Thanks Colin, Zdenek and Jurgen. I am looking forward to a great lifestyle with my 503cx. It has opened a whole new world to me. Just wish the harsh Aussie sun would calm down a bit. I'm looking forward to storms breaking and clearing and overcast weather.
I posted on another topic that I got my first roll back processed and here attached is a proof sheet. I need to fix why the frames are so close together and also why there is on some frames a thin horizontal light leak? Anyone familiar with my problems here? I also just noticed some fogging on some frames in the right hand side.
Apologies for the crappy scans... I hope you can see what I am referring to OK?
The filmback could do with a service to take care of the spacing.
With a full service a new light seal will be fitted as well.
An official Hasselblad service center can also check the alignment of the filmplane
to optimise film position for maximum sharpness.
I hope you are not disappointed by a small problem at the start.
A Hasselblad camera is a pure mechanical system that likes to be serviced from time to time.
Filmbacks need more attention than the bodies and lenses.
Normally, the 16 shot backs are rarer and therefore more expensive than the 12 shot variety.
If you want to shoot square, perhaps your dealer will agree to a simple exchange?
By the way, my 16 shot back seemed to have never been used when I bought it and it spaced unevenly for the first two films, but has been perfect ever since (except that it still smells like a dead rat! - perhaps stored near to Australian wine?)
On the other hand I agree with Nick when he says that yours is a strange light leak, having used Kiev systems before "seeing the light", I thought I had seen every possible sort of leak.
I think Paul means that a new light SEAL will be fitted, since as yet i've never seen a Hassy back with a light installed (unless it's behind the tilt sensor ;-).
Best regards, and I hope your new Hasselblad brings you the same enjoyment as mine does for me!
The price for used film backs does not necessarily depend on the rarity. I have the impression that 6x4.5 cm backs are cheaper than 6x6 cm. I have an A16S 4x4 cm superslide back that seems to be impossible to sell.
Those backs are hard to sell, but probably because of the confidetial use of superslides.
The 16 shot back gives a cropped image to a standard aspect ratio, with some film economy as a bonus, whilst still making best use of the fim width.
Take the mask out of the back, give it to someone with laser cutting equipment and get them to open it out to 6x4, now you have a "pano" back with 16 (or is it 20) shots per film. You'll probably not want to sell it then!
Adapting the frame from a 4X4 itself to turn it into a 6X4,5 is not something I recommend.
This job is not a thing for a do-it-selfer as the conversion needs to be checked and adjusted to get the correct film plane distance.
I have had this conversion done several times and enjoy a number of good inexpensive 6X4,5 backs.
The small stripes of light you mean? I guess you have been shooting
with a wide angle lens?
Anyway: yes, I have seen this. And I asked our local Hasselblad repair guru about it. It is not uncommon, and it has to do with the lens projecting light at a sufficient angle to make some light pass between the small film guide rollers and the picture frame of the A16.
It manifests itself more easily with wide angle lenses, my 50 and 40 show it on my A16. There are (used to be?) small seals that could be mounted behind the picture frame blocking the light. As I was told these are a total b*tch to install and are therefore often left out.
With an A16 back that has proper inter-frame spacing the stripes are projected in the spacing area and therefore irrelevant.
> An official Hasselblad service center can also check
> the alignment of the filmplane to optimise film position
> for maximum sharpness.
I'm not sure how they would do that in a V series back, which I assume is what we're talking about. Nothing with respect to the filmplane is intentionally adjustable. The insert presses the film forward, against the film gate that is mounted on the front opening in the back. The film is front registered. So, all the pressure plate has to do is, well, apply pressure in order to work.
You can remove the darkslide and check if the spring is completely dead/broken, and if so, that is the only thing that could be replaced...but I've never heard of this being an issue. I guess you could also check that the pressure plate is fully "seating" against the film gate (sides only), to see if something is warped.
But, I don't see how they could "optimize" anything...nothing is adjustable from what I can tell. Am I perhaps missing something?
Quite simple, and I have seen it happen in real life: Hasselblad has produced a special measurement rig with a micrometer that allows precise measurement of the filmgate. Adjustment takes place by skillfully bending the filmgate to the exact location it needs to me. Like you say, the pressure plate is basically just that, no adjustment there.
The filmgate critical dimension is the 2 brass 'ridges' you see when staring into the back (insert removed).
The adjustment has to be precise within a couple 0.01mm otherwise you will have softened, unsharp pictures.
And you are dead wrong (unfortunately): the filmbacks very often are out of alignment. I have seen the rig in use on a batch of backs, about 70% are out of spec.
So, treat your backs gently, having the rattle in your bag is bad news indeed.