Put on the Tele (Part 2)
Carl Zeiss Tele-Tessar T* 8/500 mm for Hasselblad
by Marwan El Mozayen / SilvergrainClassics
Telephoto lenses seem to be less desirable than their wide-angle counterparts! Surely one reason is the fact that rangefinder cameras currently dominate the market. Here, 90 mm is already a focal length that can’t really be mastered well. Obviously the sheer size also deters most SLR photographers. And yes, if you move beyond 135 mm, these lenses are not something you can always have on your camera. Telephoto photography requires some planning. And it is precisely the point for an enormous creative potential that is worth taking a look at.
Today’s candidate is the Carl Zeiss Tele-Tessar T* 8/500 mm. It is definitely a true telephoto lens, as advertised in the Carl Zeiss brochure! To be honest even if you consider everything much bigger in medium format, it is surprising that Hasselblad emphasizes this fact in their technical description.
At the Personal Request of Victor Hasselblad
The Zeiss designers did combine on the front side a collective lens component and a dispersive rear group. In between is only the shutter and the aperture.
Compared to its focal length, the lens is quite short, that is similar to my Penatcon 500 mm / 5.6 which has one lens element less than the Carl Zeiss. And despite weighing about 2 kg, it handles surprisingly well. The legend says that this lens was designed at direct request of Victor Hasselblad. The entrepreneur was an avid bird photographer and understandably wanted to work with cameras from his own production while photographing in nature. In the sales brochures, it is certainly pointed out that it is suitable for freehand use. And even if it sounds strange, I personally believe it is possible.
This Lens Has Made it to The Moon
Sports and press photography certainly no longer play a role today, although I could imagine that someone like David Burnenett would attract attention with it at the Olympic Games in a similar way as with the Graflex. We should ask him. At least one famous photographer Apollo 15 commander David R. Scott used this lens as he explored the moon’s Hadley Rille in 1971. Scott was not exactly squeamish with the Hasselblad equipment, as you can see in this video.
A Completely New Perspective on The Medium Format
As the longest focal length in the entire Hasselblad system, it deters most photographers, and as a result, these lenses are not quite as sought after and, unlike when they were released, can be had very cheaply today. Care should be taken, however, regarding the mechanics. It was not the always on lens back then either. Many lay meanwhile long in the lens quiver and here you should watch out that you have no mold or that the mechanics of the shutter is gummed. If you get hold of a good specimen then you will be rewarded by a completely new point of view in medium format.
With a diagonal angle of view of 9° and 6.5° horizontally, an image can be created that sets the focus. The sharp main subject stands out visibly from the blurred background. The perspective is considerably condensed. This gives images a very special atmosphere. This special impression was particularly in demand in advertising photography. Especially today, in a time when 90% of all medium format photos are taken with the 80 mm Planar or the 50 mm Distagon, it is possible to create images that stand out pleasantly from the overall field.
Unusual Mission: Portrait Model Shoot With 500 mm Focal Length
How do you photograph with such a lens in a portrait model shoot? Well, a tripod is obligatory. This can either be a very heavy solid tripod like a wooden type from Berlebach or something very light and easy to transport like the corresponding tripods from Novoflex. Make sure the tripod is of good quality. The tripod head is always important here too. It should be possible to adjust it quickly and fix it safely. Especially the compact tripods are very good if they are not fully extended and you shoot from a low position.
Of course, the distances to the subject are longer. The minimum distance is 8.5m. At a distance of approx. 15-18m, a normal-sized seated person can be photographed in 6X6 medium format to fill the frame.
The lens has a large plastic focus ring that is also removable. On this ring are also marker points used with which a focus pull can be planned in advance. The focusing must run smoothly, if this is not the case, the grease of the mechanics should be replaced. The large ring transmits a large moment and the focusing runs very easily and precisely. You will mainly use the lens at full aperture f8. It should be mentioned here that the T* version already delivers impeccable image quality at this setting. The lens can be stopped down to check the bokeh in the viewfinder. Speaking of the viewfinder, I would definitely recommend the prism viewfinder.
Practicing With a Shorter Focal Length
If you then want to communicate with the model, you should also give somewhat louder instructions. For less experienced models, it is recommended to start with a short focal length until the ice is broken. I myself always use the long focal lengths at the end of a shoot as a special finale. Depending on the light situation, the film magazine should also be loaded with a more sensitive film. However, it is very easy to misjudge. On particularly extreme summer days and strongly reflecting bright surroundings, f64 can quickly be necessary at 1/500s when using a Kodak Portra 800-120. Therefore, I decide shortly beforehand which film will be used.
This approach, starting with shorter focal lengths on an editorial shoot, makes a lot of sense. With medium format, budgeting film is very important. You also work slower due to the technology. Once you’ve gotten the hang of it, you can use the long focal length and condense the perspective.
The Subtle Differences Between Hasselblad’s 500 mm Focal Lengths
There is also a Carl Zeiss 5.6 / 250mm. Wouldn’t it also be enough to use a 2x teleconverter here? Working at f/11 is already critical under modest lighting conditions. Even if f8 already means a restriction for many it is still better than f11. The reason for purchasing the 500 mm came from my experience with a more elaborate shoot. At that time I was standing on a rock, secured by the mountain rescue with a rope, at a 300m deep precipice and was annoyed about not having at least one more aperture available.
The image results of my 500 mm Tele Tessar have absolutely convinced me that it was a sensible purchase.
I can absolutely recommend this lens in view of the favorable used price. It is just fun and expands the photographic possibilities!
Finally, two things: the earlier 500 mm without T* coating is optically and mechanically identical but may not deliver the contrasts that the later T*-coated version does under corresponding light conditions. Furthermore, the later Hasselblad 500 mm Tele-Apotessar is a completely different optical design. This lens is considerably more expensive on the used market and is, of course, optically better. The prices that are called for this lens are often many times higher than for the simple 500 mm T*. Whether it is ultimately better by the same factors that justify the price, everyone must answer for themselves.
Technical Data
See also
More about Hasselblad on the Moon
PhotoKlassik International, issue 3
Hasselblad, Zeiss, Kodak, and NASA: Moon Landing 50th Anniversary
More about Hasselblad
SilvergrainClassics, issue 27 (the current magazine)
A Hasselblad’s Journey from Junk Box to Precision Tool
SilvergrainClassics, issue 21
HassyPB, an Instax Back for Hasselblad
APHOG
Shooting with Hasselblad and Pentax 67
Note
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