Hasselblad 500CM, EL, EL/M by Richard de Bulat
I had a clutch of Hasselblads for this review, an EL, EL/M and the ubiquitous 500CM and shot two rolls of Tri-X developed in Ilfosol. Each camera had a different lens, so I used the 150mm, the 50mm and the standard 80mm and I used a Pentax Spotmeter to get a light reading. As ever with a camera test, I had to choose a subject to shoot and since I have a particularly busy schedule at the moment, I chose to use some domestic scenes, shot early in the morning and in natural light. To push the contrast slightly, I over exposed slightly and under developed slightly, rating the film at 320asa. In better light I would have rated the film at 200asa which, in my opinion, shows the film at its best, but you can rate Tri-X at just about anything and get unmistakable Tri-X characteristics.
Hasselblad is one of those cameras that everyone wants and, like Leica, most people think they cannot afford, but if you want one at a bargain price, buy an EL or EL/M which is the model NASA sent to the moon. Get an EL with a 150mm lens and it will be cheaper than many medium format cameras that are popular choices, today. The EL is electronic; typically it has been converted to a 9v battery and works like a dream, although it is heavy. The EL/M version allows you to swap out the focus screen, but other than that, the two models are the same. There is a variation between the A12 backs, but any working version is good.
The real test of any camera and lens combination is how it responds to light, particularly when there is not too much of it. In the case of a medium format camera, there are mechanical considerations as well as optical. The Hasselblads’ Carl Zeiss lenses are nothing less than superb, but the mechanics mean that there is a large mirror that moves as well as rear curtains, all of which can be heard when you press the shutter. My shutter speeds ranged from 1 sec. To 1/4 sec. Providing plenty of opportunity for mirror slap, but the Hasselblad system for holding film flat ensures that there is no movement in the film plane. In addition, the light fall-off from the brightest part of the shot towards shadow and black is smooth and naturalistic, offering good contrast, without being harsh.
While the waist level finder is useful in most situations it is more viable to use other finders particularly if you are shooting up or down to any extent; I used a 45 degree metered prism finder that is useful in most situations and also a chimney finder that helps with focus in very low light, in my opinion. I also used a fast focus do-hicky which is useful as the lenses have the longest throw imaginable between infinity and close-up. Naturally, because of the low light, all of the shots involved a tripod.
When using the 500 CM, you have to make sure you press the shutter fully and hold it until the shutter mechanism finishes its cycle; this is most important when using slow shutter speeds, or you might end up with the rear curtain forming part of your shot. No such issue with the EL’s as they go off like a rocket – in fact, if you hold the shutter button with them and you will get multiple shots.
So, what’s it like to shoot with a Hasselblad and why would you want one? Well, there must be a reason why so many professionals chose to use these cameras and still do, but I’m not sure it’s because there is some unique experience over and above using any other camera. Ruggedness and durability is a factor, as is the quality of the lenses, but other camera brands will give good service and have sharp lenses. I think that the reason to choose a Hasselblad is because the images you produce, like Leica, have a unique look that is identifiably Hasselblad.
I don’t think that every camera brand is unique, since they aim for ubiquity and, therefore, there is no reason for them to be different and, ordinarily, no one cares what camera you use. But where you want a particular look that is not the same as everything else out there, the Hasselblad can give it to you; even if the difference is a slight one, it is still different .
