Today I just ordered a silver CW with the waist level finder. Also ordered the silver A12 which I belief most likely came into KEH together originally. Both rated Excellent condition. Cost me an arm and a leg and my first born. I looked everywhere for a perfect 503 CW and I really trust KEH ratings from lots of past experience with them. The back has the dark slide holder which from past experience is a great thing. I was always sticking the slide in my pocket and would end up sitting on it etc and even lost one. A few months ago I got a 135mm F2 Nikon AIS lens rated in excellent condition from KEH and the thing looks brand new. That cost me my right eye.
@@WorldwideCameraExchange yes, i agree, and the prices seemed to have doubled. I got the 203 to shoot the 110/2, but I enjoy using it more than my 500 cm these days.
"Big, ugly, dark slide holder," the man says! Well, big and ugly or not, I couldn't do without it! So much so that I found an add-on piece from an eBay vendor and stuck them permanently on all my A12 versions. Thankfully, haven't lost any of the dark slides since on any of them.
Good video very informative, thank you for sharing ! Would you recommend a full service of a 500CM system as well as the backs? It is rather expensive at my local repair shop for a full camera service, they do check lens speeds free of charge, I have never had a problem with the blad body so have not see any need to service it. I am actually quite fond of the antiquated back I own , looking through to carfully advance the film !
In an ideal world, yes. A Hasselblad 500CM is 35+ years old so should be serviced occasionally to keep it in tip-top condition. It is expensive but a worthwhile investment. That said many people don’t bother and never have any issues although you MUST use regularly. Don’t forget that light seals in the back and rubber buffers in the camera will deteriorate over time … failure is inevitable and will cause issues.
Thanks, that was very useful. I recently acquired a second hand Hasselblad 500c with A12 type / mk II back. I have fired off a few rolls and this is what I have experienced. First the light seals need to be replaced (thats is on the way), and second, the spacing between the frames widens after every crank of the handle. Starts with a 1/3 inch gaps and gradually extends to 1.25 inches gap between the 2nd last and last frame. Essentially I only get 10 frames on a 120 roll (the numbered window says 12 though). I can live with that but losing 20% of frames is a waste. I am looking for somebody in Malaysia to try and fix this (without luck) or I might have to buy another A12 back... Appreciate any guidance. Thanks
Hello and thank you for all of your videos on the hasselblad. i have been fortunate to have been given a hasselblad 500cm, along with a lot of additions with it.my question is will a 120 film be o k to load in to a 160 back. I do have a 120 back which i have been using. I do use a digital camera but trying to learn all about using a film camera. Any help with recommendations regards books would be appreciative. thank you stuart.
Do you mean an A16 back? If so it takes 120 film and gives 6x4.5 rather than 6x6. You need to mask the screen to show the correct framing. Two versions; the A16 is horizontal, the A16V is vertical.
Hello. Your videos have been very helpful! I’m currently looking for backs for my 501cm that I just acquired. Do the Japanese * model a12 backs work normally with the non-* bodies. Thank you!
Hello, yes sorry i do mean A16 horizontal back.Do you have any videos on to mask the screen on the hasselblad at all,or would it be best to buy 6+4.5 film . again thank you for your videos on all film cameras it is very educational and you explain it very well . stuart.
Hey Jonathan, have been watching your Hassy gear videos for a while now! Great content as always! Was wondering if there is a way to get the black paint reapplied on these backs and what would be the right paint to do that.
Thank you for your very useful videos. Would you make one on the A16 645 film back specifically? I bought one type III in very good condition in the box with an unused mask, but I am not sure why, it is not synchronized with the camera. It counts 1,2, 3.5, 5, 7.5, 9, 10.5, you get the idea. It takes only 10 frames. I have two other A12 type III and they work perfectly with even spacing and all. In my mind the gears on the A16 are not matching but can be another reason too. Thank you in advance. Cheers and keep making so helpful videos.
Overlapping frames and intermittent spacing is a common problem with Hasselblad backs. Assuming yours is in clean condition there is nothing to worry about, it just needs to be serviced.
@@WorldwideCameraExchange Thank you for your help. Inspired by you and fix old cameras video, I decided to do it myself. It is working as a charm. Cheers mate and keep with your good work.
Come accros your channel as I just got my hands on a 500cm. What a treasure trove of information. Regarding servicing, would you have someone to recommend in the UK ? Seems they are quite rare
@@WorldwideCameraExchange Thanks ! But I actually have one :) I am interested if you can recommend someone for the servicing. And again, thanks, great content
Great video 🙂 May I correct some irritating facts. There are different film backs, thats right. The A12 with 12 frames on 120 film, the A24 with 24 frames on 220 film and the A16 for 16 frames (horizontal) on 120 film are the most used backs. Further Hasselblad produced some special backs: The A16 S for 16 shots 4x4cm on 120 film (I'm not quite sure, if available in automatic version) this was used for slides in a 24x36 projector (very smart idea), an A32-645 for 32 shots 4,5x6 (horizontal) on 220 film and an A12 V for 12 shots 4,5x6 (vertical) on 120 film (this is very rare and with no real sense). There might be also an original Hasselblad back for the use of 135 film, but I've never seen it by now. Backs for Polaroid film, a system for sheetfilm and later different digital backs where also available.
Thanks for commenting. Always appreciated. There’s also a 70mm back but 99.9% of users will only use the A12. The other backs, A16 and A12V aside, are irrelevant these days (Polaroid film, 70mm bulk film, and 220 film are difficult, if not impossible, to find). I don’t agree that the A12V is pointless. It allows vertical 645 shooting without the need to turn the camera through 90 degrees. This means a) greater tripod stability and b) the waist level finder or 45 degree finder can still be used (if using an A16 vertically you’ll need to have a 90 degree prism fitted.)
@@WorldwideCameraExchange You are right! I forgot to mention the 70 and the 250 magazines. Interesting that you see a benefit for the 12V - I'm looking for years for any argument. Except the collectors value and maybe, that it is easyer for artdirectors to evaluate a picture in the right frame without using a mask, I can't see any. In the postproduction (enlarging or print) you can reach the same effect with a 6x6 frame. But I'm open to any argument!
@@WorldwideCameraExchange Thats not the question. The question is, in witch way you use the picture. Use an A12 and cut out the frame. When enlarging a negative, this is no addtional work, when producing slides you nearly always need to cut out your subject for layouting and printing. - Need a better argument :-)
Your method is valid. And if it works for you, great. But not everybody works in the same way. Some prefer to crop in camera others are happy to crop in post. Hasselblad offers both options.
I never quite understood why the backs and inserts not matching would make any difference in film spacing. All the backs and all the insert are made from the same machines that are designed and manufactured to exact tolerances, I would think, no? Can you explain why they wouldn't be good if they are not matched? Is there any truth to it or is it just a speculation because Hasselblad put numbers to them. I have one that doesn't match, but never saw any difference from the other 3 that are matched.
Thanks for commenting. Turn the question on its head. Why would Hasselblad bother to match if it wasn’t important? Hasselblad’s costs increase (and profits reduce) by taking this step. Nobody does this without good reason. That said, unmatched backs often work perfectly but sometimes they do suffer issues, especially when more heavily used.
some wrong info . you can't advance to the first frame of the film using the camera wind crank instead you have to use the small crank on the A12 back.
I would recommend using the crank on the back to advance the film to the first frame. But you can use the body too. Load the film in the usual way and mount the back to the body. You'll then need to fire the body until '1' appears in the frame counter. Not as easy -- especially if you're working quickly -- but it does work.
Fantastic analysis. I learned a lot. Thank you so much.
Thanks.
Learned a lot about the backs and how to date and match the pairs..great video !
Thanks, much appreciated.
Thank you for the information on the screen, i will have a look round for one.
stuart.
Happy to help
Very useful. Thanks!
Glad it was helpful!
Today I just ordered a silver CW with the waist level finder. Also ordered the silver A12 which I belief most likely came into KEH together originally. Both rated Excellent condition. Cost me an arm and a leg and my first born. I looked everywhere for a perfect 503 CW and I really trust KEH ratings from lots of past experience with them. The back has the dark slide holder which from past experience is a great thing. I was always sticking the slide in my pocket and would end up sitting on it etc and even lost one. A few months ago I got a 135mm F2 Nikon AIS lens rated in excellent condition from KEH and the thing looks brand new. That cost me my right eye.
Enjoy! Hasselblads are fantastic cameras.
Great video, my favorite back is the tcc/fe version that I use with my 203. But I also have some older version 2 backs that have been CLAd
Thanks. The Hasselblad 200 series equipment is fantastic but becoming harder and harder to find!
@@WorldwideCameraExchange yes, i agree, and the prices seemed to have doubled. I got the 203 to shoot the 110/2, but I enjoy using it more than my 500 cm these days.
"Big, ugly, dark slide holder," the man says! Well, big and ugly or not, I couldn't do without it! So much so that I found an add-on piece from an eBay vendor and stuck them permanently on all my A12 versions. Thankfully, haven't lost any of the dark slides since on any of them.
It’s big and ugly but I didn’t say it wasn’t useful!
Good video very informative, thank you for sharing ! Would you recommend a full service of a 500CM system as well as the backs? It is rather expensive at my local repair shop for a full camera service, they do check lens speeds free of charge, I have never had a problem with the blad body so have not see any need to service it. I am actually quite fond of the antiquated back I own , looking through to carfully advance the film !
In an ideal world, yes. A Hasselblad 500CM is 35+ years old so should be serviced occasionally to keep it in tip-top condition. It is expensive but a worthwhile investment. That said many people don’t bother and never have any issues although you MUST use regularly. Don’t forget that light seals in the back and rubber buffers in the camera will deteriorate over time … failure is inevitable and will cause issues.
Thanks, that was very useful. I recently acquired a second hand Hasselblad 500c with A12 type / mk II back. I have fired off a few rolls and this is what I have experienced. First the light seals need to be replaced (thats is on the way), and second, the spacing between the frames widens after every crank of the handle. Starts with a 1/3 inch gaps and gradually extends to 1.25 inches gap between the 2nd last and last frame. Essentially I only get 10 frames on a 120 roll (the numbered window says 12 though). I can live with that but losing 20% of frames is a waste. I am looking for somebody in Malaysia to try and fix this (without luck) or I might have to buy another A12 back... Appreciate any guidance. Thanks
A common problem with old A12s. A service should solve both issues.
Hello and thank you for all of your videos on the hasselblad. i have been fortunate to have been given a hasselblad 500cm, along with a lot of additions with it.my question is will a 120 film be o k to load in to a 160 back. I do have a 120 back which i have been using. I do use a digital camera but trying to learn all about using a film camera. Any help with recommendations regards books would be appreciative. thank you stuart.
Do you mean an A16 back? If so it takes 120 film and gives 6x4.5 rather than 6x6. You need to mask the screen to show the correct framing. Two versions; the A16 is horizontal, the A16V is vertical.
Hello. Your videos have been very helpful! I’m currently looking for backs for my 501cm that I just acquired. Do the Japanese * model a12 backs work normally with the non-* bodies. Thank you!
Yes, all A12 backs work on the Hasselblad 501CM.
Hello, yes sorry i do mean A16 horizontal back.Do you have any videos on to mask the screen on the hasselblad at all,or would it be best to buy 6+4.5 film .
again thank you for your videos on all film cameras it is very educational and you explain it very well .
stuart.
I’d buy a screen and mark as required. Otherwise Hasselblad did make drop-in plastic masks …. If you can find one.
Hey Jonathan, have been watching your Hassy gear videos for a while now! Great content as always! Was wondering if there is a way to get the black paint reapplied on these backs and what would be the right paint to do that.
I wouldn’t bother. You’ll never get it perfect and it’s off putting for future buyers.
@@WorldwideCameraExchange What is the size of the jeweler screwdriver, required to remove screws for A12-24 film backs.
@FidelCastro128 send to a Hasselblad repairer. I’d never recommend DIY fixes.
Thank you for your very useful videos. Would you make one on the A16 645 film back specifically? I bought one type III in very good condition in the box with an unused mask, but I am not sure why, it is not synchronized with the camera. It counts 1,2, 3.5, 5, 7.5, 9, 10.5, you get the idea. It takes only 10 frames. I have two other A12 type III and they work perfectly with even spacing and all. In my mind the gears on the A16 are not matching but can be another reason too. Thank you in advance. Cheers and keep making so helpful videos.
Overlapping frames and intermittent spacing is a common problem with Hasselblad backs. Assuming yours is in clean condition there is nothing to worry about, it just needs to be serviced.
@@WorldwideCameraExchange Thank you very much. I will send it to servicing as soon I find someone pro on that, Thanks mate. Cheers
@@WorldwideCameraExchange Thank you for your help. Inspired by you and fix old cameras video, I decided to do it myself. It is working as a charm. Cheers mate and keep with your good work.
Excellent news!
Come accros your channel as I just got my hands on a 500cm. What a treasure trove of information. Regarding servicing, would you have someone to recommend in the UK ? Seems they are quite rare
Hasselblad 500 series cameras are becoming hard to find. You’ll need to be patient but there are still decent cameras out there.
@@WorldwideCameraExchange Thanks ! But I actually have one :) I am interested if you can recommend someone for the servicing. And again, thanks, great content
Sorry, should learn to read! For Hasselblad servicing try Newton Ellis in Liverpool.
@@WorldwideCameraExchange great ! And thanks for the quick answer. Have a good evening
Great video 🙂 May I correct some irritating facts. There are different film backs, thats right. The A12 with 12 frames on 120 film, the A24 with 24 frames on 220 film and the A16 for 16 frames (horizontal) on 120 film are the most used backs. Further Hasselblad produced some special backs: The A16 S for 16 shots 4x4cm on 120 film (I'm not quite sure, if available in automatic version) this was used for slides in a 24x36 projector (very smart idea), an A32-645 for 32 shots 4,5x6 (horizontal) on 220 film and an A12 V for 12 shots 4,5x6 (vertical) on 120 film (this is very rare and with no real sense). There might be also an original Hasselblad back for the use of 135 film, but I've never seen it by now. Backs for Polaroid film, a system for sheetfilm and later different digital backs where also available.
Thanks for commenting. Always appreciated. There’s also a 70mm back but 99.9% of users will only use the A12. The other backs, A16 and A12V aside, are irrelevant these days (Polaroid film, 70mm bulk film, and 220 film are difficult, if not impossible, to find). I don’t agree that the A12V is pointless. It allows vertical 645 shooting without the need to turn the camera through 90 degrees. This means a) greater tripod stability and b) the waist level finder or 45 degree finder can still be used (if using an A16 vertically you’ll need to have a 90 degree prism fitted.)
@@WorldwideCameraExchange You are right! I forgot to mention the 70 and the 250 magazines. Interesting that you see a benefit for the 12V - I'm looking for years for any argument. Except the collectors value and maybe, that it is easyer for artdirectors to evaluate a picture in the right frame without using a mask, I can't see any. In the postproduction (enlarging or print) you can reach the same effect with a 6x6 frame. But I'm open to any argument!
Try using the A16 in portrait on a tripod on its side with a waist level finder. That’ll convince you the A12V is useful!
@@WorldwideCameraExchange Thats not the question. The question is, in witch way you use the picture. Use an A12 and cut out the frame. When enlarging a negative, this is no addtional work, when producing slides you nearly always need to cut out your subject for layouting and printing. - Need a better argument :-)
Your method is valid. And if it works for you, great. But not everybody works in the same way. Some prefer to crop in camera others are happy to crop in post. Hasselblad offers both options.
I never quite understood why the backs and inserts not matching would make any difference in film spacing. All the backs and all the insert are made from the same machines that are designed and manufactured to exact tolerances, I would think, no? Can you explain why they wouldn't be good if they are not matched? Is there any truth to it or is it just a speculation because Hasselblad put numbers to them. I have one that doesn't match, but never saw any difference from the other 3 that are matched.
Thanks for commenting. Turn the question on its head. Why would Hasselblad bother to match if it wasn’t important? Hasselblad’s costs increase (and profits reduce) by taking this step. Nobody does this without good reason. That said, unmatched backs often work perfectly but sometimes they do suffer issues, especially when more heavily used.
some wrong info . you can't advance to the first frame of the film using the camera wind crank instead you have to use the small crank on the A12 back.
I would recommend using the crank on the back to advance the film to the first frame. But you can use the body too. Load the film in the usual way and mount the back to the body. You'll then need to fire the body until '1' appears in the frame counter. Not as easy -- especially if you're working quickly -- but it does work.