hasselblad Fri, 14 Nov 1997 Volume 1 : Number 9 In this issue: Re: More Hasselblad esoterics (was Re: Hasselblad "C12" magazine--what is it?) Re: To Hassy or not to Hassy, that is my question Prices on the new gear Re: To Hassy or not to Hassy, that is my question Re: To Hassy or not to Hassy, that is my question Re: To Hassy or not to Hassy, that is my question ANYONE USING FLEX BODY? Re: To Hassy or not to Hassy, that is my question Re: ANYONE USING FLEX BODY? Re: Hassy CB lenses - latest info Re: Hassy CB lenses - latest info reply Fw: Code key calculation for extension tube lens flare Re: Hassy CB lenses - latest info reply 220 films - a tentative list (was Re: 220 B&W films?) Re: lens flare 70 mm film Registered: BONIS, DR. STANLEY Re: 220 B&W films? Interested in trading Scala New member Bio Feedback on general "considerations" Feedback on general "considerations" Re: Feedback on general "considerations" Re: Scala Re: To Hassy or not to Hassy, that is my question Interested in trading ---------------------------------------------------------------------- Date: Fri, 14 Nov 1997 01:26:22 +0000 From: dannyg1@IDT.NET To: hagu0009@student.gu.se Cc: hasselblad@kelvin.net Subject: Re: More Hasselblad esoterics (was Re: Hasselblad "C12" magazine--what is it?) Message-ID: <346BA8BE.4F13@mail.idt.net> > The same goes for 903 SWC (catalogue: no indicator; > brochure: indicator). Perhaps Danny Gonzalez could help us with this > one...? (Personally I find the indicator quite helpful) > = H=C2kan , I'm sorry that I can't give a definitive answer. The wind indicator has bee= n disppearing = from newer H'blad's at an alarming rate and I don't understand why, but the= final = answer is one only H'blad itself can give. I'll write an email to H'blad and see what I can find out. Regards, Danny Gonzalez ------------------------------ Date: Fri, 14 Nov 1997 02:35:03 +0000 From: dannyg1@IDT.NET To: hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: <346BB8D7.3EEE@mail.idt.net> Brian, Resale values are almost always spoken of in the first generational sense. That is, a Bronica will lose more thann an H'blad provided that you buy it new. Buy it used and either is almost price stable. The Bronica offers many advantages over the H'blad: -the option of fully coupled metering. -AE compatibility -three generations of lens choices. -unique focal lengths The H'blad is a better choice if you plan on renting extra backs and lenses, but almost no-one I know rents primary system stuff. One way or the other, the Mamiya system you're considering has lost much of its market desireability and is overpriced IMO. Since it isn't what you want I suggest you look at something that will give you better resale and is closer to your ideal. Either the Bronica or the H'blad will do fine. Have you considered an older Rollei 6006 mdl.II or a Rollei 6003? If you stick to the older lenses the thing won't destroy your budget and either is an excellent camera. Danny Gonzalez ------------------------------ Date: Thu, 13 Nov 1997 13:31:33 +0100 From: Terje =?iso-8859-1?Q?Tver=E5s?= To: hasselblad@kelvin.net Subject: Prices on the new gear Message-ID: <3.0.32.19971113133132.006874bc@pop3.uib.no> I received a price list from the Norwegian Hasselblad agent today. Here are the local retail prices in my country: CB (B="Basic"): 2.8/80mm approx. $1500 3.5/60mm approx. $2335 4.8/160mm approx. $2360 CFE 5.6/350mm approx. $7800 APO 1.4X approx. $1200 ARCBody approx. $2890 (body only) approx. $5200 (kit incl. APO-Rodagon 4.5/45mm, filter and RMFX viewfinder) Gold Supreme approx. $7200 (golden Hasselblad 503CW) I suppose the prices are lower in the US. --Terje ------------------------------ Date: Thu, 13 Nov 1997 12:52:55 +0000 From: "Henk Thijs" To: dannyg1@IDT.NET, hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: <9711131252.ZM11178@ir6mws28.mas.eurocontrol.be> Danny, you wrote: ..................................................... The Bronica offers many advantages over the H'blad: -the option of fully coupled metering. -AE compatibility -three generations of lens choices. -unique focal lengths .................................................... Before the Hasselblad, I used the Zenza Bronica and was fairly disappointed about the sharpness; so I bought a very stable -and expensive- tripod. No difference. Then, one day, before drinking a small glas of grappa, I balanced it on top of the Bronica and fired; it was a storm in a glas; not quite, but allah, the vibration due to the mirror movement was the last step towards the Hasselblad. Henk -- Henk Thijs tel: +31-(0)43-3661249 Eurocontrol Maastricht UAC fax: +31-(0)43-3661300 Horsterweg 11 email: henk.thijs@eurocontrol.be NL-6191 RX Beek(l) T h e N e t h e r l a n d s ------------------------------ Date: 13 Nov 97 08:01:09 -0500 From: "=?ISO-8859-1?Q?Andr=E9 Jean Q?= =?ISO-8859-1?Q?UINTAL?=" To: hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: May I make personal comments, as I am, too, about to "bond" with a Hasselblad system that's been years on the back burner, as I always denied myself the experience for a number of reasons: 1/ Hasselblad products seem to be of unique construction quality 2/ The question is: "What of their actual value?" v.g.: their eventual resale value versus the cash put out to "buy into" the system? 3/ why is there such an enthusiastic following that has endured even hefty price hikes? 4/ Can I "carry over" my TOTAL ENCHANTMENT of the 35mm CONTAREX/ Distagon 25mm couple to the Hasselblad 6x6 arena? 5/ Will I be able to appreciate the extra degree of finesse on my own shots as I "seem" to perceive on other people's shots? 6/ Will I REALLY, REALLY, REALLY enjoy the eye popping definition, acutance, shadow detail, chromatic accuracy, smooth skin tone rendition, etc, I experienced on my first roll of Vericolor 30 years ago with a Rollei TLR? (I then flipped, no less!) 7/ Will I have to resort to longer focal lengths to offset the "big camera looking at me" freeze a rather big camera like the Hasselblad may evoke in many people? How bad will that factor play in actual practice? 8/ Isn't there, "out there", a person who has bought Hasselblad equipment without considering his (or her) actual needs and photo style, kept it in very good shape, and now might want to part with it? Or someone whose "photo trip" receded for some odd reason and now would be ready to let go of appropriate Hasselblad equipment? Maybe a little old wealthy widow of "some Hasselblad nut" who couldn't care less about keeping her "ex"'s equipment? Talk about dreaming! 9/ I know I don't want the 80mm. 10/ I know I'm a wide-angle person, more than 75% of the time. 11/ What's the ONE LENS I simply would not want to do without? CF50, CF60, CF100, CF120, CF180 ? 12/ Would I enjoy my "kit" even if I bought only one lens for the first year? ...first six months? ...first week? Two seems to be a minimum for me (CF50, CF100 (or CF120), most likely). 13/ What sort of quality will I get from a low range f/4 or so limit with the new ISO 1000 color films at 1/60 or 1/30 from a smooth leaf shutter type Hasselblad system? (I personnally do a LOT of available, LOW light, photography). Will I need to "push" ??? Just how bad will it get? 14/ Architectural type photography is a second major excuse: the Hasselblad SURE fits the bill on this count and certainly is easy to use with a light tripod such as Manfrotto 075/222 combo. 15/ Would I enjoy a Fuji 645W as much, as people seem to love theirs? I might enjoy the increased operational speed "in the field". 16/ Why the hell should I go "second rate" and deny myself "MY" Hasselblad "kit" I've been looking at forever when I know my photographic proficiency justifies the expense and my well informed CONTAREX/Distagon experience, sheer pleasure...? 17/ Am I ready to do away with other "life luxuries" to "go Hasselblad"? 18/ Will "the lab" "come out" with the quality I am likely to demand? Or will I have to get my highs from slides and without a projector? (I "have" this ONE lab that's OUTSTANDING for 35mm prints, demanding as I may be; their 6x6 work surely won't be worse...) OK: I need a loupe, anyway. 19/ Will my books "take off" and provide the required cash if I finally decide to go for it and spew out my ever so hard earned cash stash for photo equipment? (My "target date" is my next birthday, late February). 20/ Will my move to Qu=E9bec city justify the expenditure? (The whole place is a FANTASTIC photo op, year round, altogether, for MANY photo styles..., 24 hours a day.) 21/ Bronica this, Mamiya that? Pentax this, Rollei that? Still, it's the Hasselblad that's the "hot item", to my mind... 22/ I'll bet something will come up right, synchronicity at work, and LAND that Hasselblad dream kit in my lap, 100% "legit" and "on time" ! (It's worked for my MGB, my QUAD, my travels to Tikal and Egypt... WHY should I doubt THIS most exciting event of seeing myself bring home those Hasselblad, Manfrotto, Lowepro and Agfa boxes, AROUSED TO ECSTASY, no less?) 23/ Will I have the pleasure of telling Mr Leclerc (the son of that tiny ever charming hunched man who sold me my first "personal camera", a Yashica Lynx 14 rangefinder, over 30 years ago ("with f/1.4 lens": I could not buy my Nikkormat FTn right off as my "menial jobs" money did not add up; had to wait 2 years...): "I'm ready to get my Hasselblad, Monsieur Leclerc" "Would you help me, if you will?" GOD! I just can't wait! Odd as it may be, it WILL happen! The feeling is much too strong to be a simple delusion! Come on, tell me about YOUR Hasselblad fantasy! Andr=E9 Jean Quintal megamax@abacom.com ------------------------------ Date: Thu, 13 Nov 1997 09:34:34 -0400 From: camera@isn.net (Lionel F. Stevenson) To: hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: A major consideration in buying into the Hasselblad system is the availability of rental equipment. Hasselblad seems to be a photo industry standard camera, and rental shops carry more Hasselblad equipment than other cameras of the same format. Good photography is not dependent on expensive cameras, but the best work is done mostly with the best equipment. At least with excellent equipment, it's not the equipment that's keeping you from producing great pictures. Suggestion: rent the stuff before you decide to buy it. ------------------------------ Date: Thu, 13 Nov 1997 09:38:25 -0400 From: camera@isn.net (Lionel F. Stevenson) To: hasselblad@kelvin.net Subject: ANYONE USING FLEX BODY? Message-ID: What's your experience with the flex body? ------------------------------ Date: Fri, 14 Nov 1997 06:05:38 +0000 From: dannyg1@IDT.NET To: hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: <346BEA32.8F3@mail.idt.net> Andres, I'm going to try and answer this but my God, what a list of superlatives and what expectations you have. If you're really looking for ultimate image quality above all else, I'd suggest a baby Linhof or a Leica. The Hasselblad is great but you want backflips over and above a 2.8F? I don't think so! > 1/ Hasselblad products seem to be of unique construction quality Actually, they are. No other camera is built on the shell within a shell. The older lens series (original C) was better built than the current and if you're in love with the feel of your Contarex, the C line was much more like Contarex stuff in build quality than the CF or F lines are. > 2/ The question is: "What of their actual value?" If you're buying new, the hit is substantial. The 501c/m kit takes the smallest hit and the 205 the largest, at least in terms of amounts. As I said before, you'll be fairly even in/even out if you buy used. > 3/ why is there such an enthusiastic following that has endured > even hefty price hikes? Once your married to a system, you don't have a ton of choices while growing with it. The list prices of the CB lenses are a good case in point. Their just not going to sell any of them at those prices. Who'ld buy a 160 CB for more than a mint used 150 CF? There is a ceiling for H'blad price resistance. > 4/ Can I "carry over" my TOTAL ENCHANTMENT of the 35mm CONTAREX/ > Distagon 25mm couple to the Hasselblad 6x6 arena? Only you can answer that. The 50/50 FLE and the 40's are excellent lenses that should satisfy. MJS can tell us if either is the match for your 25mm. Marc? > 5/ Will I be able to appreciate the extra degree of finesse > on my own shots as I "seem" to perceive on other people's shots? With care, sure. > 6/ Will I REALLY, REALLY, REALLY enjoy the eye popping definition, > acutance, shadow detail, chromatic accuracy, smooth skin tone > rendition, etc, I experienced on my first roll of Vericolor > 30 years ago with a Rollei TLR? (I then flipped, no less!) The system is capable. If you're looking for extremism in image quality, try the 100, 120 and 180 with an emphasis on the 100 and 180. These are the best lenses in the H'blad system. > 7/ Will I have to resort to longer focal lengths to offset the > "big camera looking at me" freeze a rather big camera like > the Hasselblad may evoke in many people? > How bad will that factor play in actual practice? Hard to answer. Are you planning on doing street work with this?The H'blad is too big and loud to be un-noticable out there but, given that 35mm is better for candid stuff, the H'blad isn't so imposing a camera. The F line is loud and the crack of the mirror always gets a look, but it seems to be a one time thing. After the first shot everything gets normal again. > 8/ Isn't there, "out there", a person who has bought Hasselblad > equipment without considering his (or her) actual needs > and photo style, kept it in very good shape, and now might > want to part with it? I suppose there's plenty of people who buy them and use them very little. My FCW was as-new when I bought it and was a good buy. I'd buy it again, given the same circumstance. > 9/ I know I don't want the 80mm. It's akin to the Leica Summicron and worth owning. > 10/ I know I'm a wide-angle person, more than 75% of the time. The 60's a good lens too. > 11/ What's the ONE LENS I simply would not want to do without? > CF50, CF60, CF100, CF120, CF180 ? For me it would be the 100. For you? > 12/ Would I enjoy my "kit" even if I bought only one lens for the > first year ? Sure. Why not? You'll want a second back, that I guarantee you. > 13/ What sort of quality will I get from a low range f/4 or so > limit with the new ISO 1000 color films at 1/60 or 1/30 > from a smooth leaf shutter type Hasselblad system? > (I personnally do a LOT of available, LOW light, photography). > Will I need to "push" ??? Just how bad will it get? You will be pushing film. The 500 series is very smooth and many people do fine handholding it at low speeds. Most important in this is to trust the camera and you'll be fine there. For me, 1/30th with a 100 would be iffy but I know a few who swear they're comfortable with the thing at an 8th. Judging by the results, I have no reason to doubt them. Still, just for security, you're going to push film. > 14/ Architectural type photography is a second major excuse: > the Hasselblad SURE fits the bill on this count and certainly > is easy to use with a light tripod such as Manfrotto 075/222 > combo. > 15/ Would I enjoy a Fuji 645W as much, as people seem to love theirs? > I might enjoy the increased operational speed "in the field". Got me. > 16/ Why the hell should I go "second rate" and deny myself "MY" > Hasselblad "kit" I've been looking at forever when I know > my photographic proficiency justifies the expense and my > well informed CONTAREX/Distagon experience, sheer pleasure...? Stop talking to yourself. This place is semi-public ;^j (17-23 qualify to the previous line as well) > Come on, tell me about YOUR Hasselblad fantasy! I can't help but look at my camera cases and fantasize about how they'ld look as piles of cash. If I didn't have to use cameras to make a living, my Hasselblad fantasy would involve selling them and imagining the resulting pile of cash as a house on a deserted South American beach. Now there's a feeling I can relate to (though something tells me that it's not going to be too comfortable a house). Danny Gonzalez ------------------------------ Date: Thu, 13 Nov 1997 15:41:48 +0100 From: Robert Claeson To: hasselblad@kelvin.net Subject: Re: ANYONE USING FLEX BODY? Message-ID: <346B11AC.64071E6E@rc-produktion.se> Lionel F. Stevenson wrote: > What's your experience with the flex body? Considered it, but bought an Arca-Swiss 6x9 view camera instead. Robert ------------------------------ Date: Thu, 13 Nov 1997 10:02:31 -0500 (EST) From: "Michael J. Callahan" To: dannyg1@IDT.NET, hasselblad@kelvin.net Subject: Re: Hassy CB lenses - latest info Message-ID: Please, what is the series you speak of? Thanks... --------------------------------------------------------------------------- Mike Callahan --------------------------------------------------------------------------- (My email address is altered to discourage junk mail. Remove the $_$ to get My true email address.) On Thu, 13 Nov 1997 dannyg1@IDT.NET wrote: > Dave, > > > She priced a 160mm CB lens for me and it was about > > $300-$400 less than the 180mm CF. > > Too expensive, by a grand at least. > > Are you the author of the RPEMF published H'blad guide series? Nice work! > > Regards, > Danny Gonzalez > > ------------------------------ Date: Thu, 13 Nov 1997 10:03:40 -0400 From: 465957N@knotes.kodak.com To: hasselblad@kelvin.net Subject: Re: Hassy CB lenses - latest info reply Message-ID: <8525654E.004C32FD.00@knotes.kodak.com> I own a 501CM and the new 80mm CB lens. It does have an EV interlock. Just got the camera in my hands last Friday along with the 503CW, 50CF & 150CF, 4-220's and 2-120's. So far I've found that the mount for the end of the CB lens does not accept a Lyndal shade mount designed for the CF lenses. I'll be contacting Lyndall this morning for further information. Jim Morton, Hasselblad USA Customer Service Manager mentioned that their 60-bay mount rings work with both CB and CF lenses. Thom Bell Kodak Information Center (USA) thombell@kodak.com dmunroe @ vcd.hp.com on 11/12/97 09:35:38 PM Please respond to hasselblad@kelvin.net To: hasselblad @ kelvin.net cc: (bcc: Thomas G. Bell/465957/EKC) Subject: Hassy CB lenses - latest info My contact on things Hasselblad had lunch last week with a representative and actually got to _touch_ (!) a CB lens (oh, joy...). So, in addition to what we already know, this is what she found out: - The rear of the lens is machined as a single piece, rather than four pieces as on the current CF lenses. - The front of the lens, where you mount the filter, is made out of carbon fiber rather than aluminium. - There is no F setting, nor is there an EV interlock as on the CF lenses. - Use of the flash contact and depth of field lever is improved over that of CF lenses. - The 501C is discontinued, now having been replaced by the 501CM. The `C' lens that was originally sold with the 501C (and the first 501CMs) is also discontinued, now being replaced by the 80/2.8 CB lens. She priced a 160mm CB lens for me and it was about $300-$400 less than the 180mm CF. Also, I believe the warranty period on the CB lenses are 1-year rather than 3-year. This is all second-hand information, so do not treat it as gospel. -Dave -- The latest release of the Hasselblad Lens Guide is now on the web at: http://www.cs.cuhk.edu.hk/~phwl/hassylens.txt ------------------------------ Date: Thu, 13 Nov 1997 22:59:36 +0800 From: "Adrian Seah" To: Subject: Fw: Code key Message-ID: <01bcf044$c200b580$LocalHost@default> > >A couple of years ago I heard of a key to the "two letter" code >found on all Hasselblad camera bodies etc. It is the one engraved >close to the serial no. [xx 1234567] > >As it is said to be a code for the manufacturing year, it would be interesting >to decode it. > The so call Hasselblad Crytogram (code) is base on the Victor Hasselblad Pictures V H P I C T U R E S 1 2 3 4 5 6 7 8 9 0 So if the alphablet on your serial no. is ECXXXXX is it made in the year 95, UEXXXXXX is yr 79. ------------------------------ Date: Thu, 13 Nov 1997 23:21:18 +0800 From: "Adrian Seah" To: Subject: calculation for extension tube Message-ID: <01bcf047$ca207400$LocalHost@default> >> >> Example 1 > > Actual measure reading for exposure is F16, extension tube 50mm, lens 80mm >> >> Increase in exposure needed = ( (50+80) / 80) square >> = 2.6 stops > > >I just have to make some remarks to the last formula: >The resulting 2.6, is it not a multiplication factor? Not stops. > >BTW, just curious what the ".sg" in your email address stand for? Sorry about the mistake. The correct formula should be ' extension tube' / 'length of lens.' So in the above example, the increase in exposure is 0.625 stops. Thanks for pointing that out, Lennart. BTW : .sg = Singapore, the place where you don't get to see the sun for several months a year due to haze from Indonesian burning the forest. ------------------------------ Date: Thu, 13 Nov 1997 07:26:04 -0800 From: "Thomas L. Clark" To: Subject: lens flare Message-ID: <199711131530.HAA24897@m6.sprynet.com> I have a lens flare question that someone may be able to answer. I am a RB67 user considering switching to Hasselblad for a variety of reasons including the reputation for better glass. The other night I made some time exposures of a white building against a black sky lit only by a few incandescent coach lamps. On the finished prints, each lamp was surrounded by a HUGE spherical flare. Actually the effect was kind of cool as a novelty, but it isn't something I would want as a signature feature of my work! My RB lenses are the older uncoated type. Would Hasselblad T* lenses eliminate the flare? Would coated RB lenses do the same thing? Tom Clark ------------------------------ Date: Thu, 13 Nov 1997 10:35:00 -0500 From: Tom Campbell To: hasselblad@kelvin.net Subject: Re: Hassy CB lenses - latest info reply Message-ID: <346B1E24.1920@bellsouth.net> My heavens, what a haul for a day. Who now owns your house? Tom Campbell tcphoto@bellsouth.net > > I own a 501CM and the new 80mm CB lens. It does have an EV interlock. > Just got the camera in my hands last Friday along with the 503CW, 50CF & > 150CF, 4-220's and 2-120's. > > Thom Bell > ------------------------------ Date: Thu, 13 Nov 1997 16:52:27 +0100 From: Håkan Gunnarsson To: hasselblad@kelvin.net Cc: mtaureg@ns.arc.sn Subject: 220 films - a tentative list (was Re: 220 B&W films?) Message-ID: <346B223B.772E@mailer.student.gu.se> These are the results of my digging on the WWW, and I (therefore) take it for granted that the info is up-to-date. I've confined myself to Kodak, Fuji, Agfa and Ilford. I guess that the availability varies from country to country due to the policy of the national distributors of the brands. And, as they say in English, "don't treat it as gospel ..." 220 BLACK & WHITE KODAK: Plus-X Pan Prof., Tri-X Pan prof (320 iso). [source: doc. E103BF) ILFORD: FP4 Plus, HP5 Plus, Delta 400 Prof. [sources: cat #15048, #15049, #15051] FUJI: nil. [source: www.fujifilm.com ... etc] AGFA: nil. [source: www.agfaphoto.com/products/availproffilms.html] 220 COLOR NEGATIVE KODAK: Pro 100 (PRN), Pro 400 (PPF), Pro 400 MC (PMC), Pro 1000 PMZ, Vericolor III (VPS) [source: doc. E-18] FUJI: Fujicolor Prof NPS 160, Fujicolor Prof 400 NPH, Fujicolor NHGII 800 [source: www.fujifilm ... etc] AGFA: Portrait XPS 160, Optima 400 [source: www.agfaphoto.com/products/availproffilms.html] 220 COLOR REVERSAL KODAK: Ektachr. 64 Prof (EPR), E100S, E100SW, E100 Plus Prof (EPP), E100 (EPN), E200 (EPD) [source: doc. E103RF] FUJI: Velvia Prof (RVP), Astia 100 Prof, Provia 100 Prof (RDPII) [source: www.fujifilm.com ... etc] AGFA: RSX 100 [source: www.agfaphoto.com/products/availproffilms.html] H=E5kan Gunnarsson G=F6teborg, Sweden Martin Taureg wrote: >=20 > At 06:27 11.11.97 +0100, you wrote: >=20 > [snip] >=20 > >pan Prof, Ilford Delta pro 400. On the color negative side it's good: > >one 100, two 400 and one 1000 iso. > Who is manufacturing the 400 and 1000 iso? >=20 > Fuji also has most of their color > >negative films in 220. On the color slide side it's quite good as well= : > >All the Kodak 100 iso films are available in 220, and so is the 200 > >prof. Unfortunately there's no Kodak tungsten 220. Fuji has (at least) > >its velvia and provia prof in 220. (I've not checked Agfa.) >=20 > >From what I checked with dealers in Germany last year, it seems that A= gfa > does not produce any 220 films. Looks like they have discontinued this > product line years ago. >=20 > Cheers, >=20 > Martin >=20 > Martin Taureg > Photo Archives Programme Coordinator / > Coordinateur du Programme des Archives Photographiques > ________________________________________________________ >=20 > PROGRAMME DES MUSEES DE L'AFRIQUE DE L'OUEST / > WEST AFRICAN MUSEUMS PROGRAMME (WAMP) > 140, Rue Mouss=E9 Diop > B. P. 357 > Dakar, SENEGAL > ________________________________________________________ >=20 > Phone / T=E9l=E9phone: (++221) 822 50 57 / 823 88 48 > Fax / T=E9l=E9copie: (++221) 822 12 33 > E-mail / Courrier =E9lectronique: mtaureg@ns.arc.sn > ________________________________________________________ ------------------------------ Date: Thu, 13 Nov 1997 10:55:23 -0500 From: Tom Campbell To: hasselblad@kelvin.net Subject: Re: lens flare Message-ID: <346B22EB.4A3B@bellsouth.net> Tom Anytime you shoot into a light source you're going to get some flare--the main difference is does it affect the image overall, costing contrast or is it localized around the sources. Coated lenses will certainly help with the former, while with the latter you will probably still see some flaring, but it should be more localized and less injurious to the overall image. Even my T*'s show "halos and stars" in light source shots, but there is little, if any, overall image flare. Having used both, I think the T*'s are better at controlling this than the RB coated lenses---but there is, as always, a price. Tom Campbell tcphoto@bellsouth.net Thomas L. Clark wrote: > > My RB lenses are the older uncoated type. Would Hasselblad T* lenses > eliminate the flare? Would coated RB lenses do the same thing? > ------------------------------ Date: Thu, 13 Nov 1997 16:55:26 +0100 From: Alfred Breull To: hasselblad@kelvin.net Subject: 70 mm film Message-ID: <199711131555.QAA14968@go.hannover.sgh-net.de> Someone asked for prices of the 70 mm, recently. There are 2 different length available in Germany, exclusively EPR, 19 DIN = 64 ASA. Minimum is 1 roll, no max :). Today, us-$ 1 about DM 1.70, when selling $$$. 1) 30 meters, 100 feet DM 598.-- (about us-$ 352) 2) 4.6 meters, 15 feet DM 139.-- (about us-$ 82). Alf ------------------------------ Date: Thu, 13 Nov 1997 10:13:46 -0600 From: SBONIS@ololrmc.com (BONIS, DR. STANLEY) To: hasselblad@kelvin.net (hasselblad) Subject: Registered: BONIS, DR. STANLEY Message-ID: <1997Nov13.101000.1795.59643@nt_mail1.ololrmc.com> ------------------------------ Date: 13 Nov 97 16:51:16 -0500 From: "=?ISO-8859-1?Q?Andr=E9 Jean Q?= =?ISO-8859-1?Q?UINTAL?=" To: hasselblad@kelvin.net, hagu0009@student.gu.se Cc: hasselblad@kelvin.net Subject: Re: 220 B&W films? Message-ID: Allo! Strangely, I asked myself the very same question about three days ago to have a better perspective on wether to consider a 220 back or simply stick with 120. AFGA Optima 400 RSX 100 Portrait XPS 160 are available in 220 format. Neither SCALA nor the Agfapan APX and APX S (extended red) are available in 220. The SCALA photo gallery (recent prize winners), I found interesting at http:www.agfaphoto.com/gallery/scalagallery/ At Kodak, I'm satisfied that they have Vericolor III VPS / 220. Hope you find this useful, Andr=E9 Jean Quintal ------------------------------ Date: Thu, 13 Nov 1997 19:41:13 -0600 From: "Steve" To: Subject: Interested in trading Message-ID: <199711140146.TAA06567@admin.inetport.com> Hassy system, SWC, or Mamiya 6/7 system for an Audemars Royal Oak Championship in Tantalum. Steve 512.267.1293 yme@inetport.com ------------------------------ Date: Thu, 13 Nov 1997 18:23:10 -0800 From: "Frank Filippone" To: Subject: Scala Message-ID: <19971114021948.AAA13811@default> I just got back from my local dealer. He is selling and processing Scala Film. This is a B+W slide film, available in 35, 120, and 4x5. Has anyone had personal experience with the film? The gent that shot the 120 format pictures used an open shade ( Or maybe heavy overcast day ) condition with his 2 grandkids. Portraits were done informally, with some local weedy vegetation present ( weeds were probably green-grey.) I can only say that rarely have I seen such nice tonal qualities. Skin tones were very clear and shadows ( those that there were) were real detailed. Note: Uses special processing, and the only place to get it done on the West Coast is at Main St. Photo, the camera store in question. Prints can currently be made only on Type R material with a known color bias. Not perfect, but nice for what it does. Processing for 4x5 was 10% more than E6, so the same should hold true for other formats. Thank You Frank Filippone red735i@worldnet.att.net ------------------------------ Date: Thu, 13 Nov 1997 21:43:27 -0500 From: "Bullinger" To: Subject: New member Bio Message-ID: <01bcf0a7$15fc6b40$2e75f5cd@bullinge> Hello all, I am glad to have found this UG. I've Owned a 500CM for 4 years, currently 3 lenses 50fle, 80 CF and 150CF. I like manual cameras, I like to take my time when creating, occasionally when in a hurry I'll break out a F3. I enjoy B&W with a medium yellow filter, I play with Konica IR for the eerie effect it provides. I have a make-shift darkroom in the spare bathroom, and enjoy processing my own film. I have read Ansel Adams Camera, Negative and Print several times, Wildi's Hasselblad Edition IV is another that continues to provide a new tidbit each time I turn the pages. I look forward to sharing ideas an experiences with this UG. good day ------------------------------ Date: 13 Nov 97 22:27:02 -0500 From: "=?ISO-8859-1?Q?Andr=E9 Jean Q?= =?ISO-8859-1?Q?UINTAL?=" To: dannyg1@IDT.NET Cc: hasselblad@kelvin.net Subject: Feedback on general "considerations" Message-ID: Allo! I REALLY appreciate you input/feedback on my "post" Your notes as to the "best" Hasselblad lens sort of match my expectations from "musing" over the technical data. 1/ The CF100, from what I understand, is the "simplest" design, probably less lens flare, just RIGHT for my idea of portraits (the CF150 felt terribly close when I tried it), which, in 35mm, usually revolves about 60-70mm with a Nikon "baby zoom", for the most "realistic" results... I'm "focussing" on this as my SECOND choice as CF50 (or CF60 ???) will most probably wind up as primary "all around lens". 2/ Mirror "flop-flop" is sexy (in a way :=3D) ), but the Leica M4 I once tried got me on that "quiet" count... I even wondered if I actually had triggered the shutter. I'm pondering the idea. 3/ I assume the CF80 most probably is an excellent lens. It's just that this focal ("normal"), I just hardly ever use in 35mm: I like just a little "closer". Since this equipment is real expensive, I ruled it out altogether and would much sooner get a moderate wide-angle..., CF50 or CF60 if only one lens to "start". My "practical" second lens most probably would be the CF100. I'm not even sure of a third lens; a CF180 would probably be my choice. But I don't know about a Teleconverter on a CF100 ??? 4/ The question of "backs": I've been checking what's available in "220" to "ease the pressure" and not be stuck with changing 120 magazines right in the middle or a high point of an event VERSUS "static" or "semi-static" landscape or architecture related "shots"...: to try and postpone the expense of a second back. I'm appaled that there are so few 220 choices available, though what I've found is totally consistent with my needs. I expected most 120 people would buy a lot of 220: it seems I was wrong. The challenge is that I "either" need low speed high resolution film or rather fast ISO 400 or higher film speed as a matter of experience. Very seldom the "in-between" speeds. Would you believe I still prefer Kodachrome 64 for my private needs? There's something to my results with that film, and trust in processing, that keeps me coming back. Also, whenever I've used Agfa color film, the results have been truly very good, except my first roll of CN12, eons ago, that turned out "David Hamiltonish" pastels... Everything else "AGFA" has been very good. I'm TOTALLY IMPRESSED that FUJI doesn't package SUPER G 800 PLUS in 120-220. They'd sell tons, I'm sure. Perhaps it's a case of "inside marketing data" ? It seems that Kodak T*Max 3200 is not available in 120/220: that's a real surprise, unless what I've found is wrong. 5/ Hand held photo at 1/8th !!!!! Talk about "a cool steady hand" ... Maybe it's a consequence of medium-format ergonomics, and photographer "posture", ... it can only be good news. I'll try it. 6/ If you ever wind up on a "deserted" beach, the very first thing you'll find yourself thinking about is a whole bunch of shots that will "surface": your MIND is the PHOTOGRAPHER. You'll die thinking "photo" ! 7/ "Talking to myself" was just a way of conveying a less formal style. Maybe I'm just too French canadian and not enough "business"... :=3D) No evil intended. I'm sure other people who read this have been triggered into thinking anew on what might have been "forever cast" ideas and "personal options": the best thing would be a round table and beer (!), or lots of Absolut vodka (Coca-Cola for me; no alcohol) and a Hasselblad insider from Sweden with a photobags full of "emerging" "tentative" designs... and/or an artist's canvas bag full of outstanding enlargements. I really appreciate your input: very much so. You obviously have a lot of practical experience. I'm very satisfied, also, that many of my "definitive" options were not far off the mark, in the eyes of a pro like you. Getting proper perspective on such a big purchase is not that easy, so your comments are very much valued. Thank you very much, Andr=E9 Jean Quintal PS 01: You fantasize a deserted beach, but I've had this fancy: Springtime Morocco with a week or more in Fez and Rabat when the whole country is clad with flowers and not smeltering hot yet. If that's not a top photo spot, I wonder what is. Maybe it'll work out some day, with the right people to escort me for the language and the P.R.: they have a different notion of privacy and cross-cultural interaction around there, but it can be done. Fez is replete with photo ops. Dream on, my soul! PS 02: I was going to make this a private e-mail. But it may be useful as a post to another person... So I,ve posted the e-mil list as well. ------------------------------ Date: 13 Nov 97 22:27:21 -0500 From: "=?ISO-8859-1?Q?Andr=E9 Jean Q?= =?ISO-8859-1?Q?UINTAL?=" To: dannyg1@IDT.NET Cc: hasselblad@kelvin.net Subject: Feedback on general "considerations" Message-ID: Allo! I REALLY appreciate you input/feedback on my "post" Your notes as to the "best" Hasselblad lens sort of match my expectations from "musing" over the technical data. 1/ The CF100, from what I understand, is the "simplest" design, probably less lens flare, just RIGHT for my idea of portraits (the CF150 felt terribly close when I tried it), which, in 35mm, usually revolves about 60-70mm with a Nikon "baby zoom", for the most "realistic" results... I'm "focussing" on this as my SECOND choice as CF50 (or CF60 ???) will most probably wind up as primary "all around lens". 2/ Mirror "flop-flop" is sexy (in a way :=3D) ), but the Leica M4 I once tried got me on that "quiet" count... I even wondered if I actually had triggered the shutter. I'm pondering the idea. 3/ I assume the CF80 most probably is an excellent lens. It's just that this focal ("normal"), I just hardly ever use in 35mm: I like just a little "closer". Since this equipment is real expensive, I ruled it out altogether and would much sooner get a moderate wide-angle..., CF50 or CF60 if only one lens to "start". My "practical" second lens most probably would be the CF100. I'm not even sure of a third lens; a CF180 would probably be my choice. But I don't know about a Teleconverter on a CF100 ??? 4/ The question of "backs": I've been checking what's available in "220" to "ease the pressure" and not be stuck with changing 120 magazines right in the middle or a high point of an event VERSUS "static" or "semi-static" landscape or architecture related "shots"...: to try and postpone the expense of a second back. I'm appaled that there are so few 220 choices available, though what I've found is totally consistent with my needs. I expected most 120 people would buy a lot of 220: it seems I was wrong. The challenge is that I "either" need low speed high resolution film or rather fast ISO 400 or higher film speed as a matter of experience. Very seldom the "in-between" speeds. Would you believe I still prefer Kodachrome 64 for my private needs? There's something to my results with that film, and trust in processing, that keeps me coming back. Also, whenever I've used Agfa color film, the results have been truly very good, except my first roll of CN12, eons ago, that turned out "David Hamiltonish" pastels... Everything else "AGFA" has been very good. I'm TOTALLY IMPRESSED that FUJI doesn't package SUPER G 800 PLUS in 120-220. They'd sell tons, I'm sure. Perhaps it's a case of "inside marketing data" ? It seems that Kodak T*Max 3200 is not available in 120/220: that's a real surprise, unless what I've found is wrong. 5/ Hand held photo at 1/8th !!!!! Talk about "a cool steady hand" ... Maybe it's a consequence of medium-format ergonomics, and photographer "posture", ... it can only be good news. I'll try it. 6/ If you ever wind up on a "deserted" beach, the very first thing you'll find yourself thinking about is a whole bunch of shots that will "surface": your MIND is the PHOTOGRAPHER. You'll die thinking "photo" ! 7/ "Talking to myself" was just a way of conveying a less formal style. Maybe I'm just too French canadian and not enough "business"... :=3D) No evil intended. I'm sure other people who read this have been triggered into thinking anew on what might have been "forever cast" ideas and "personal options": the best thing would be a round table and beer (!), or lots of Absolut vodka (Coca-Cola for me; no alcohol) and a Hasselblad insider from Sweden with a photobags full of "emerging" "tentative" designs... and/or an artist's canvas bag full of outstanding enlargements. I really appreciate your input: very much so. You obviously have a lot of practical experience. I'm very satisfied, also, that many of my "definitive" options were not far off the mark, in the eyes of a pro like you. Getting proper perspective on such a big purchase is not that easy, so your comments are very much valued. Thank you very much, Andr=E9 Jean Quintal PS 01: You fantasize a deserted beach, but I've had this fancy: Springtime Morocco with a week or more in Fez and Rabat when the whole country is clad with flowers and not smeltering hot yet. If that's not a top photo spot, I wonder what is. Maybe it'll work out some day, with the right people to escort me for the language and the P.R.: they have a different notion of privacy and cross-cultural interaction around there, but it can be done. Fez is replete with photo ops. Dream on, my soul! PS 02: I was going to make this a private e-mail. But it may be useful as a post to another person... So I,ve posted the e-mil list as well. ------------------------------ Date: Thu, 13 Nov 1997 23:02:22 -0500 From: Marc James Small To: hasselblad@kelvin.net Subject: Re: Feedback on general "considerations" Message-ID: <3.0.3.32.19971113230222.00735fa4@roanoke.infi.net> In response to Andr=E9 Jean Quintal: a) I note from the names on the postings that a LOT of us are Rolleiflex and Leica M shooters. We like quiet cameras. That's a selling point for Hassie: it doesn't have a lot of mirror-shake. b) I, for one, have little use for wide-angle lenses. These tend to be often abused as tools to avoid people and to minimize their effect. I want the faces, lines, wrinkles, warts and all. So a normal lens is a wonderful thing, to me. c) 220 is okay. 120 is okay. Once you have adjusted to shooting MF films, you won't feel the urge to zap off shots the way a mechanized Nikon or Canon shooter does. To the contrary, each picture becomes a work of love, thought out. The 12-back works fine for most of us. 220 is grand for event photographers, but, as for me, most folks can't stand to have me in their presence, so I do a lot of shooting alone. d) My suggestions for a basic Hassie lens set would be: 4/50 Distagon (buy an old chrome C lens -- you can get one for under a thou if you are patient) 2.8/80 Planar T* (you can get one for $600 with some patience) 5.6/120 S-Planar (a grand lens, and inexpensive. Buy the f/4.0 variant if you are married to wealth or have just won the lottery) =09 If you have these three, you won't want much else. 3) I do recommend a Kiev prism. First, this has European, not Japanese, glass in it, which my snobbishness causes me to prefer. Second, if you buy a metered version, these are terribly overbuilt in the Grand German Tradition. I shoot chromes with mine, without a quibble, even on my micro work with a Luminar. Works fine. AND I have mine fed with silver-oxide cells, and not mercury: the Kiev prism, like most photo gear European, has inbuilt voltage regulators, so you are spared the purchase of Wein aircells and the like. Marc msmall@roanoke.infi.net FAX: +540/343-7315 Cha robh bas fir gun ghras fir! ------------------------------ Date: Thu, 13 Nov 1997 23:12:27 -0500 From: Tom Campbell To: red735i@worldnet.att.net Cc: hasselblad@kelvin.net Subject: Re: Scala Message-ID: <346BCFAB.6686@bellsouth.net> Frank I shot one roll of 35mm Scala--the rest of the five roll pack's still in the freezer. I primarily wanted a speed/contrast test for future use as needed. The test roll was shot of flesh tone, white textured blouse, grey card and grey scale. The test was done in bright sunlight. I found the film fairly contrasty in sunlight, and would put the speed to hold high values at about 350-400. The tonality, except where contrast was a problem, looked wonderful. The color is a slight warm-brown. I need to shoot another roll under less contrasty light, as I think the scale would match a little better. My initial impression--a good film, a bit faster than they claim (I called the lab after receiving the processed film, and they said 200...but I might have been talking to a clone...I know highlights washed at 200). Like all transparency films, maybe more so because you expect a tonal range in B&W longer than with color, you need to watch the high values carefully. I think in the studio or under "cloudy bright" it would perform better than direct sunlight, unless a high contrast was desired. The only other caveat, which obviously won't apply to you, was that processing was slow---took several weeks to get the "monochromes" back--this was from Duggal in NYC. Since it was only one roll, I can't comment on a general turnaround time. I believe I read somewhere that the chemicals or formulas are now available for personal use...I bought the film from Duggal when it first came out, so I'm using their processing at least 4 more times, it's paid for! I haven't used it in any other formats, nor have I done any printing or scanning--my results should be considered very preliminary. Tom Campbell tcphoto@bellsouth.net ------------------------------ Date: Fri, 14 Nov 1997 20:34:58 +0000 From: dannyg1@IDT.NET To: hasselblad@kelvin.net Subject: Re: To Hassy or not to Hassy, that is my question Message-ID: <346CB5F2.59ED@mail.idt.net> Henk, > I used the Zenza Bronica and was fairly disappointed > about the sharpness; the vibration due to the mirror movement was the last step > towards the Hasselblad. The older Bronica S2 series was infamous for its vibratory failings. You aren't using an F series H'blad, are you? ;^j To be fair, the F cameras vibrate plenty; especially the titanium shutter versions. They ring like a bell at exposures end. I find the 500 series cameras to be right about middling as compared to other cameras in regard to vibration. Danny Gonzalez ------------------------------ Date: Thu, 13 Nov 1997 20:00:47 -0600 From: "Steve" To: Subject: Interested in trading Message-ID: <199711140538.XAA17948@admin.inetport.com> Hassy system, SWC, or Mamiya 6/7 system for an Audemars Royal Oak Championship in Tantalum. Steve 512.267.1293 yme@inetport.com ------------------------------ End of hasselblad V1 #9 ***********************