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Looking to Shoot Film again with Medium Format camera

R

rollsman44

Well-known member
Back in the day ( 1970's 1995 ) I was using Hassy 500C/M and did so many weddings with it. Love the camera and IQ and reliability.
Now I am OLDER and Not as steady as I was back then hand holding it.
I am semi retired and looking to stay Busy ( which I do) and try Film again.
My concerns are: 1- Cost of film Now and processing and Scanning Neg. to Digital file.
2- What does the Near Future hold for supply of film and how much more will costs go up
I like shooting Digital ( Have a Hassy X1D2) BUT want to see how the portraits look using film.
Any suggestions which way to go with this? What System and lens choice for portraits( I shoot waist up and Head and shoulder shots) with just 1 lens now.
MY other concern is I use OCF a lot for my portraits.
Thank you in advance for recommendations.
I read about this : Not Cheap and Not sure how it compares to other MF Film cameras today

Hasselblad 202FA + Zeiss Planar F 2.8/80 T * + E12 film back
 
ggibson

ggibson

Well-known member
You can do the math on costs if that's the biggest concern.

Film costs will always be a thing. You can minimize your costs per image by self-developing and/or self-scanning. Let's say you're shooting Portra 400 at $14/roll, use a lab to develop for $8/roll and then self-scan using your Hasselblad digital camera (assuming you keep this). Current costs then are around $1.80 per shot.

Good news is that film cameras appreciate more than depreciate these days if you care for them well. People still want to shoot film, but no one makes the cameras, so second-hand prices keep going up. My 503CX is worth more than I paid for it 4 years ago. I have a little more concern though with cameras that rely on electronics compared to fully mechanical operation--availability of repair could be a risk for anyone owning an older camera. With many cameras though, you could easily get most if not all of your money back within a short time if you change your mind and your only cost is for the amount of film you use.

Looking at Hasselblad, the 200 series cameras are the newest and most expensive bodies. Their most significant advantage is that they have a focal plane shutter and so they can use the faster lenses designed for it. You can get an 80/2.8 CF leaf shutter lens though. This is my main Hasselblad lens as well. You might want these anyways for faster OCF sync speeds(?), and if that's the case go with a 500 series camera again. Fully mechanical, iconic cameras are destined to hold their value well and these are great to shoot as you know.
 
R

rollsman44

Well-known member
Thank you Graham. I appreciate the Info you gave me. I was thinking of the Hassy H1 so I have AF as well Let me know what you think about the H1 possibility
 
M

MartinN

Well-known member
BTW a Mamiya 645 AF can sometimes be found quite affordably because there is almost no way to make it digital. But it all depends on what kind of deal one finds.
 
A

anyone

Well-known member
My main film system is and stays Hasselblad V. The Zeiss lenses are very good. The price was going up quite a bit recently.

But since I bought Pentax 645 lenses for digital use, I also tried them on film.
All I can say: I am now a big fan of the Pentax 645 system. It‘s cheap and good. I do not have any experience with the autofocus bodies though.
 
R

rollsman44

Well-known member
Do you mean Pentax 645 Digital camera or Film Camera? I know how good they are as I used them on the 645Z and reasonable . Thank you
 
A

anyone

Well-known member
I use the lenses on my GFX camera and also more recently on the original Pentax 645. This camera lacks autofocus though, the 645N would provide that.
 
Godfrey

Godfrey

Well-known member
I have a "complete" Hasselblad system (two 500CM bodies, prism, WL finders, magnifying finder, 2xA12 backs, 1xA16 back, 50/80/120macro/150 lenses). I also have a Voigtländer Perkeo II and a Fuji GS645S Wide 60. I use the Perkeo II about ten times as much as all the other gear because it is handy, has a lovely lens, and is slow to use ... perfect for having a conversation with a strager while I set up and make a portrait.

Film is no problem, there's plenty of choice available (all B&W for me). Processing I do on my kitchen counter with a Rondinax 60 daylight loading processing tank. Then I scan using a copy camera technique and the M10-M ... 27 or so Mpixel is enough.

​

G
 
Nokton48

Nokton48

Well-known member
Tim Kelly Lighting Test Mamiya C33 105DS Pan F Plus by Nokton48, on Flickr

Thirty years ago I studied Tim Kelly's portrait techniques. Now I am revising and revisiting it in my smaller studio. A Broncolor C171 monolight with modern 360 degree Broncolor Balloon Head at 90 degrees left. Another C171 with Pulso Softbox at 45 degrees left, set one stop brighter. A whitish fill panel semi silver at 45 degrees right, just out of the shot Finally, a smaller C70 Broncolor Monolight, with custom made old Broncolor snoot and grid, 45 degrees right but up very high, creating the spot of light just to the right and slightly above the test subject. The idea is that the lighting reads "dark, light, dark, light" which creates an artististic rythm that is very classic. Mamiya C33 105DS Yellow Filter, and Paramender for precision composition. Ilford Pan F+ developed in D23 1:1 in JOBO tank on Unicolor Uniroller. Omega DII laser aligned with Omegalite Head and 180mm black Rodagon. Arista #2 RC 8x10 paper developed in Multigrade. Canvas background 8x8 feet "Classic Kelly Brown" painted recently for me by artist David Maheu
 
DDudenbostel

DDudenbostel

Active member
I’m still a huge film guy.

I retired last year after 55 years shooting commercial work. It was all advertising, catalogs, ads and annual reports. I used 3 Rollei SL66’s for thirty years until digital then wound up selling the system and buying Hasselblads and a digital Hasselblad back. I wound up selling the back because I didn’t need files that large and it just slowed the process down but the images were stunning.

I kept one body and a pretty nice set of lenses. I kept my 501cm, prism, several backs, sold my swcm, kept the 40 CF FLE, 50 cf FLE, 60 cf, 80, 100 CF, 120 CF, 180 cf and 250. I had a 350 but wasn’t impressed. Unfortunately I’ve not used it in a couple of years but fully intend to again. I picked up a really neglected Rollei 3.5F Planar and had it restored and it looks new and works as new and that’s what has gotten my love for a few years now.

I still have a full darkroom beautifully equipped up to a 5x7 Durst Laborator and really love printing B&W. Now that I’m retired I’m getting back to fun shooting. Color is digital because there aren’t any labs in my area and I don’t want to send it away. B&W is what I do and wet print.

My suggestion for 3/4 portraits, I don’t think you can beat the 120 Macro Planar or possibly the 100 Planar. For more shallow DOF the 180 Sinar is tops although I’ve made some really nice creative portraits of artists with a 50.

Where will film prices go and will it be around. I think it’ll be around for some time but you can count on prices going up more. I never thought I’d see 120 B&W at $11 a roll. I bought a huge quantity of my favorite film emulsions when they were on sale some years ago and bought a chest freezer to keep it in and still have enough to last many more years.

Best of luck!
 
KC_2020

KC_2020

Active member
DDudenbostel said:
I’m still a huge film guy.
Click to expand...
There are still quite a few of us around.

You have a wonderful system to work with. I hope you continue to enjoy it for many years to come. Please share some images.

I've abandoned the darkroom and copy my film with the CFV 50C II, an AM ED Nikkor 120 and my Arca Swiss 6X9 camera. I decided I've got enough selenium toner stored in my bones after 4 decades of rocking the print trays.
 
Last edited:
DDudenbostel

DDudenbostel

Active member
KC_2020 said:
There are still quite a few of us around.

You have a wonderful system to work with. I hope you continue to enjoy it for many years to come. Please share some images.

I've abandoned the darkroom and copy my film with the CFV 50C II, an AM ED Nikkor 120 and my Arca Swiss 6X9 camera. I decided I've got enough selenium toner stored in my bones after 4 decades of rocking the print trays.
Click to expand...
Your CFV 50 II is an excellent back. I had one of the CFV39 backs and loved it.

Here are a few documentary images from the 501cm and film. These are pretty small files posted from my phone so hope they’re ok.
 

Attachments

Nokton48

Nokton48

Well-known member
SONY DSC by Nokton48, on Flickr

Completely restored Plaubel Peco Junior with Bag Bellows and Plaubel Makina Back with homemade Rotating Magnifier. Camera shown focused at infinity, very light and compact for easy carrying. Along with the widest lens (58mm Grandy), I also have: 65mm f6.8 Schneider Angulon, 65mm F8 Super Angulon with Center Filter, 75mm f8 Super Angulon with Center Filter, 135mm F3.8 Schneider Xenar, and 150mm F9 Rodenstock Apo Ronar. All this fits in my olde blue generic camera bag. In each end pocket are two 120 Plaubel Makina 6x9 Backs. Extra 120 rolls, tape, markers, notebook, etc all fit in the bag. It's not lightweight, but it's quite a BIG outfit cut down to minimum size.
 
Nokton48

Nokton48

Well-known member
OBLIVIONFIRE2 by Nokton48, on Flickr

Oblivion Fire performing at the Reynoldsburg Tomato Festival. Hasselblad 500EL/M 350mm f5.6 (non T*) Tele-Tessar Hasselblad Polaroid Back Fuji 400 ASA B&W Instant Film (ordered from Japan). That's my Son playing his electric bass guitar. Of course I also shot regular B&W roll film, but these instant film photos are just so much fun to produce.
 
Nokton48

Nokton48

Well-known member
Makiflex 180 F2.8 Zebra Sonnar FOMA by Nokton48, on Flickr

The zebra 180mm F2.8 CZJ Sonnar (uber hacked rear mount completely removed, refitted into Plaubel Peco Jr recessed board). Makiflex Standard FOMA 200 Mic-X. Lens will just cover, 18"x18" area is as far out as it will focus. Amazing Sonnar bokeh. This lens is a fave for Pentacon Six fans, this is pushing the envelope with larger format. I like the delicate natural lighting on this one.
 
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