (30 ounces), along with a otherwise too short carbon fiber tripod (great for waist-lever finder) at about a kilo made for a nice light-weight quality set-up. Often carried on the tripod if actively looking for images, but put the camera in the over-the-shoulder bag (with light meter, film, etc) if just trying to keep up with the two boys (who, in general, were very patient with the old man).
Lost my beat-up, taped-up, Rollei lens shade somewhere along the way, but towards the end of the trip. Exposed 16 rolls -- have the first 4 loaded on reels and in tanks, ready to develop. I took the camera for a month in Scotland last Spring -- judging by the negs, I tended to over-expose a stop (have not tested the shutter speeds). So I kept the yellow filter on the camera most of the time this trip and did not adjust exposure for it...although I took the filter off a few times in low light or if I thought the filter would alter the light in a manner I did not want.
The 'Cord in the wild...
Bronica Deluxe
Bronica Model C (C2)
The Bronica Model C is really a cost-effective choice and friendly to newcomers. The Deluxe is underestimated as a competitor to Hasselblad of its time. Hopefully I'll get a Hasselblad one day.
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?