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Hasselblad Guide Reference guide
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- Hasselblad
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- Hasselblad Guide
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- Reference guide
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- English
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- 58
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- Category
- Film cameras
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HASSELBLAD1600 F HASSELB1ADl OOOF HASSELBLAD5OOC HASSELBI-AD5OOEL HASSELBLADSUPER-WIDE HASSELB1ADSUPER-WIDECView original page 2
Page 3 · Read text
pc 0 M LETE oneIl5 :i"t?'::-11i,1'J,:.0,"."'i.*i:lmake of camera, but- lt ls not i
(J = t;;';i;;-lt.'rr'i'Zr'" eiai i'-i I Focal Press publicatlon.",i lt ls not
CL fi sponsored or censored by manu-
# ficturers, or dependenron'rhem in
o 06 an/ way. The Comero Guldc ts as
L) ,-l scrupulous.In, fully describlng-asthe
DltCtfllR OU|DE camira and advisingon its use the
very best type of manufacturer's
book of Instructlons. lt is, however, more critlcal than
they could be. No ComeroGuldewill attempt to camouflage
the llmitatlons of a cameraor make efforts to sell an endless
chaln of accessorles.lt ls straightforward, practlcal and
devoted to the q uestionsof how to take the best photographs
with a particular camera, rather than to praise of it. The
ComeroGuide.ls compiled by an author who has had long
experiencein handlingthe equipmentin quesrion.lt repre-
sents a! the same time the gist of all availablellterature
colfected by the Focol Press Ctrclc of Photogtophcr.sand
filseredthrough their consideredludgment.
First Edition:October 1962 REPRINTEDNovember,19gBby A
SecondEdition:February1966 PHOTOGRAPHERSptACE, 133 Mercer
Third Edition:July 1969 Street,New York, Ny 1 OOIZ,U.S.A.
www.butkus.us
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Pogc Page
Closc-up Ranges with the Focusing Ranges with the THE HASSELBLAD SYSTEM
60'mm. Distagon /4, Extension Bellows 69
the 80-mm. Planar 12.8, Shutter Speeds to Arrest The Hasselblad single-lens reflex camera is one of the
the 150-mm. Sonnar/4, Movement 69 very few models of this type designedfor 2lx2l in. size of Film Speed Conversion and the 250-mm. Sonnar 70 pictures on standard 120 roll film. It is extremely versatile Systems 67-6E s.6 f F o c u s i n g R a n g e s w i t h Colour Films 70 in its application through a system of interchangeable film
Extension Tubes 66 Black-and-white Films 7l backs for different picture sizes and types of film. Its inter-
The green section belween pages24 and 25 changeablefocusing hood permits both waist-level and eye- Tlrc Ha*elblad 1N)C level reflex focusing. The interchangeable lens system offers I
Shooting 2 - Special Controls 4 wide-anglenormal and tele views.
TIrc Hcrr,elblod S(NEL ? Basically an instrument for all general photographic
Shutter Release Methods 7 - B and T Exposures 8 - Alter- work, it can be adapted through a wide range of accessories
Release Methods 8 - Remote-control native Release by for any specialized field, such as press, portrait, fashion, Radio 8 - The Hasselblad 5008L Batteries 8 nature, advertising, architecture, industry, medicine, photo- and IOOOF 16O0FThe Hatselblad 10 copying, macrophotography and photomicrography. l2 l0 - Special Controls Shooting Despite its versatility, the Hasselblad is essentially simple Halr,elblad Vide CTlrc Super and Super V-ide I3 to handle, even in the hands of the average amateur l4 l3 - Special Controls Shooting photographer. The body houses the reflex mirror with Haetdblad Lensec ond Finders , .I8 ground glass screen, and a simple auxiliary shutter which Lenses for the flasselblad 500C l8 - Changing the Lenses of the 500C 2l - The Lerses for the Hasselblad F Models acts also as capping device for the film while aperture and
2l - The Super Wide-angle Lens 22,- Changing the 1000F shutter are open for viewing and focusing. On the front of
Attachments 1600F Lrlrrsri: 22,- l-ens Hoods 22 - Filter and the body is the bayonet lens mount flange, accepting a range 24 - Attachments Interchangeable Finder Focusing and 24 - The Ground Glass Adapter 25 of interchangeable lenses (each with its own shutter), and
the releasebutton with lock for long time exposures. EguipmtntClae-up 26 The rear of the body takes interchangeablefilm magazines 26 - Extension Tubes 26 - Extensibn Bellows Proxar Lenses
28- \sscmbling the Extension Bellows 28- Using. the which click into position with a special locking catch.
ExterrsionBellows28'- The Transparency Copy Holder 30 - The top incorporates the ground glass reflex screen with
The Microscop€ Adapter 30 - The Microscope Shutter 30 a Fresnel-type field lens. Above this is a groove accepting
lliscdloneous Aeceuories 32 a folding finder hood with built-in magnifier for critical
The Raprd Winding Crank 32 - The Winding Knob with focusing. This is interchangeable with a hooded focusing
Exposure Meter 32 - Exposure Meter Attachment 32 - magnifisl or an eye-level pentaprism. The base of the body
Wrist Flash Holder The Exposure Strap 34 - Meter - The incorporates a plate designed as a quick change tripod Handle 34 Attachment Focusing 34 - The Quick Quick Tripod Coupling 34 - The Pistol Grip with Release attachment slide and features both Continental and inter-
34 - The Flash Gun Bracket 34 - The Spirit Level 36 - The national tripod bushes.
Checked Screen 36 - The Cut Film Adapter 36 - Loading One side wall of the body has a shoe for fitting a sports
to the the Adapter the Cut Film Holder 36 - Attaching - finder, flash contact for the auxiliary shutter, and flash 38 for the Hasselblad 500c Camera 38 - Polaroid Back
Command Unit 38 - Underwater Equipment 38 cable bearer. The other side carries the film transport knob
which also sets the shutter and which is interchangeable @ Focal Press Ltd., 1969 www.butkus.us
SBN 2,10 4966 5 4
Printedand bound in o..., Limited at their Rochestcr.
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HASSELBLAD EVOLUTION HANDLING THE HASSELBLAI)
In order to simplify the description and handling of the
Thc Hesselblad camerls cvolved elong two parellcl Hosselblad camera without being confused by diferent
lines. On the one hand there are thc normal features of individual models, this Guide is divided into a models, sterting with the (first I6OOF introduccd in 19.18) and followed by the IoOOF in 19S2. Thcse general section which applies to all Hasselblad models and a
c:am9l1sl wit.h-!o_cal plane shuttcr, were repleced by section of greenpagesto cover the individual requirementsand thc 50OC in 1957 which undcrwent minor'chrngej,
in particulrr in the design of the standard wairt- diferences in handling of each model.
level hood. The 500EL, introduced in 1955. is a
500C with electr:ic built-in motor.
The Supcr Wide serics st.rted with the oritin.l For conveniencea symbolicreferencesystemis also usedin theSupcr Widc in 195,t, which was superseded by r generalsection.Whereverthe sigrrI appears,furtherdetailswill bemodified model C in 1959. foundin the camerapagesof the greensectionfor eachcamera.The
sigr O refersto lensandtDO to accessorydetailsin thegreensection. The appropriatepagesare markedaccordinglyin the bottomleft- or
right-handcorner.
Holding
Naturally the camerashould be held as steadyas possible
as the slightestcamerashake,evenif not seenin the negative,
will becomevisible in the enlargement.
There are various ways of holding the camera.The basic
method is to carry the camera on its strap-which should be
passedround the back of the neck. Hold the camera in the
left hand with the index finger of the left hand on the release
button. The right hand remains free for transporting the
film, setting shutter speed,aperture and focus. Pulling the
camera down against its strap will help considerably to
steady it at the time of exposure.
When the magnifying hood is used, pressthe eye against
the eyepiece.Insert both hands from below through the
carrying strap (adjust its length to suit); this provides
additional steadyingsupport.
Virtually the same holding position can be adapted when
using the camera at eye-level with either the sports frame
finder or the pentaprism.
To releasethe shutter, press the releasebutton with the
ball of the index finger. Use finger pressureonly, and keep
the hand and its grip on the camera steady. The actual
pressure should be slow and smooth. The slower the
exposuretime, the smoother must be the release.
l0View original page 8Page 10 · Read text
it is not so easy to adjust the lens exactly to its sharpest the prism sports viewfinders, where the image appearc
setting. Such critical focusing also leads to emphasisof the upright and the right way round. These are therefore thc
main subjectby good definition-thereby separatingit from finder units to choose when the cameras should be used at
its background. This is the first decisivestep from the casual eye-level for viewing and focusing, particularly when fol-
snapshotto a real picture. The focusing screenis the most lowing moving objects with the camera.
efficientmeansof photographic education. Unlike any other The sports frame finder serves the same purpose as thc
viewfindei it presents a two-dimensional, full-size preview pentaprism and prism sports finder, but does not permit
of the photograph as it will look later. The man who cannot reflex focusing at the same time. This is therefore primarily
be taught to "see" photographically by the ground glass of intended for sports, landscape,or other distant subjects,or
a camera will never learn to do so. for shots where you pre-focus on a subject that remains at
To open the hood, push its catch to the right. The hooding the same distance from the camera.
of the finder keepsstray light from the screen,and so makes A separate frame viewfinder for Sonnar 150 and 250
the images appear brighter. To close the hood first fold lensessnaps on the lens hood.
down both sides,followed by the back and finally the front.
Although you are likely to hold the camera reasonably Focusing Technlquelevel, make sure that vertical and horizontal lines of the
picture run parallel to the crossengravedon the screen.You The best way to arrive at critical definition is to turn the
can tilt the cameraintentionally, but seethat the effect does focusing mount of the lens slowly to and fro while observing
not look like an accidentaltilt. the subject to be focused on the ground glass. As you turn
The picture on the screen appears upright, but reversed the mount, the image becomesmore and more sharp up to
left to right. Movements are also reversedleft to right; to a certain point, beyond which it will again lose definition.
follow moving subjectsyou thereforehave to turn the camera At this "beyond" stage,turn the mount back again, narrow-
against the apparent subject movement. ing down the degree of movement until you arrive at the
point of best definition.
Vaistleoel and Eye-leoel Yieuing The Hasselblad has a magnifier built into the focusing
With the camera held at chest or waist level for reflex hood to determine the point of best definition. To bring it
viewing you seemany popular subjects<hildren, animals, into action push the hood opening catch fully to the right.
people sitting down-from a more natural viewpoint than When closing the hood, fold the magnifier back first.
when looking down from eye-leVel.More natural, that is, The orthodox way of focusing with the ground glass
for the subject, for the camera gets down automatically to screenmay be adopted for taking photographs of subjects
the subject level. Informal portraits, candid studies, can be that are fairly stationary. A different method of focusing is
got quietly and without fuss. required when taking subjectsin motion. Set the lens to a
For unobserved shots hold the camera at right-angles, distance at which the subject will be in a given moment, or
with the lens pointing to the left or right instead of straight focus at some spot which it actually has to pass,and press
ahead. To take pictures over the heads of a crowd or to the release button when the subject is reaching the pre-
obtain a higher viewpoint, hold the cameraaboveyour head, focused point.
viewing up into the reflex screen. With subjectsliable to react self-consciously(e.g.children)
The camera is used at eye-level with the pentaprism and set the lens to a suitable distance, and then approach the
l 3
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subject, exposing as soon as the screen image appears THE INTERCHANGEABLE FILM
sharp. MAGAZINE
Alternatively, focus at some object which is at the same
distancefrom the camera as the subject, but in a different C)ne of the most important features of the Hasselblad
direction. When you have found the range swing round to camera is the interchangeablefilm magazine. This is the
pressthe releasebutton as soon as the subject slips into the film holder which is loaded and unloaded independentlyof
field of view of the finder. the rest of the camera. The use of film magazinespermits
film changing at any time.
Shooting Each magazinehas a casing of stainlesssteel.The ends of
Practise the following operations first with the empty the case are aluminium, polished and chrome plated to
camera with its film magazinein position until you can do resist wear and scratching. The spool holder is aluminium
them practically automatically. alloy. The pressureplate is precision turned and has a black
1. \ilind the film transport. This advancesthe film and film anodized surface.
counter, tensions the shutter, opens the aperture (in C
models) and brings down the mirror ready for the next
exposure. Illagazine lllodels
2. Open reflex hood to focus for a preview of the picture you THE STANDARD MAGAZINE is in two versions-
want to take. the Al2 and the 12. Both take 120 roll film, giving 12
3. Set the exposure.Adjust the shutter for the right amount pictures2tx2t in., with automatic stop after l2 exposures.
of light for the subject conditions (seepage 32). The A12 also has automatic stop at first frame and can be
4. Select the aperture-speedcombination you want to use; loaded faster.
smaller apertures for greater depth of field (page 48) THE 16 MAGAZINE takes 16 pictures l$x2| in., still
or faster speedto arrest movement (page 47). on size 120roll film, but with the picture area maskeddown.
5. Determine the exact picture area and focus. This offers a certain film economy, especiallywhen using
6. Releasethe shutter gently. colour film. The film counter on the magazine counts
exposuresup to No. 16. A ground glassscreenmask is also
supplied with the magazine, with markings to show the
limits of the lf x l[ in. super-slidesize. This gives a guide
to arranging a picture for subsequenttrimming down to a
miniature slide format for mounting in 2x2 in. slide
holders.
THE 165 MAGAZINE is similar to the 16 magazine,but
the film aperture is masked down to lf x l{ in. A ground
glassscreenmask is supplied with it. This magazinedirectly
yields transparenciesof the correct size for mounting in
2x2 in. slide frames. www.butkus.us l 5 l5
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releasecatch clockwise. This has the double action of the cameraat all for reloading,as all the stepsare equally
locking the spool holder in position and releasing the possible- while the magazineis on the camera.
clamped-down paper. The metal panel indicating the film plane on the
outside of the magazine (a circle with a vertical line
5. S€t the first exposure.Open the film window cover in the through it) may be used for pencil notes,e.g. exposure,
back of the magazineand turn the winding knob until developingor subject data. The notes can be removed
No, I appearsin the rear window. The winding key is with a damp cloth or india rubber.
the key in the right-hand side of the magazine,i.e. the
same iide as the signal window and the film counter llnloading the Rollfilnt Magazine
window. Now turn the film winder anti-clockwiseas far After all exposureshave been made, the shutter release
as it will go. Always keep the film window cover closed- on the camera is automatically blocked. So you cannot
except when getting the magazine ready for the first accidentallytake pictures without film. The film counter
exposure. window in the side of the magazine always shows the
This causes No. I to appear in the automatic film number of exposures.When this reachesNo. l2 (or No. l6
counter window on the winder side of the magazine. with the l6-exposuremagazine),unload the film.
Always set the counter window to No. I immediately; There is no need to remove the magazine from the
if this is overlooked you will get uneven spacingbetween camera for unloading.
the individual negatives and possibly lose the last l. Wind off the film end. Turn the winding key until the
exposure. paper end disappearsin the film window in the back of
6. Set the film indicator. This is advisableeven if only one the magazine(open the cover to check) and the film is
magazineis used, and becomesessentialwhen you work completelywound on to the take-up spool.
with severaltypes of film. The film indicator is on the 2. Removethe spool holder as describedfor loading.
back of the magazine.On it you can set the speedof the 3. Removethe full spool of film from the spool holder. Seal
film in ASA and DIN (white figures on black) and also the end down to prevent accidentalunrolling.
the type of material. The latter you set in the cut-out by 4. Re-insert the spool holder into the magazine(as described
turning the milled centre button. for loading, step No. 4), or reload with film.
The various symbols are as follows:
red star with * sign : daylight colour reversalfilm; Early lllagazines
red star with - sign : daylight or universal colour Magazincsof serialnumbersbelow20000areof a somewhatdifferent constructionand will not fit the Hasselblad500Cor SuperWideC. negativefilm; The current magazines will fit all models.
red bulb with + sign : artificial light colour reversal These early magazines can be recognized by the eiposure counter
film; window which is below thc film transport key. On the current ones thc
red bulb with *- sign : artificial light colour negative film counter is close to thc signal window. Also the film window cover
film: on Earlythe backmagazineshas no havefilm notypeautomaticand speedreleaseindicator.lock to prevent exposures
divided black and white circle - black-and-whitefilm. beyond the last film frame.
The only differencc in handling arises after turning the film transport
7. Attach the loaded magazineto the camera (see page l8). key to bring No. I into thc film window in the back of the magazine.
However, there is no need to remove the magazinefrom Ori tne earli models the key is then turned anti-clockwise a number of
2 L 22
..,:i:;:;i.,t'View original page 14Page 15 · Read text
turns (in place of a quarter turn as on the currcnt model) until it comes As the new 220 film is without backing paper the light
to a definite stop, when No. I appears in thc film counter window on leaking through the film window must be shut out by a
the side. light-tightplug which is fitted on to the film window, from
Changing P artly E r po sed Dlagazines insidethe magazine,with the number "220" facing outwards
or by fixing black tape across the film window. The 220 One of the main featuresof the Hasselbladsystemis the film hasan arrow going acrossthe first papersection;it has easeof changingfrom one magazineto another after any no numberingbut there is a dotted line about 6 in. before number'of exposures.The procedureis as follows. the crosswisearrow. To obtain the most even spacing l. Turn the film transport of the camera. This tensions the betwecnnegativeliames the appropriateinstructions(below) shutter and advancesthe film, setting both signals to should be usedin accordancewith the serialnumber of the white. (While not essential,this is a strongly recom- magazineemployed. mendedprocedure.)
2. Insert the sheath into the magazine. Magazine Serial No. fi)l-19999
3. Removethe magazinefrom the camera(seepage l8). l. Thread the film in the usual manneron to the Hasselblad
4. Attach the alternativemagazine(seepage l8). spool-holder.The protectingpaper is drawn forward so
that the dotted line comes to the centre of the receiving Deliberate Double E x posures spool.
While the construction of the camera automatically 2. After the spool-holder is inserted in the magazine,set
preventstwo exposureson one film frame, deliberatedouble the exposure-counterat l.
exposures are possible. The procedure, after the first 3. Wind the film forwards 7 completeturns (14 half-turns).
exposul'e,is as follows: 4. Expose 12 frames(no stop).
1. Removethe magazine. 5. Resetthe exposurecounter to l.
2. Tension the shutter without magazine attached to the 6. Expoie another l2 frames(no stop).
camera.
3. Attach the magazineagain. Magazine Serial No. 2fi)fi){4399 iI
4. Releasethe shutter. l. Thread the film in the usual manneron to.he Hasselblad I spool-holder. The protecting paper is drawn forward so I Quick Vinding Crank that the dotted line comes to the centre of the receiving
This specialcrank for film magazinesis attachedto the spool.
loading key of the magazineand permits quick winding 2. After the spool-holder is inserted in the magazine, set
forward to the first frame and equally on winding off film the exposure-counterto l.
after the last exposure. 3. Wind the film forwards l0 completeturns (20 half-turns)
or until the frame number 8 begins to appear in the
22O Film exposure-counterwindow.
Primarily designedfor the professionaluser. 220 film 4. Resetthe exposure-counterto l.
permits24 exposures2l x 2l in. square in the standard 5. Expose l2 frames(until stop).
(continued on paPe 25 olier the green Pafe seerisnl Hasselbladmagazineon observingthe following points:www.butkus.us 23 24
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, THE HASSELBLAD sOOEL B and T Erposuret
The Hasselblad S(X)EL is basically a Hasselblad 500C, but it has an Exposure times between I sec. and I minute, which are to be released
electric motor drive built into its base. This motor undertakes the by nrcrns of the release buttou or remotely by radio or cord, should
mechanical tasks of advancing the film and cocking the shutter, giving have the shutter set to "8". For time exposures in excessof I minute,
the photographer greater freedom to concentrate on the actual photo- the shutter should be opened by moving the lever to "T" (with the
graphic work, focusing and exposing. The motor is powered by one or shutter set to "B"). To close the shutter, set the time lever back to the
two rechargeable batteries, each giving 1,0fi) exposures per charge. "O" setting. This advanccs the film and cocks the shutter. To save
The camera uses the same lenses and shutter, finder and magazine the batteries use the time lever for exposures in excessof I minute and
unit as the Model 500C. As it is best used with the magazine giving also when making exposures with the self-timer.
70 pictures, it is usually supplied as the 500EL/70.
Al t e r natio e Rel ea s e III eth o d s Shufier Relearc ilIethods
Thcre are two releases on the camera front and one on the side.
The shutter release of the Hasselblad 5008L can be operated in the Normal exposures are made with a release button, which can be at-
following ways: tached to either of the two front sockets.
l. By release knob on the camera in the conventional way. To wolk away from the camera, release cords measuring I ft., lp ft.
2. With the remote control cable at varying distances from the camera or 20 ft. can be connected to either of the two front sockets. When
of up to 100 ft. or, with an amplifier, up to 2fi) yards. using these cords, the release button need not be removed and can be
3. By remote Control radio signal without cable connection. used as an alternative release.
4. Automatically with an electric timer for programmed exposur€ at The side socket is used to recharge batteries in the camera with the
fixed intervals. recharge unit and also in conjurrction with the release cord SKl50
5. Automatically to take a series of rapid sequence shots. when making exposures at greater distances from the camera, e.g.
Additionally, there are five different ways of making exposures. with the 100 ft. connecting lead.
The chosen method is set on the selector scale on the side wall of the Programmed exposure with fixed intervals from one frame every 2camera. The effect of these settings is: seconds to one frame every 60 hours can with be obtained the timer. indicator set l. With the (: normal to "O" setting), the film is advanced This is connected to the side socket of the camera. The timer is electric
after exposure, the shutter is cocked and thc mirror returns to the and runs off a mains supply. focusing position.
indicator2. With the set setttng), the reaction time to "S" (:speed Rernote-control Relcace by Radio between release exposure and is reduced to a minimum because
with this setting, the mirror is lifted, tire auxiliary shutter is opened A receiver is mounted to the camera accessory shoe and takes power
and the diaphragm is slipped down to the pre-set value beforehand. from the camera batteries. A tone transmitter operating on a 27 mc/s
3. With the indicator set to "SR" (:speed repeat setting), the result radio control band is employed to send a release signallo the camera.
is the same as with the "S" setting above, but the camera remains (In Britain, Post Office authority is required to operate this equipment).
at this setting after exposure.
(:automatic indicator With the4. setting), the camera s€t to "A"
continues to make exposures as an exposure signal is given and the The Hanelblad fiN)EL BaView original page 19Page 22 · Read text
THE HASSELBLAD SUPER WIDE C a range of numbers engraved from 3 to 18. These are exposure
AND SUPER WIDE rangevalues offor shuttercorrect exposure.spe€d-apertureEach combinationsexposure valueof representsequivaleqta
effective exposure. To set the exposure value, slightly push back
These Hasselblad models are part of the Hasselblad system. While the serrated lever on the rim behind the exposure values and move
they are specialized cameras iri their own right, they-can also be the triangular mark beside the lever to the appropriate exposure
considered as front attachments to the Hasselbiad 500C. 1600 F or value (obtained from exposure tables or a meter) on the scale.
1000F. Intermediate exposure values, e.g. 101, l1|, etc., can also be set.
The Super Wide is an extreme wide-angle camera. With an angle of 2b. Set the exposure time and tension the shutter on the Super Wide.
view of 90", it offers a subject field four times larger than the standard Turn the ring behind the front lens mount until its index points to
80-mm. lens with its angle of view of 52". This feature is of greatest the shutter speed required. The engraved numbers 1,2, 5, 10, 25,
value when taking photographs in limited space indoors, and for 50, 100, 250, 500, indicate fractions ofa second and stand, therefore,
architectural and industrial photography. for t, l15,lllO, ll25 sec",etc. Then push up the shutter tensioning
The lens is the 38-mrn. Zeiss Biogon f 4.5. lt is an 8-elerrent con- lever, which is situated between the aperture scale and the flash
struction, focusing fronr 12in. to infinity. The image is free from socket.
vignetting even at full aperture and the lens is fully corrected for 3a. Select the aperture-speed combination of the Super Wide C by
distortion and colour rendering. It accepts Hasselblad'type 63 (Series turning the milled shutter ring. Aperture and speed scales here
VIII) filters which are retained by a filter ring on the lens front move together. The figures opposite each other represent alter-
The body.is very shallow, as this camera has no reflex focusing native combinations corresponding to the exposure value set.
system. Nor is that needed, as the extreme short focal length of the lens Again oniy the aperture and speed actually opposite the black
provides a very large depth of field. A spirit level is let inlo the camera central index line on top of the shutter are the ones in use. To set
top. apertures and speeds separately (e.9. for flash shots), adjust first
The Super Wide models use the interchangeable film back for the.shutter speed and then the aperture on the exposure value
standard Hasselblad roll film magazines and sheet film holder. The settlng nng.
back also accepts the ground glass adapter and magnifying hood. 3b. Set the Aperture on the Super Wide by moving the lever behind the
The top of the camera carries a removable optical direct vision vie w- aperture scale until its index points to the aperture selected.
finder with prism to observe the spirit level. 4. Set the distance. Focus by turning the large milled ring on the rear
The shutter is synchronized for flash bulbs and electronic flash and of the lens mount to bring the required distance figure opposite the
has a delayed-action release. index.
THE SUPER WIDE C has a Synchro-Compur shutter with speeds of 5. View the subject through the finder. Watch the spirit level through
l, +, *, | | 8, I i | 5, I i30, I /60, I I 125, 1 1250,I i50O sec. and B. The shutter the prism. Perfect alignment is essential to avoid distorted vertical
is aqtomatically tensioned on.advancing the film by the film winding and horizontal lines.
crank. It carries an exposure value scale and automatic depth of field 6. Release the shutter gently.
indicators. The base has fitting for instant tripod attachment. The
release button is in the top of the camera body.
THE SUPER WIDE has a Compur shutter with speedsof l, |, 115, Special Controls
lll0,1 25,1i50, l/100, 1i250, LlsW sec. and B. The shuuer has tci
be tensioned independently. A knob is fitted for film transport and a FOR TIME EXPOSURES set the index of the shutter speed ring
depth of field scale is opposite the distance scale. The release button is to B (: brief time).
on the base of the camera front nlate. _ On the Synchro-Compur shutter of the Super Wide C the grecn
ACCESSORIES include the^Super Wide viewfinder, flash gun figures represent full seconds corresponding to the aperture value
blAcket, magnifying hood, ground glass adapter, magazines, sheet 6lm opposite them at a given exposure value. If you want io use one of
adapter, quick tripod coupling, filters, and cases. these apertures, note the time opposite it. Set the aperture separately
b-y depressing the exposure value lever and turning the aperture ring.
Shooting (Leave the shutter speed ring at B.) Then expose for the time which was
l. Windthefilm transportoneturn to a full stop. previouslyFor time oppositeexposuresthatuseaperturea cable value.release to avoid camera shake. On2r. SettheexposurevalueontheSuperW;deC. Theshutterrim carries the Super Wide C this screws into the centre of the body release. For
SUPERWIDE 'T I a t1 SUPER vv|DEView original page 22Page 23 · Read text
THE HASSELELAD SUPER VYIDE C long time exposures, where it is convenient to keep the release de-
pressed, a time catch can be brought into action. The time catch is the
Focur mount small lever with red spot in its top. Push this lever to the T position:
the_shutter will, on releasing, remain open until this catch is pushed
WA finder back to the O position.
EV lever On the Super Wide the cable screws into the cable release socket
Rclcr3e beside the releasebutton. When not in use. the cable socket is covered
Loedin3 key by a dust-excluding screw which has to be removed to insert the cable
Strap button releasr'.As well as a standard cable release. a time lock cable can be
Apc rturas cmployed which has a locking device on the base of the plunger. For
Shutter sPccds long time exposures a cable releasewith time lock is useful.
DOF indicator THE DELAYED-ACTION RELEASE built into the shutter releases
Flesh at any speed set frortr l sec. to I,i500 sec. with 8| sec. delay. It is
t o c k e t brought into acrion on the Super Wide C by moving the grecn iever
on the left part of thc shutter to V while pressing the small protruding
T crtch lock on the left at the sanretime. On the Super Wide ntodel first tension
the shrrtter. and then press the milled knob to the left of the tensioning
Relcasc lever forward and tension egain as far as it will go.
FLASFI SETTINGS. For X- or M-synchronization, set rhe levr'r to
Magezinc crtch the lcft of the shuttcr to X or l\1.
On the Super Wide'IhisC depress also rhe small lock protruding c.n the S i g n a l s .
Spirit level left of the shutter. nrotiei is supplied with a cable bearer. fhis is
a hook lr'ith a ball at its cnd. The ball is pushed into tl.rehollow on the Film countcr sidc irlll ol the trody--sbove the name plate. The protruding hook
Transport crank *ill hold thc lfush ;:rbL'to scL-ure;tto the ffash prlug.
The focusing mounl is thc rerrmost ring on thc lens and carriet thc distance scole. Thc widc-oaglc
tinder incorpor.tei r prism for vicwing rhc spirit lcvel during rhootin3. Thc cxposurc voluc lcvcr rcts
lhe exposurc veluc; thc shutter spccd ring is then urcd to 3clect suitrble aperture-spccd combinations.
The releasc incorpontes e catch for time exposurcs. Thc looding kcy on the mltrzinc rdvenccr the
fifm for thc first exposurc. Thc strdp button tokcs thc <rrrying strap. The depth of field indicotor is
couplcd with the lcns ilpcriurc scttint. Thr signols on the clmere m.t.zinc indicltc the stete of
readincss (after exposure or efter film rransport). Thc /ilm counter show: thc number of exposurer
trkcn. The lronsDora cronk edvanccs the film rnd lt the samc timc tensionr thc shuttcr.
Shootint with the Super Wide C. From left ro right: Wind thc film tranrport; sct the cxposure vrluc;
selcct rn rpproprirte tpcrturc-speed combin.tion; focus the lens (by crtimating thc distenccs); view
thc subiect through thc widc-antlc findcr and prcss the rclcese. www.butkus.us
SUPERWIDE '5 I I t6 SUPER }VIDEView original page 23Page 26 · Read text
Changing the Lenrcs ol the 50OC THE 80-mm. ZEISS TESSAR f 2.8, the standard lens of the later
The lenses have a bayonet mount with four retaining lugs, and one models of Hasselblad 1000F, has the same specification as the Ektar
starting point only. above. The lens is recessed so that no lens hood is needed.
REMOVING THE LENS. The shutter has to be tensioned before THE 135-mm. ZEISS SONNAR/3.5 is a universal long-focus lens
the lens can be removed. Depress the lens catch in the right bottom fgr distant shots. It yields a linear magnification of lJ times compared
corner of the front of the camera body, hold the entire lens mount with with the standard lens. The angle of view is 32" and the focusing range
your right hand and turn it anti-clockwise by a one-fifth turn. Then lift from 40 in. to infinity. It accepts a series VII lens hood.
off the camera body. THE 135-mm. EKTAR /3.5 is similar to the t35-nrm. Sonnar in
FITTING THE LENS. A lens can only be attached to the camera application and performance.
when its shutter is tensioned. Normally, winding the film transport THE 250-mnr. ZETSS SONNAR .f 2.6 has the same construction,
knob tensions the shutter. With the lens removed flom the camera. the specification and perforrnance as the same lens for Hasselblad 5fi)C.
groove on the tensioning shaft in the rear of the lens should then point It takes, however, series IX filters with retaining ring. A lens hood is
to the red mark beside it. If the shutter was released while the lens was supplied with lens.
removed from the €mera it must be re-tensioned before the lens can A 250-mm. ZEISS SONNAR /4 was available for a limited time.
be inse-rted.The simplest way of tensioning the shutter is to place the The overall optical performance at wide apertures is not quite equal
edgtr ef a coin in the groove on the cocking shaft and turn ciockwise. to that of the/5.6 nrodel. This lens uses the special Zeiss filters, which
Thc lens is in the correct position for attaching to the camera body are placed between the lens and the lens hood. The latter comes with
when the red dot in the back of the lens is opposite the corresponding the lens.
mark on the camera body. Push lens into the flange of the body anO
turn the whole lens clockwise until the catch on the bottom right-hanc The Super Vide-angle Lens
corncr of the camera front clicks into position. The 38-mm. BIOGON/4.5 forms part of the Hasselblad Super Wide
A LENS FLANGE designed for photographers who want to use the camera. It can in a way be considered-as a lens unit usable with the
Hasselblad 500C lenses on their enlarger accepts the lens on one side. magazines and other attachments of the Hasselblad system. while the other one will fit most enlargers. To siop down the Hasselblad
lens when on the enlarger, use the manual aperture setting lever. Cl*nging the 7(XNF and 76OOF Lences
The lenses are fitted with a quick change mount.
To remove the lens, hold the milled ring at the base of the lens with
The Lenses lor the Hauelblad. F lllodelt your right hand. Press the lens lock release on the bottom corner on
The interchangeable lenses for these camera models with a built-in the right of the camera front and turn the lens by a third of a turn
focal plane shutter do not have their own shutters. They are fitted anti-clockwise as far as it will go. The lens can noriy be lifted away.
(e1c9nt the 250-mm. lens) with a pre-select iris. This allows presetting To attach the iens, line up tht red dot on the rear rim of the leis
of the aperture at which you want to work. You then focus at ful-l mount with the red dot on the top of the lens flange on the camera
aperture for maximum image brightness on the reflex screen (and body. Turn the lens clockwise until the lens lock clicks into position.
minimum depth of focus for highest focusing accuracy). On flicking
go, the aperture lever as pre- Lens Hood.s far as it will the iris closes down to the
selected stop; you do not even have to take your eye from the screen. The lens hood protects the lens from light coming from outside the
The lenses are fitted with depth of field indicators. The nearest focusing actual picture area.Without a hood, light from objects outside the actual
range of all lenses can be extended with extension tubes and thb picture area reaches the lens and reduces the picture brilliance. This
extension bellows (OO). All lenses accept series VII filter glasses which applies not only to photographs taken against the light-when the
fit1lrg_front ring of the lens and are held in position by a retaining ring. hns hood becomes indispensable-but to sunshine in general, as well
THE 60-nrm. DISTAGON.I 5.6 is a wide-angle lens of six elementi, aS to pictures in diffused light and indoors.
with. an angle of view of 65". lt focuses frorrr 20 in. to infinity, and THE LENS HOODS FOR THE HASSELBLAD 500C lenses of
carries aperture settings from /5.6 to .f 22. focal length from 80 to 250 mm. carry a bayonet fitting to fit the
THE 80-mrn. EKTAR l'2.8, the standard lens of the earlier models. bayonet front of the lens nlount. Special nrodels are rrrade for the
has four elenrents. lts angle of view is 5 | " and the focusing range front Biogon 38-nrm. and Distagon SO-nrnr.lenses.They screw directly on to
20 in. to infinity. The lens is recessed so that no lens hood is nEeded. the lenses and take Hasselblad series 63 filters.
LEN3C3 2'. o rt LTNSCSView original page 26Page 31 · Read text
If the extension bellows is fitted between the microscope shutter and MISCELLANEOUS ACCESSORIES providedlhe camera the magnification by the microscope lens can be
adjusted continuously.
The extension bellows, like the microscope adapter, provides a The Ropid Vinding Cronk
completely vibrationless microscope attachmeht. If ttie f6cusing hood The film winding knob of the Hasselblad 500C is interchangeablc,
is_used, the microscope image appears directly on the groundglass. and can be replaced by a rapid winding crank. The crank consists ofa
The double cable release for the extension bellows then opens thE rear knob base with bayonet fitting and a handle which can be folded over
auxiliary shutter immediatcly before the between-the-lens shutter, and into the base and is swung outrvard for use. Cranking the handle
so ensures a vibratioun-free exposure. advances the film and sets the shutter in one snrooth and even move-
A LENS MOUNT ADAPTER is available to connect special lenses ment, reducing the transport time. lt is therefore useful for all quick-
such as generally used for photomicrography to the Hassirlblad 500C action work. particularly in sports photography. lt is attached and
camera. removed in the same way as the winding knob (l).
THE LINEAR MIRROR UNIT permits extremely accurateparallcl alignment between film plane and subject in copying. It I
consists of a lens flange mirror attached in place of the lens of the The Vind.ing Knob uith E*posure tleterHassclblad 500C and a reflecting mirror placed at the subject plane. Suitablefor the Hasselblad500C,this is a precisionphoto-electric I
A RINGLICHT can bc attached to all Hasselblad 500C lenses, exposure meter incorporated into a film winding knob. Ii can be fitted
exccf l the iO0-mn'r.lt civcs even, shadowless illumination in close-uo to the camera in place of the standard knob and removed from it in
work in research, medicine, technology, etc. It is fittea wittr cables tb the same way as the normal knob (l). It can therefore be used on the
conncct with Paffrath C Kemper electronic flash units. camera, or for independent exposure readings. The meter is calibrated
in- ex-posurevalues from l-20 and is fitted with an incident light blind
which can be drawn over the photo cell and locked in position by the
catch at its end. For normal reflected light measuremeht, the bli-nd is
pushed back.
To use the meter:
l. Set the flm speed by turning (he disc in the centre outside face of the
meter with a coin until the ASA or DIN film speed marker points
to the speed of the film to be used.
2. Point the meter at the subject.
3. Read ofrthe exposure value and set it on the shutter. Trace from the
black or white section against which the needle registers to the
corresponding exposure value number on the outside rim of the
meter. This is the value to be set.
- Detach the exposure meter from the camera when working with the
lgng foggs lenses, as the lens branch of the latter may produce reflec-
tions which would make the exposure meter reading inaccurate. CHECKING THE METER. When the cell is completely shielded ,
from all light, the meter needle should point to'the white line at the left-hand end of the scale. If it does nol, it can be re-set to the zero ,l
position by turning the small adjustment screw on the meter rim below
the cell.
E r po sur e IIIeter Attachment
This attachnrent can be clipped to the front of the lens hood and
holds the exposure meter when using the rapid winding crank on the
500C. It also enables the user of the 500EL to use the exposure meter. www.butkus.us
CLOSE.U? 3' OO oa tr accEssoRlEs
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(continucdfrom pagc21 bclorc thc grccnWC tegbn) FILMS AND FTLTERS
6. Resetthe exposure-counterto |.
7. Exposeanother l2 frames(until stop). The film used in the Hasselbladis the standard size | 20
roll film. It gives 12 exposures2|x2lin. (6x6 cm.) in the
Magazine Serial No: 644fiF standardfilm magazine.In the special l6-exposuremagazine
the samefilm producesl6 picturesl$x2| in. (4.5x6 cm.) l. Threadthe film in the usualmanneron to the Hasselblad and in the 165 magazineit is used for 16 pictures 2x2 in. spool-holder.The protecting paper is drawn forward so '220' (5 x 5 cm.). For useof film. seepage23. that the dotted line comesto the centreof the receiving The sheetfilm adapter permits single exposureson sheet spool. film ( O O ). A wide range of emulsionsis available. 2. Atier the spool-holderis insertedin the magazine.set
the exposure-counterto l. Black-and.uhite Film 3. Wind the film forwards'9completeturns (18 half-turns) This producesa negativein which the colours and bright- or until the frame number 7 appearsin the exposure- nessrangeof the subjectare translatedinto black and white. counterwindow. From it, prints or enlargementson paperor black-and-white 4. Resetthe exposure-counterto l. transparenciescan be made. 5. Exposel2 frames(until stop). The black-and-whitefilm usednormally is panchromatic; 6. Resetthe exposure-counterto l. that meansthat it is sensitiveto all colours.A few emulsions 7. Exposeanother l2 frames(until stop). still on the market are orthochromatic,i.e., not sensitiveto LoeCing in accordancewith the above gives relatively red. There is a choice of severaltypes differing mainly in good spacingresultsthroughout.ln older magazines,up to sensitivityas well as certain other characteristics. Serial No. 64399 it must be expectedthat certain frames,
especiallyin the film-section8-12 might overlap by a few SLOW FILMS are of low sensitivity,requiring compara-
millimetres.But spacingis better in the later magazines. tively greatexposure.Their main advantageis the extremely
Magazinesl6 and l65 which havemanufacturingnumbers fine grain, permitting a high degreeof enlargementwithout
below 204.2W should be loaded in accordancewith the its granular structure becomingunpleasantlyvisible. Such
instructionsaccordingto magazinesof Serial Nos. 20000- films also yield images of the greatestsharpness.On the
&399: from manufacturingnumber 204.200and above as other hand, theseslow films are not very suitablefor coping
for SerialNos.64400and above: resetthe exposure-counter with fast movementin other than exceptionallygood light-
after l6 exposureshave been made. ing, nor for generalwork in poor light. Such films are rated
at 40-80 ASA or l7-20 DIN.ry MEDIUM SPEED FILMS still yield a reasonablyfine
grain with good gradation. They are the most suitable
material for all-round photography, other than in poor
light. Thesefilms are rated at 100-160ASA or 2l-23 DIN.
FAST FILMS with somewhatcoarsergrain (still accept-
able for reasonabledegreesof enlargement)will cope with
www.butkus.usmost light conditions including poor light and interiors in 25 26
.;J{.i,,r,: -::.r rr..:--i!-View original page 35Page 37 · Read text
but needsa little more care in exposure.Processingis rnore Different makes of colour film may yield transparencies
complex and is often carried out by the film maker or of a slightly different characteristiccolour quality, colour
speciallyappointedprocessinglaboratories. saturation and colour contrast. Which you prefer is very
Thereare two typesof colour film: reversaland negative. much a matter of personal taste.
Colour Reoersal FiIm Colour Negatioe Film
This producesa colour transparencyon the actual film On processing,this produces a colour negativewhich
exposedin the camera. This transparencyheld up to the showsa negativeimage of the subjectin its complementary
light showsa positive image with all parts of the subjectin colours, e.g. blue appearsyellow, red appearsblue-green
their original colours. It can be viewed in a suitabletrans- and so on. Thesecolours may sometimesbe hidden under
parencyviewer with a magnifieror it can be projectedin a an overall orangeor reddishtint.
slide projector to give a large picture on a screen. The main purposeof the colour negativeis the production
There is little doubt that the projectedimage is the most of colour prints on paper. The quality is generallyhigher
natural and best for showing colour. than that obtainedfrom a positivetransparency.
Although the colour transparencyis an end prociuct,it From the colour negativeyou can make:
can still be usedto make: (a) any number of colour prints in varying sizes,
(c) duplicatepositivecolour transpaiencies, (D) direct black-and-whiteprints or enlargements,in the
(D) a black-and-whitenegativewhich can then be used to same way as from a black-and-whitenegative,
produceblack-and-whiteprints or enlargements, (c) positive colour transparenciesfor viewing or projection.
(c') a colour negativefor making colour prints and enlarge- Colour negativefilms are mostly suitablefor exposureby
ments, as from colour negativefilm (describedbelow), any type of light, e.g. daylight, flash or photofloods.The
(d) direct colour enlargementson colour reversalpaper. necessaryadjostmentof the colour renderingis carried out
Colour prints on paper invariably show a loss of colour during the printing stage.Manufacturerssometimesrecom-
quality as comparedwith the original positivetransparency. mend conversion filters even with colour negative films.
For correct colour rendering,colour reversalfilms have These mainly serve to simplify the subsequentcorrection
to be carefully matched to the light by which they are to be neededin printing.
exposed.Accordingly, most makes are availablein two or
more of the following types: Colour Film Speeds
(a) daylight colour film which will give correct colour The majority of colour films, reversal and negative, are
reproductionin daylight or with blue-tintedflash bulbs, rated between25 and 64 ASA or l5 to 19 DIN, correspond-
(b) artificial light type colour film which will give correct ing to a slow to medium speedfor black-and-whitematerial.
renderingby photoflood or tungstenillumination, A few films go up to 160 ASA or more for poor light
(c) flash type colour film (type F) which will give correct conditions.
rendering with the normal clear flash bulbs. As with black-and-whitefilms, the slower types tend to
Colour films madefor one kind of light may often be used yield improved imagedetail, especiallywith negativecolour
under different light conditions with the aid of a conversion film, while the fastestemulsionsmay show slightly reduced
colour saturation and image sharpness.filter as recommendedby the manufacturer. www.butkus.us
29 30
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,NDUSIRIALSHOTS
likethis picture token
ino steelworks, prove
theversotility of the
Hosselblod.Although
this utilizes only o
lart of the film oreo,
thewideongle of view
tobecovered from top
to bottom mokes the
H o s s e l b l o dS u p e r
W i d ep o r t i c u l o r l y
,useful.All the pre-
ivoiling Iight comes
lfromthe glowing steel
rcndthe sporks; this
rreQuireso comporo-
'tively slow shutter
rsPeed,which however
oddso touch of de-
l i b e r o t em o v e m e n t
blurby recording the
flyingsporks os lines
of light.
www.butkus.usView original page 39Page 43 · Read text
EXPOSURE
spectmm.Hencethereis no point in controllingtonesby blueor green
filters,and no possibilityof doing so by red and orangeones.Only Exposuremeans--to exposethe film in your camera to
yellowfiltersare of usewith ortho films. light. The doseof light any film needsto producethe right
sort of imagedependson how sensitivethat film is to light.
Filtert lor Colour Film A fast film is more sensitivethan a slow film.
The normal yellow, orangeand other filters for black-and- Onceyour choiceof film is settled,the basicconditionof
white film must never be used with colour films, as they exposureis settled with it. You are now left with the
would give the colour picture a strong overall colour tint. problem of scaling the light you find in front of your
In daylight and with daylight type film, only trvo filters camerato the amount your film needs.
are ever required. One is ahaze filter, almost colourlessbut Your job is to judge the light reflectedfrom the subject
for a slight straw tinge. It is usefully employed on hazy days you are about to photograph. Your grandfatheras an
and in high altitudes to avoid excessivebluishnessof the amateurphotographerused to take into accounthis geo-
colour picture, especiallywith distant landscapes,seascapes graphicalposition,the time of the year,tlre hour of the day,
and near water. This filter does not call for any changein the stateof the sky as well as the tone of the subjectitself,
exposure.On dull days a skylight filter compensatesfor the and by so adding one thing to another size up the light
excessivecoldnessof the colour rendering. reffectedfrom the subject.The experiencedprofessional,of
Either filter is also useful for colour photography with course,hardlyeverworkedthat way. He just had a look arrd
electronicflash as it produces somewhat warner tones. he knew.
Light balancing filters are used if a colour fihn balanced Today a light meteror exposuren'reterdoesthe samefor
for one type of light should be usedin another type of light. any photographer.lt takcsa look, it measuresthe light and
it letsyou knc'rw. The Polarizing Filter In fact, it does nrore tlran that. lt translatesthe light
There times when will are the judicious use reflections of enhance measuredstraightinto terrnsof photographicexposure.It pictorial the effect of the picture, but they are also frequently obtrusivc'
and undesirable. Thus highly-polished subjects are difficult to illumi- does so by presentingyou with the choice of aperture
nate successfully so as to obtain a true photographic rendering, since numbersand shutterspecds,sortingthenrout irr pairs.
they will reflect too much light and so spoil the reproduction with a
glare which obscures the detail. This difficulty can be overcome by the Aperture and Speed
use of the polarizing screen.
It has the special property of suppressing so-called "polarized" light. The aperture number or /:stop controls the antount of
Light reflections from glass, china, enamel, polished wooden surfaces. /rgfttallowedto enterthrough the lens.Thesenumbersrun
water, to a large extent are polarized therefore, and can, be almost in a series:2.8-4-5.6-8-ll-16-22; eachhigherstop number proper positiou the_polarizing in extinguished by placing filter the over
the lens. This screen will piove particularly useful when taking shop lets through half the light of the next lower number (next
windows, furniture, wet objects, ctc. larger stop).
The effect of the polarizing filter depends on its orientation in front The shutter speedcontrols the length of time for which
ofthe lens, and changes as you rotate the filter. The Hasselblad is rdeal the lensis kept open to light. Shutterspeedfiguresrepresent for this. it observing Simply mount on the rotate thc filter lens and in fractions of a secorrd:2 -- I second,4... J second.. . its mount while watching viewing As the image screen. the on the
polarizing filter is slightly tinted, the exposure time should be increased, 500 : l/500 second.
the factor being about two times (: -l exposure value). The actual exposure is a product of these two: "how www.butkus.us
4 l 42
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much" and "how long". A large amount of light striking the 9g yog are left with three things to think of:
film for a short time may produce an image similar tolhat How fast is the action you want to catch?
producedby a small amount of light striking the film for a How much of the scene in front of the lens has to be
long time. Hence the free choice from a seriesof balanced sharp?
aperture-shuttercombinations offered by your exposure ls the light good enoughfor either?
meter: more or lessopen aperturespaired with morebr less If there is fast action, you have to chooseand pre-setan
quick shutter speeds and more or less stopped down appropriatelylast shutter speed(page 49) and thtn pair it
aperturespairyd with more or lessslow shutterspeeds. with the stop which is right by your meter.
The recent Hasselbladcamerascombine thesepairs, made If the sceneis to be sharp from a point ctoseto the lens to
up.ol aperturestops and shutter speeds,into single figures some-other point well away from it, you should choosethe
which are then called exposurevaluesor light values.Once stop that will yield the necessarydepth of field (page48) and
you set the exposurevalue suggestedby the exposuremeter then pair it with the shutter speedagreedby your meter for
both the.apertureand the shutterspeedmove upand down in correct exposure.
step againsteach other,.and so keep the resuftingexposure If the light is very poor, the chancesare that you may not -right at every combination. be able.to cope with either extremelyfast or-particularly
deep subjects.Ch o o sing th e.Co mbinatio n Y"t your choice in puttrng slrutter speedor depth of fietd ^
- But whethcr you work out the right exposurefrom an first should still be governedby what you value most about
elaboratetable or chart: the picture you propose to take.
whcther you are presented with a series of pairs of Exposurenowadaysis no problem at all. You can arrive
aperturefiguresand shutter speeds; 3! tlte ri_ghtexposureby guessingit, or measuringit. But to whether thesepairs are summed up in a seriesof single hit it off in such a way that it will produce the picture you
exposurevalues; want is still a matter of intelligentjudgment.
whcther you just set the exposureto the point shown by .the needlein your meter; Time Erposuret
you.still have one decisionto face: which aperture-shutter When the light is very weak, especiallywhen you have to
combirrationto choose for any given shot.-paradoxically usea small stop, eventhe slowestshutterspeedof I sec.may
enough, they all are right and yet one is better than thb be too short. In that case,you need time exposures.Set thl
other. shutter to B and pressthe releasebutton. The shutter now
Why should it be so? remainsopen until you let go of the releasebutton.
Because both the aperture and the shutter also have For such time exposures,the camera must be mounted
secondaryfunctions and effects. on a firm support such as a tripod.
..The aperture not only controls the arnount of light that is It is safestto releasethe shutter with the help of a cable
allowed to passthe lens-it also has a bearing on how much 'releaseto avoid shaking the camera.This releasescrewsinto
of the image will be sharp. the bush of the cable releasesocket.
The shutter, in controlling the length of time for which For long time exposures,where the shutter is to remain
the light strikes the film, will inevita-blyrecord any- move- open for longer than you can conveniently keep the release
ment during that time as a slight or greater blur. depressed,use the time Iock or cable releaseon-the camera.
43 4
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If the light on the subject is different from that on yourself moves. Remember, however, that parts of the subject (e.g.
at the camera position (say if the subject is in the shade, the legs of a runner) may rnove faster than the subject as a
and you are in the sun), go up to the subject and take the whole; you may sometimes have to compromise and show
reading, pointing the meter towards the camera position. such parts slightly unsharp. Often that is not a serious fault,
AGAINST THE LIGHT subjects are extreme cases of as slight blurring-provided the main part of the subject is
non-average tone range. The main lighting becomes a very sharp-helps to emphasise the impression of movement"
bright highlight in the field of view, so if you point the meter Other factors to consider are the distance of the subject-
straight at the subject it will indicate too short an exposure the farther away, the less noticeable the movement blur; the
and live you a silhouette effect in the final picture. focal length of the lens-a long-focus lens in effect brings the
This is all right if you want a silhouette. But if you want subject nearer; and the direction of the movement. Objects
correct exposure for the subject, you should either take a moving across your field of view blur more than if they are
close-up reading, or take a reading from the camera position approaching or receding.
and give four to eight times the exposure indicated. The most convenient way of allowing for all these factors
COLOUR FILMS have little exposure latitude, so par- is with the aid of a sinrple tablc (page 69).
ticularly careful reading is advisable. The meter is used in
the sanie way as for black-and-white films. Aperture and Depth ol Field
Because of the importance of the highlights, if you are When you focus the Hasselblad on a given object, the
using a meter from the camera position for an against the image of that object will be really sharp on the film. Things
light shot, it is best to only double the reading, and not nearer or farther away will be gradually less and less sharp,
multiply it four to eight times as recommended for black- until they are noticeably blurred. The range of distances
and-white negative films. over which objects are still acceptably sharp, before you do
notice the loss of definition, is known as the depth of field.Shutter Speeds and Morsenr.ent You can control the extent of this sharp zone by the lens
The actual shutter speed you need within a series of aperture. As you stop down the lens, the zone of sharpness
available aperture-speed combinations is governed by con- grows in both directions; as you open up the lens, its depth
siderations of camera steadiness as well as of subject decreases.
movement. You can obtain the actual zone of sharpness at various
An unsteady camera hold results in camera shake, which apertures and distances from tables, but in practice the
will lead to infcrior definition of the negative. Practical nrost conveniertt way is to use the depth of field indicator.
experience goes to show that lll25 sec. is safe, while you On the lenses for the Hasselblad 500C and Super Wide C
have to hold the camera particularly steady when using this consists of two red pointers above the distance scale of
l/60 or l/30 sec. Where lighting conditions make even each lens. The pointers are coupled to the aperture setting.
longer exposure times essential and there is no subject They automatically close up at large apertures and move
movement, either support the camera on a tripod, or look apart at small apertures. One pointer indicates the near, thc
round for extra support for your elbows and hands--e.9. other the far limit of the depth of field fbr the distance and
a wall, railing, etc" aperture the camera has been set to. For example, on the
The shutter speed required to arrest movement depends standard lens of the Hasselblad 500C, at 25 ft. and/8, you
of course primarily on the speed with which the subject will find the two pointers opposite l5 and 50 ft., so you have www.butkus.us 49 50View original page 47Page 49 · Read text
WORKING IN HOT CLIMATES FLASH WTTH THE HASSELBLAD
High and widely varying temperatureswith low humidity, Flash is an efficient light source where no or insufficient
as occur in desert regions and dry seasous,and very high daylight is available such as at night, indoors, etc. In the
humidity in rainy seasons,call for specialprecautionsto flashlight you carry your own private "sun" with which you
protect the life and continued good performanceof the can illuminate your subject or sceneat any time and place.
camera.Theseconditionsalso causethe growth of moulds THE FLASH BULB is similar to a small electric bulb.
on organic matter. Sand, dust and insects may present However, when current passesthrough it, it lights up in an
problems. intense flash lasting usually about l/40 to l/60 sec. Each
The camera should be kept dry and clean. Leather parts bulb will flash only once and has to be discardedafterwards.
should be wax polished,metal parts lightly greased.Never The flash bulb is insertedin a flash gun and the current of
leave the camera unnecessarilyexposedto heat. Always the battery fires the bulb, while a reflector fixed behind the
keep it in its case.The lens should be coveredwith a lens bulb makes sure that all the light is directed towards the
cap when not in use; additionally,it should be protectedby subject.Most flash guns incorporatea capacitorunit which
a colourlessfilter. Outer lenssurfaceshave to be kept clean, increasesthe reliability of firing, even when the battery is
dirt and grit removed with an air-blower and by tapping. nearly exhausted.The shutter speed,provided it is slower
Wipe the lens surfacewith cotton wool or open meshfabric th.an l/30 sec.(l/60 sec.with small bulbs), has no effecton
(butter muslin), when reqirired. exposuresincethe ffashis shorterthan the exposuretime.
Store photographicequipment in an airtight metal box Most flash bulbs are availablewith a clear glassbulb (for
or a tin which should be sealedwith adhesive(e.g. medical) black-and-whiteand negativecolour film and for type F
tape. In a humid atmosphere,add some desiccatingagent, reversalcolour film) or with a blue-tintedbulb (for daylight
e.g. silica gel. type reversalcolour films). The blue bulbs can also be used
Condensationon the lens may occur when the camerais for fill-in lighting by daylight with any type of colour film.
moved from a cool place into humid heat; this has to be ELECTRONIC FLASH UNITS utilizethe dischargeof a
removed before use and the whole camera carefully wiped high-tensioncapacitor through a flash tube. The power is
before re-storing. derived from an accumulator or battery (there are also
Filnis shouldnot be kept longerthan six monthsin their models working from the mains electricity supply). The
original air-tight tins (tropical packing) at continual electronicflash outfit is rather bigger and heavierthan the
temperaturesof 90" F (32"C). At continual 100'F (38'C), flash bulb outfit, its comparativelight output equalsa small
the life of most films is limited to a month or two. Keep flash bulb and its initial cost is higher.On the other hand,
films for as short as possiblea time in the camera. anything from 10.000to 25,000flashesare obtained from
Films should be processedas soon as possible after one tube. The flash duration is extremelyshort 1l/700 to
exposure-within a week or two, or in very hot, humid l/2000 sec.)and rvill arrest the fastestmovements.The cost
climates within a few days. Keep the film in an airtight of an individualexposureis negligible.
container with desiccant(to absorb moisture). If possible, Electronicflashis suitablefor black-and-whiteand neea-
keep in a refrigerator, but only if you can dry out the tive colour film and also for daylight type, reversalcoldu:
exposedfilm and the containeris sealed. films. It can also be used for fill-in lighting by daylight.
The Hasselbladcamerasare synchronizedfor use with www.butkus.us
53 54
. - : - - : - ' . ' . - l + l '. ,. --,i:i^."., .,View original page 49From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
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