Hasselblad 503CW Camera

Hasselblad 503CW CameraHasselblad 503CW top

The Hasselblad 503CW is probably one of the most sought and used model, I having owned one myself and can not praise this series Hasselblad enough, this model perfectly links up with a Digital, film and Polaroid backs and still holds the iconic handling, image quality and reliability of the V Series, and together with the Carl Zeiss lenses, Hasselblad represents the highest standards of photographic craftsmanship and precision. The 503CW features a built-in TTL flash metering system, which automatically measures the light off the film for consistent flash exposures. The Winder CW, which can be operated by remote control, makes the 503CW convenient to operate outdoors or inside a studio. This completely manual and mechanical SLR camera is compact, lightweight, easy-to-use and meets the needs of both studio and location work. This Hasselblad comes equipped with an Acute-Matte D Focusing Screen with micro-prism and a split-image rangefinder spot. The Hasselblad comes available with a full line of lenses, viewfinders (metered and non-metered), film magazines (120, 220, 70mm and Polaroid), as well as many accessories. The 503CW is available in black or chrome finish.

Hasselblad 503CW Specifications 

  • New optional Winder CW for automated film advance and infra-red (cordless) remote control
  • TTL/OTF flash capability; Electronic flash synchronization at all shutter speeds up to 1/500th second
  • Acute-Matte “D” focusing screen with micro-prism and split-image rangefinder spot
  • Gliding Mirror System (GMS) provides even viewfinder illumination with longer lenses
  • Rugged one-piece cast aluminum alloy body
  • Manual focus, leaf shutter, Single-Lens-Reflex camera
  • Mechanical leaf shutter, 1 second to 1/500th and “B”. Shutter speeds in full stops only.
  • First class Zeiss opticsHasselblad 503CW mid
Film Type 120 film: 6 x 6 (12 frames), 6 x 4.5 (16 frames). 220 film: 6 x 6 (24 frames), 6 x 4.5 (32 frames); 70mm perforated film; Uses 70mm film cassettes which can be loaded with up to 4.7m of film, giving up to 70 frames per cassette; Use of Polaroid 3 1/4 x 4 1/4″ pack films possible with backs available from Hasselblad or NPC
Lens Mount Exclusive Hasselblad bayonet lens mount; Accepts all C, CF, CB, CFI, CFE lenses
Flash Synchronization “PC” socket for electronic flash connection on lens barrel. Flash synchronization possible at all shutter speeds up to 1/500th. TTL/OTF flash capability with Hasselblad D-Flash 40, Metz, Quantum Q Flash, and Sunpak systems.
Viewfinder SLR type interchangeable waist level focusing screen (standard Acute-Matte “D” type 42215 Micro-prism/Split-Image; a total of seven focusing screens are available; One-touch folding waist level hood with built-in 4.5x magnifier. Optional diopter correction lenses. Field of view: 100 per cent of actual picture area
Dimensions 180 x 114 x 110mm (7.08 x 4.49 x 4.33″) LWH (with 80mm f/2.8 CFE lens and A12 film magazine)
Weight Camera body only, 600g (1.3 lbs); with Planar 80mm f/2.8 CFE lens, and A12 film magazine, 1500g (3.3 lbs).


Hasselblad 503CW Camera — 1 Comment

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    Following Peter’s kind invitation I will offer a few thoughts, which I hope will be of some value. Peter, if this isn’t useful then please moderate away! For information, I use an Leica M9 and also a couple of 35mm film rangefinders and occasionally either a Mamiya 7 or Rolleicord.As Peter says, your own heart should really guide you in this and if you have a real hankering for film then this will remain until you have at least tried it. However, some thoghts:- Film is a wonderful medium and gives you a real physical record. This is valuable to me and I enjoy the physical aspects of process and craft.- Film is also harder and more time consuming than digital. You need to know how you will develop film and need to have a facility to scan. Mono is best and simply developed at home, but colour rally needs to go out.- You are also adding questions of focal length, format and the nature of the viewfinder. Looking down at the square ground glass of a Rollei is very different from the experience looking through the clear glass of a Leica with the framelines hanging in space. This will impact how you observe the scene and how you compose. You’ve also raised questions about focal length and rendering. I find 35 and 50 lenses are further apart than might seem to be the case and enjoy both. My 50 is a Zeiss C-Sonnar with very characterful’ rendering and my 35 a Zeiss Biogon, which is a pretty perfect lens. Accepting that the 35 Summilux is an amazing optic, I find the character 50 and perfect 35 work well for me. You might want to think about the different aspects in your decision.- One option might be to try a cheaper camera than a Rolleiflex to see if you like film/TLRs. There are quite a few available. However, I find that I need to commit to a medium for at least a while to make anything I value with it, and so if you did that you might well leave your M9 at home for 3 months or so. This applies even to trying to shoot the M9 alongside the MP or trying to shoot black and white film alongside colour (or a 35 alongside a 50 lens!).I hope these thgtuhos are helpful. Doing this because you love it means that you can afford to try new things and give them time, which is a great priviledge. I trust that you will enjoy the path you take.Mike

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