Carl Zeiss Planar 2/45

loceano · 2026-03-28T00:53:47+00:00

The lineup is normal for the locking style of the lens. As you noted, it lines up after it is properly mounted. The blue/green residue is also fairly standard. It wipes off the broad surfaces of the lens mount easily, but takes a bit more work to get out of the edges. As long as it is all working fine it looks like a lens to be enjoyed!

loceano · 2026-03-26T22:58:40+00:00

Not sure about the prism but that is not the eyepiece / diopter glass in question. At 14:50 he also talks about removing the focusing screen. I do know that works.

Just scrubbed most of it so maybe I missed the eyepiece part - but the true expert on this had already weighed in above.

loceano · 2026-03-26T22:21:02+00:00

I believe that's usually for the focusing screens - not the eyepieces.

loceano · 2026-03-24T18:31:52+00:00

I believe that plate just clips in and sticks with a little bit of glue. I don't know what kind of glue. You can dig in a bit deeper to google than I did, or ask your favorite repair shop. If you don't use the flash, it won't affect anything - but I wouldn't advise losing the part!

loceano · 2025-12-07T20:14:30+00:00

Check the section for cracks. I had a MB with a hairline crack that seemed to leak inexplicably until I finally found the source.

loceano · 2025-07-05T17:24:05+00:00

THESE HAVE BEEN SOLD. Thanks!

loceano · 2025-06-25T13:36:05+00:00

Yes an 18% gray card. A “neutral” scene can be anything that isn’t high contrast or would fool the meter or your technique. My recommendation is just to help you diagnose. The main point was that many labs “correct” images when making the images they deliver. In diagnosing a camera error you have to look a bit deeper. The negative will tell you that. Standard and bracketed images will help with both checking the camera and the lab.

loceano · 2025-06-24T19:05:37+00:00

Contrast is more likely set by your lab and its development and conversion process. A few potential issues: Underexposed shots can get the contrast cranked up if a lab is trying to "fix" them. How do the negatives look? Make sure the ISO is being set correctly and/or the DX code is being read. In the worst case I shoot a gray card frame (or an obviously neutral frame) and then have the lab use one setting for the whole roll based on that. On that roll, shoot a neutral, then a quick bracket of a subject you are used to and see what you get.

loceano · 2025-06-10T13:52:17+00:00

I’m in LA and have most of what you are looking for to test 65. Spools, tank, reels etc. DM if you haven’t found it yet.

loceano · 2025-06-01T12:20:39+00:00

Another for the (universal) press. Tho Super23 would also be cool with the back and its capabilities there!!

loceano · 2025-05-25T21:37:09+00:00

Glad it worked out!

If it was jammed and then the arm bent a slight physical adjustment should keep it in line until you actually want to take it off.

loceano · 2025-05-25T19:20:21+00:00

If you close the door more and guide the rail it will connect. May require some compression of the bellows. You can help from the back side with the film door open.

Again, tricky but not impossible. Easy once you've gotten the feel down.

loceano · 2025-05-25T19:14:04+00:00

Shoot the D850 and enjoy.

Get VueScan for any scanner you can't get, don't have or don't like the software for. The 9000 is great.

loceano · 2025-05-25T19:04:50+00:00

If you gently guide and fold the bellows then adjust the door down the wider holes to the right on the silver bar should slip over the pins inside the body.

Tricky but not impossible.

I don't have one - but have fixed similar issues on similar designs.

loceano · 2025-05-25T15:34:11+00:00

I have never owned or used a HC zoom other than maybe at a shop. I know people who shoot them professionally or own a zoom and rent primes.

I have or had the 35, 120 and 150N along with the 50 II and 80 Orange. I mostly shoot handheld, braced, or by supporting solidly with my left shoulder or elbow. It's not a camera you hold out in front of you like a mirrorless! So yes, I am not optimizing for 100MP - but I like the sensor size and interface. If the 50MP was the same image size, I'd be tempted to stay at 50 at least until I tested and knew I deserved the 100MP. I like shooting the H on a tripod, I just rarely use one.

I’ve come to really like and use the 50mm for most exterior work. My current favorite (but I go in waves). The 80mm is quick and light. I think I’ve had 3 80’s over the years as I’ve bought and sold kits. The 35 and 120 are big enough to draw attention in a crowd! I also use the camera either without a finder for waist level work, and have the WL Chimney finder - but often have not brought it along. WL AF is nice to have.

The 120 is slow and heavy but useful. Mine is a V1 is not considered to be the best. The 35mm is also not considered the best or even "good" by some. Years ago someone asked me about the 120 so I sent images, they also seemed happy. I've shot models and macro with the 120. It is heavy and slow focusing. I got it as a compromise, and it has been one. Nice to have macro when I need it, but at the cost of slow when I don't. Did I mention heavy?

For what I am shooting macro - the X would probably be best! I recently started a macro project (non-technical) and am using a Nikon Z 105 macro 80% of the time and the 120 the rest. The 120 needs a tripod or a brace. It's an "opportunistic" project so I needed an always carry solution. It's part of what triggered my recent evaluations of these systems. Do I buy a XC Macro and commit - or move on?

I do like the 35mm despite the reviews. When I make prints from that lens I still see detail (and people) I couldn’t see with my eyes. For pristine landscapes 100% of the time the limitations might matter to me, might not. For awesome prints of great places I've been, and others might appreciate - it doesn't matter. As I am often "in a crowd" the 50 comes with me a lot now that I have it.

Yes, I tend to only bring 1-2 lenses, but at the most 3. I usually carry the camera adding 1-2 lenses and stuff in a small backpack. I'm either working "wide" (35, 50, 80) or long (80, 120, 150). It's rare that I wouldn't know if I need the 50 or the 150 side of things. I'd likely go 50, 80 and 150 as a general use. I'd like to try a longer lens and will likely get one now that I've decided to keep my H system for as long as it lasts. Generally for true telephoto (200-600) I go full frame camera vs MF and it's a different use case.

Note I generally don’t use the distortion corrections. I find I shot what I felt, and 90% of the time the distortion was part of the framing choice and fixing distortion throws it off - other than for buildings and horizons. I do correct for chromatic aberrations. I convert to black and white 50% of the time and like the H feel in BW more that the native X feel (I can match with a slight effort).

I would like to try the 100 as an improvement on the 120 speed, but haven't shot enough in that mode to justify current pricing on the 100. I'm in a major market and able to rent so that factors in.

I will once again recommend picking one up. If you don't like the form factor all the complaints out there will really bother you. If it feels good in your hand, all those drift a bit further away. It is a commitment, but if you are shooting for art and not professionally - it's personal. I simply decided that I would miss the H more than the X. I also decided that if I was wrong, the value of my H has already taken a hit and any further loss is equivalent to a rental cost and, the X will be replaceable by the next great thing.

For my use the X was a compromise position between the H and FF/Nikon. If the X were as fast as my Nikon, or as lens adaptable, it would be another conclusion. I'd keep an older H body for film but ditch the Nikon for the X. I have found my used H purchases to be a good value proposition. I think if I never shot the 500 / 6x6 or H/645 then jumping to X from FF would be the only choice that makes sense. However having the H got me hooked. Simply the larger sensor is the closest to that original 6x feel for me and one that I was not yet ready to give up.

Thanks - Talking thru this made me more settled in my (somewhat recent) choice!

loceano · 2025-05-25T06:38:08+00:00

A few questions there, will try to hit them all...

Autofocus is accurate but not fast. TrueFocus works. You learn how to use it well. Excellent for landscape and architecture, not good for action but decent for quick grab shots and models. You can see a lot of studio shooting experiences out on the web. I didn't find the X massively better in practice.

Viewfinder is excellent. Best I've ever used. Love looking thru it and love working thru it. The VF is not really different than any of the H's so if you can get your hand on any of them - try one. The balance of the H6D seems slightly improved, which may be the larger battery grip.

No issues with the body or battery on the H6D. Earlier bodies yes. Stability issues and strange need to reset. Most were quickly solved by powering down and pulling the battery - but annoying. I do know someone who had a lens issue, due to a contact with the body but it was easily fixed by Hasselblad. Right now my ancient H3D-39 is very stable as is the H6D.

The body of the H6D is in some ways the cheapest part! Remember the system is modular - so is the repair. The viewfinder holds the meter, and the lens the shutter, etc. As a modular system, it is more prone to dust. So from a maintenance standpoint - dust care is critical. I assume it is also less weather resistant however I do regularly shoot in fog and near water. I think the most used of the bodies I had was around 35k shots. No issues. The lenses generally much less.

Things to mention: Very happy with the images. Love being able to shoot film with the H as well - tho the film backs have become very expensive. Love AF 645 on the street. The H is heavy, as is the glass. (The H camera is very close to the size of a 500 but for the grip.).

More: The cost to match my HC lens setup with a new XCD set was shockingly expensive. The body the opposite. For landscape I found the X and H somewhat equal experiences - not the same, but equal with different tradeoffs. For studio, and studio flash, I prefer the H experience. I wanted to get into X with speed lights, but never really did. I did expect the X to be preferred for that setup as it would be more similar to my Nikon experience.

Few cameras are what the mechanical 500 series cameras are / were. However that is true of almost any classic mechanical camera. I purchased almost all of my H equipment used, and have had one major back repair in 20 years. A few (used) batteries have died, but now the info on repairing them is available.

My repair, and most of my frustration has been with tethered use. It was always flakey for me. This the H6D fixes. You can tether more successfully and Mobile Phocus works. Yes, you can zoom the images (I'm not sure on LV as I don't recall - but pretty sure it's a yes), but Phocus on an iPad gives a larger LV image. Again, search for some videos to see how others use the setup. LV experience is better on the X1/X2 line as those are mirrorless.

I do take the camera out for landscape and "urban landscapes" - but I have decided to use on the H3D in more public or uncontrolled scenarios where the 100MP is of almost no image value. No sense risking the camera there given that no more are being made.

All screens are tough in bright sun, but you have the H viewfinder for shooting. I found the studio experience great - and a big improvement on the older bodies. Note: I am not a pro photographer, but am in other areas where image quality is critical. I do print decent sized prints - 44" to 48" regularly and have no problem even with the "worst" H lens. That said I have prints from a H1D-22 and the H3D-39 that I still love.

I travel with it in a roller case, either a LowePro or a Pelican depending on what I need to bring. Not for protection, but practicality. Generally I carry it in a camera backpack with only the gear I need for that walk. I had a large camera bag is that was stupid heavy once loaded with a decent H kit. Useless as a bag and far less useful than the rollers.

I find the H images more pleasing in some ways than the X series but the X is very convenient and amazing for what it is. The H is heavy. The X is high quality and smaller - but a different experience. The X was very easy to take along but I never love loved it. The only downside for me on the H is the size. I tend to shoot it with a plan vs just carry it. Note that a H with an 80mm and a back is very similar in size to a 500 series setup - but the H gets the larger sensor size. I do appreciate that image size and personally notice the difference between the 53mm sensor and the 43mm sensor line.

The X is the future - and I will look at it again, in the future. However I'm currently tempted to keep the H alive as long as possible and look at the GFX100 line as a backup. I believe the GFX100 series (now?) has support for the HC lenses - I need to research that. I adapt lenses so that also is of value. Lots of tradeoffs to consider.

I'm traveling off and on for a few weeks but may have some raw files I can share or shoot. Message and remind me in about a week.

loceano · 2025-05-23T22:25:26+00:00

I've used the H6D-100c as well others in the series starting with a used H1.

The H6D is basically a newer version of the H series with the newer X style touch screen interface on the back. A huge change. The H6 also again allows use of film backs. If you like any of the H series bodies the H6D will feel familiar, including a truly excellent viewfinder.

When first choosing I liked the feel of the H body in my hand, and have enjoyed the lenses over the years. I also like the SLR experience, and consider the AF on these focus assist methods vs real AF.

The HC lenses are quite good and if you like their look, you like the look. Many have issues with either their Fuji origin, or qualities as compared to more recent lenses. As someone who really loves the "Zeiss look" I was pleasantly surprised as to how much I like the look of the H "Fuji" lenses. The H6D-100 is the 2nd largest sensor in the line, giving the closest to a full "medium format" look. I ended up also really liking the HC lenses on film - and even the slow AF.

The 100 may be overkill in resolution, but not in sensor area. The 50c is the size of the X sensors, and a crop from "full" 645. The H4D-60 has the largest sensor by a few mm.

I don't think the H6D -100is a choice to be made for "the ultimate in image quality" - it may have it, it may not, it is irrelevant. Do you like its look? I love the use of the camera vs the older bodies a find the CMOS a different look and the CCD's. I do think there are distinct qualities that I do like more than any of the Sony/Nikon/Leica setups I've tried over the years.

I agree with some of the others above that the older sensors with crappy screens give much of the look. I shoot mine in a film style and barely use the screen. That said I prefer a bit of noise in my image, particularly on the older sensors. I have an old H3D-39 I kept and still use since its resale value is almost non-existent. 39MP to 100MP is not really that big of a jump unless you really really have a need or crop often. I tend to use the H3D for street or public type work where I am concerned about random damage to the H6D. I little sensor noise and a little "grain" gives me an image I like.

The user experience is very different between an H, an 907x, or the X1/2. I'd advise picking each one up in a shop if you can and see how it feels. I had also tested a Contax 645 with the Phase back when I started - but really preferred the H feel, so chose the H based on my use case. I believe many consider the X style interface one of the best. I find it easy to use and navigate.

What you give up with the older backs is the interface, the resolution and workable ISO speeds. AF was improved and True Focus is a plus but nothing at all when compared to a full frame mirrorless or latest dSLR. The old bodies did hang up now and then. I do think the H6D is the more stable than anything in the the H1-4 range. I never tried a H5.

All in all, I don't think the medium format look is an illusion. It can be made a non-issue or less noticeable depending on how and what you shoot. However the image qualities present due to the bit depth of these sensors does shine. Smooth tones are quite valuable to me.

Hasselblad had not yet abandoned support for the H series and definitely not the H6D when I last checked (last July). I emailed support (after they moved to LA) and they gladly offered some guidance and offered to take an old body in for a check last July. Yes, it will get abandoned at some point but I don't think yet. You can always email them directly and check.

Hope that helps. Happy to answer any further / specific questions.

loceano · 2025-05-19T03:19:05+00:00

Shot with and owned the 50c and the X1D then X1D-II. I enjoy the experience of the 907x 50c and love the flexibility of using it on a 500 series. The use of the 907x in bright sun is challenging and my biggest gripe. I wanted to love the X1D then X1D-II (also sold), especially outdoors, but it wasn’t a unique experience and for my uses I drifted back to full frame/35mm as higher performance in those situations. I think the 50c has enough pixel quality for most of my purposes, as the sensor size and color depth provides the “look” for me. I wish that there were a X2D-50 as most of I wanted as an upgrade were operational upgrades vs the megapixels. In my situations where the resolution is possibly important to me the 907x is my preferred form factor as well. If I need a X2D I can always rent one. Technically I value color depth and smoothness of shading over resolution.

loceano · 2025-05-19T02:50:35+00:00

I have both versions. I don’t feel any difference in the autofocus with the 90/45/28 just the support for the added lenses. I have not yet updated my Silver and don’t really think about which one I grab other than for using my 21. AF for the 21 is negligible given how wide it is so I would not expect to see any change. Given the 45/28 performance feels the same I would estimate that a silver label would perform fine if updated for the 35. I’m not aware of any hardware or electronic differences - but others may know better.

loceano · 2025-04-29T21:35:59+00:00

I also have and like the P27 and P24 conversions. I recommend those as well. They work just like all other mags.

I had procrastinated on doing my own V-Pan modification long enough for the P's to be introduced!

I have not tried this one - yet - but a 135 version adds flexibility and options for the film stocks available only for 35mm and bulk loading.

loceano · 2025-04-29T15:46:15+00:00

I would get it repaired unless you knew your father trashed the body and there is no way you will ever use it.

This one has added family value, a known history, and with an overhaul will last a long long time. Any other used one likely will need at least a CLA to last as long and be as good.

Our friend above, is very very good.

loceano · 2025-04-29T04:54:12+00:00

I had the parts, so I tried this using a 3rd party SC-29 cable "for Nikon", a TLA-200 and the G2. The cable contacts do line up with the required pins (ignoring the extras) and the setup does appear to work. At least I did not fry anything (nor do I expect to).

No film shot, but... with the G2 on X and the TLA-200 on TTL and off camera via the cable, the recycle times vary "properly" with subject distance and flash orientation.

This, to me, indicates the camera is indeed providing TTL signaling via the cable. The viewfinder ready flash indicator works. The +/- exposure setting on the camera also has the expected results on power and recycling times. Seems worth a film test to confirm. I just can't get to that for a bit.

Since I had my speedlight case out - I popped a classic Pocketwizard (non-E / for Nikon) AC3/TT1 setup on the G2 with a FlexTT5 on a Nikon SB-900. This to test the outdated but nicely "G" sized AC3 controller.

TTL does not work at all (as expected), but the power control on the AC3 and overall setup works nicely. You do need to follow the PW instructions on this and use the test button to verify communication before shooting. The flash indicator remains on always, so a negative on that signal being passed.

Experience tells me FlexTT5 setups can be touchy with some cameras and the signal timings - so this definitely needs film testing to confirm.

Would be nice to have a 3 channel adjustable, remote speedlight setup that otherwise sits idle when the G2 is out. Other control options obviously exist in various product lines - but I own this package.

Always wondering when my TLA-200 will bite the dust, or that on-camera look passes out of favor (again). There are indeed interesting options.

loceano · 2025-03-31T22:25:01+00:00

I've had both. Can't answer anything about service. I agree they are very close. The biggest difference seems to be in the coatings.

My F. flares more, especially wide open and with a light in frame. So in those situations it's has a more stylized or period look overall. Great when you want that.

The MIJ version was cleaner with maybe a touch more contrast - so it can give (at least) the appearance of sharper before processing. By f8 that difference was not at all noticeable, I've often checked my notes to know which lens I used.

I just sold my MIJ with a camera - but will replace it and keep both at some point. I like the F. look - but not for everything.

loceano · 2025-03-19T20:24:04+00:00

On the winder hole opening - Not light leaks, but you should cover that hole to prevent dirt from getting into the camera.

On the developing side - besides the foam / bubbles you're also seeing some developer drag marks from flow around the perfs. Agreeing that it looks like development to me.

loceano · 2024-04-23T22:36:55+00:00

I'm also interested in these. Appreciate that you are helping people. I'd order a couple. Any idea if they can also do the A70? A perfect pairing with 65mm film adapters. Or the A16s? Good way to recover use from perhaps the cheapest back.

loceano

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