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Buyer's Guide
Hasselblad 500C vs. 500CM: What's the Difference and Which Should You Buy?
Same lenses. Same negatives. One meaningful upgrade.
The Hasselblad 500CM — fully serviced with 80mm T* f/2.8 lens, six-month warranty, ready to shoot.
Both the Hasselblad 500C and 500CM look nearly identical from the outside. They accept the same lenses, the same film backs, and deliver the same crisp 6x6 negatives. In terms of image quality, there is no difference between them.
Yet one is meaningfully better than the other.
The 500C arrived in 1957 and built Hasselblad's reputation. Thirteen years later the company released the 500CM. The "M" stood for a single but important change: a user-removable focusing screen. That upgrade, along with a few smaller mechanical refinements, is the only real difference between the two bodies.
Today both cameras still work exactly as designed more than fifty years later. At Brooklyn Film Camera we have fully serviced examples of each in stock right now, complete with lenses and our standard six-month warranty. The 500C usually costs a bit less. The 500CM gives you a practical advantage that many photographers still appreciate every time they put their eye to the finder.
The question is whether that advantage is worth the extra money.
Hasselblad released the 500C in 1957. It was the first body in the V-system. You could swap lenses, film backs, and viewfinders in seconds without tools. The 6x6 format paired with Carl Zeiss leaf-shutter lenses made it an instant favorite with studio and commercial shooters.
The 500C stayed in production for thirteen years. Then in 1970 Hasselblad introduced the 500CM. The new body kept every strength of the original and added one real improvement: a focusing screen you could remove and replace yourself. No trip to the repair shop required.
Hasselblad also refined the film-advance mechanism, added better mirror damping, and updated a couple of minor contact points. The 500C lingered in the lineup for a short time alongside the newer model before it was phased out. The 500CM remained in production until 1988.
That is the entire history. One practical upgrade and a handful of small mechanical tweaks.
The Focusing Screen
This is the one real difference between the two cameras.
On the 500C the focusing screen is fixed. It is screwed into the body from the factory. Changing it requires a technician and a trip to the repair shop. Most 500C bodies still carry their original ground glass screen. It gets the job done, but it is not particularly bright.
The 500CM handles this much better. Remove the viewfinder and the screen slides out easily. You can replace it in seconds without any tools. This was a meaningful improvement in 1970, and it remains useful today. You can switch to a brighter screen, add grid lines, or install a split-image rangefinder whenever you want.
Most 500CM bodies left the factory with the improved Acute-Matte screen. It is noticeably brighter and offers better contrast than the standard screen in the 500C. That difference becomes obvious when you are shooting in shade, using slow film, or working at smaller apertures.
For some photographers this upgrade is nice but not essential. For others it is the main reason to choose the 500CM. Portrait and wedding shooters often want grid lines for better composition. Landscape photographers appreciate the clearer view when stopped down. Many people simply find the brighter finder easier on the eyes during long shoots.
Keep in mind that the screen has no effect on the final image quality. Both bodies can use the same modern replacement screens. The 500CM just makes swapping them simple and practical.
The 500CM just makes swapping them simple and practical. That practical upgrade is usually worth the extra four hundred and fifty dollars.
The Smaller Changes
Hasselblad made a handful of mechanical tweaks when they moved from the 500C to the 500CM.
The most obvious is the film advance. Early 500C bodies use a plain winding knob. Most 500CMs came with a folding crank that flips out for faster advances and tucks away cleanly when you are done. It feels quicker in the hand.
Mirror damping also improved. The 500CM has a softer return and less vibration when the mirror flips up. That small change helps when you shoot handheld at slower speeds.
The waist-level finder hood got a slightly revised shape. Flash sync terminals were updated, and the accessory rail saw minor adjustments.
None of these changes rewrite how the camera works. They simply add a touch more refinement. You notice them most when you switch back and forth between the two bodies on the same day.
What Stayed Exactly the Same
The important parts never changed.
Both cameras use the exact same Carl Zeiss lenses. The leaf shutter lives in the lens, so you get every speed from one second to 1/500 plus B with full flash sync at any setting. The 6x6 negative looks identical whether it came from a 500C or a 500CM.
You can swap any V-system film back, any viewfinder, any lens, and any accessory between the two bodies without a single adapter. The modular system works the same way on both.
Weight, balance, film loading, and the overall feel in the hand are indistinguishable. The mechanical core that made the V-system famous stayed untouched. In practice, if you close your eyes and shoot, you cannot tell which body is under your hand.
Lenses / BacksIdentical — full V-system compatibility
Image QualityNo difference
How the Difference Plays Out When You Shoot
Put your eye to the finder and the upgrade shows up immediately.
The 500CM's brighter Acute-Matte screen makes critical focus faster and more certain. In even light it feels like a small luxury. In shade, or when you stop down to f/8 or f/11 for depth of field, the difference becomes obvious. You see the plane of focus snap into place instead of hunting for it.
Portrait and wedding shooters notice it most. Grid lines on a swapped screen keep horizons straight and subjects centered without guesswork. The 500C's darker original screen works fine in bright sun, but it slows you down once the light drops or you move indoors.
The folding crank on most 500CM bodies also changes the rhythm. Advance the film, flip the crank away, and you are ready again in one smooth motion. The 500C's knob does the job but feels slower after a few rolls.
Mirror damping is quieter on the 500CM. The slap is softer, so you can handhold at 1/30 or 1/15 with more confidence. It is not night and day, but it reduces the chance of blur when you are not on a tripod.
None of this affects the negative. Both cameras deliver the same sharpness and tonality. The real difference is how much friction stands between you and the picture you want. For some photographers that friction never matters. For others it is the reason they reach for the 500CM every time.
Prices and What Brooklyn Film Camera Has Right Now
Brooklyn Film Camera currently offers both the 500C and 500CM as fully refurbished kits.
The 500C paired with an 80mm f/2.8 lens is listed at $3,000. The 500CM with the multi-coated 80mm T* f/2.8 lens is priced at $3,450. Both bodies receive a full service and CLA before they leave the shop. They all come with Brooklyn Film Camera's standard six-month warranty.
You can also find select 500CM kits in "In Box" condition. Every camera is thoroughly tested so it is ready to shoot immediately.
The 500CM sits about $450 higher than the 500C. For many buyers that is the cost of the brighter Acute-Matte screen and the convenience of being able to change focusing screens without sending the body to a technician.
Buying a serviced example from Brooklyn Film Camera removes most of the risk that comes with hunting for a clean one on the used market.
Hasselblad
500C
Fixed focusing screen. Winding knob advance. Standard mirror damping. Identical image quality to the 500CM.
Best when you shoot mostly in decent light and do not plan on swapping focusing screens.
Best for portrait, wedding, landscape, and anyone who values a brighter finder and faster workflow.
$3,450 — with 80mm T* f/2.8
Which One You Should Buy
Decide with two factors in mind: budget and how much the viewfinder matters to you in daily use.
Go with the 500C if you want to keep the price down. At roughly $3,000 it offers excellent value. The fixed screen is no problem if you shoot mostly in decent light and do not plan on swapping focusing screens often. A clean, recently serviced 500C is still a fantastic camera that will produce outstanding work for years.
Choose the 500CM if you want the better viewing experience. The brighter Acute-Matte screen and tool-free swaps make focusing easier and faster, especially in lower light or when stopped down. The extra four hundred and fifty dollars buys real usability. This is usually the smarter pick for portrait, wedding, and anyone who spends long sessions looking through the finder.
Note that some late-production 500C bodies left the factory with the improved interchangeable screen. These are worth hunting for if you find one in excellent condition.
In the end, a well-serviced example of either camera beats a neglected one of the "better" model. Buy the nicest body you can comfortably afford from a trusted seller. Both will give you the same sharp 6x6 negatives that made Hasselblad famous.
Final Take
Both the 500C and 500CM are solid cameras that will outlast most of us if they have had a recent service. The 500CM edges ahead for everyday use because of the brighter screen and the simple ability to change it. That practical upgrade is usually worth the extra four hundred and fifty dollars.
The 500C is still a great buy when you want to keep the price lower and you shoot mostly in good light without needing grid lines or frequent screen swaps.
At Brooklyn Film Camera right now we have fully serviced examples of each. Every kit includes a lens and carries our standard six-month warranty. They are ready to shoot the moment you open the box.
Choose whichever fits your budget and your way of working. You cannot make a bad decision here.
Fully serviced. Six-month warranty. Ready to shoot.
Hasselblad 500C vs. 500CM: What's the Difference and Which Should You Buy?
Same lenses. Same negatives. One meaningful upgrade.
Both the Hasselblad 500C and 500CM look nearly identical from the outside. They accept the same lenses, the same film backs, and deliver the same crisp 6x6 negatives. In terms of image quality, there is no difference between them.
Yet one is meaningfully better than the other.
The 500C arrived in 1957 and built Hasselblad's reputation. Thirteen years later the company released the 500CM. The "M" stood for a single but important change: a user-removable focusing screen. That upgrade, along with a few smaller mechanical refinements, is the only real difference between the two bodies.
Today both cameras still work exactly as designed more than fifty years later. At Brooklyn Film Camera we have fully serviced examples of each in stock right now, complete with lenses and our standard six-month warranty. The 500C usually costs a bit less. The 500CM gives you a practical advantage that many photographers still appreciate every time they put their eye to the finder.
The question is whether that advantage is worth the extra money.
How the Two Models Came About
Hasselblad released the 500C in 1957. It was the first body in the V-system. You could swap lenses, film backs, and viewfinders in seconds without tools. The 6x6 format paired with Carl Zeiss leaf-shutter lenses made it an instant favorite with studio and commercial shooters.
The 500C stayed in production for thirteen years. Then in 1970 Hasselblad introduced the 500CM. The new body kept every strength of the original and added one real improvement: a focusing screen you could remove and replace yourself. No trip to the repair shop required.
Hasselblad also refined the film-advance mechanism, added better mirror damping, and updated a couple of minor contact points. The 500C lingered in the lineup for a short time alongside the newer model before it was phased out. The 500CM remained in production until 1988.
That is the entire history. One practical upgrade and a handful of small mechanical tweaks.
The Focusing Screen
This is the one real difference between the two cameras.
On the 500C the focusing screen is fixed. It is screwed into the body from the factory. Changing it requires a technician and a trip to the repair shop. Most 500C bodies still carry their original ground glass screen. It gets the job done, but it is not particularly bright.
The 500CM handles this much better. Remove the viewfinder and the screen slides out easily. You can replace it in seconds without any tools. This was a meaningful improvement in 1970, and it remains useful today. You can switch to a brighter screen, add grid lines, or install a split-image rangefinder whenever you want.
Most 500CM bodies left the factory with the improved Acute-Matte screen. It is noticeably brighter and offers better contrast than the standard screen in the 500C. That difference becomes obvious when you are shooting in shade, using slow film, or working at smaller apertures.
For some photographers this upgrade is nice but not essential. For others it is the main reason to choose the 500CM. Portrait and wedding shooters often want grid lines for better composition. Landscape photographers appreciate the clearer view when stopped down. Many people simply find the brighter finder easier on the eyes during long shoots.
Keep in mind that the screen has no effect on the final image quality. Both bodies can use the same modern replacement screens. The 500CM just makes swapping them simple and practical.
The Smaller Changes
Hasselblad made a handful of mechanical tweaks when they moved from the 500C to the 500CM.
The most obvious is the film advance. Early 500C bodies use a plain winding knob. Most 500CMs came with a folding crank that flips out for faster advances and tucks away cleanly when you are done. It feels quicker in the hand.
Mirror damping also improved. The 500CM has a softer return and less vibration when the mirror flips up. That small change helps when you shoot handheld at slower speeds.
The waist-level finder hood got a slightly revised shape. Flash sync terminals were updated, and the accessory rail saw minor adjustments.
None of these changes rewrite how the camera works. They simply add a touch more refinement. You notice them most when you switch back and forth between the two bodies on the same day.
What Stayed Exactly the Same
The important parts never changed.
Both cameras use the exact same Carl Zeiss lenses. The leaf shutter lives in the lens, so you get every speed from one second to 1/500 plus B with full flash sync at any setting. The 6x6 negative looks identical whether it came from a 500C or a 500CM.
You can swap any V-system film back, any viewfinder, any lens, and any accessory between the two bodies without a single adapter. The modular system works the same way on both.
Weight, balance, film loading, and the overall feel in the hand are indistinguishable. The mechanical core that made the V-system famous stayed untouched. In practice, if you close your eyes and shoot, you cannot tell which body is under your hand.
500C vs. 500CM at a Glance
How the Difference Plays Out When You Shoot
Put your eye to the finder and the upgrade shows up immediately.
The 500CM's brighter Acute-Matte screen makes critical focus faster and more certain. In even light it feels like a small luxury. In shade, or when you stop down to f/8 or f/11 for depth of field, the difference becomes obvious. You see the plane of focus snap into place instead of hunting for it.
Portrait and wedding shooters notice it most. Grid lines on a swapped screen keep horizons straight and subjects centered without guesswork. The 500C's darker original screen works fine in bright sun, but it slows you down once the light drops or you move indoors.
The folding crank on most 500CM bodies also changes the rhythm. Advance the film, flip the crank away, and you are ready again in one smooth motion. The 500C's knob does the job but feels slower after a few rolls.
Mirror damping is quieter on the 500CM. The slap is softer, so you can handhold at 1/30 or 1/15 with more confidence. It is not night and day, but it reduces the chance of blur when you are not on a tripod.
None of this affects the negative. Both cameras deliver the same sharpness and tonality. The real difference is how much friction stands between you and the picture you want. For some photographers that friction never matters. For others it is the reason they reach for the 500CM every time.
Prices and What Brooklyn Film Camera Has Right Now
Brooklyn Film Camera currently offers both the 500C and 500CM as fully refurbished kits.
The 500C paired with an 80mm f/2.8 lens is listed at $3,000. The 500CM with the multi-coated 80mm T* f/2.8 lens is priced at $3,450. Both bodies receive a full service and CLA before they leave the shop. They all come with Brooklyn Film Camera's standard six-month warranty.
You can also find select 500CM kits in "In Box" condition. Every camera is thoroughly tested so it is ready to shoot immediately.
The 500CM sits about $450 higher than the 500C. For many buyers that is the cost of the brighter Acute-Matte screen and the convenience of being able to change focusing screens without sending the body to a technician.
Buying a serviced example from Brooklyn Film Camera removes most of the risk that comes with hunting for a clean one on the used market.
Fixed focusing screen. Winding knob advance. Standard mirror damping. Identical image quality to the 500CM.
Best when you shoot mostly in decent light and do not plan on swapping focusing screens.
$3,000 — with 80mm f/2.8User-removable Acute-Matte screen. Folding crank advance. Improved mirror damping. Same image quality.
Best for portrait, wedding, landscape, and anyone who values a brighter finder and faster workflow.
$3,450 — with 80mm T* f/2.8Which One You Should Buy
Decide with two factors in mind: budget and how much the viewfinder matters to you in daily use.
Go with the 500C if you want to keep the price down. At roughly $3,000 it offers excellent value. The fixed screen is no problem if you shoot mostly in decent light and do not plan on swapping focusing screens often. A clean, recently serviced 500C is still a fantastic camera that will produce outstanding work for years.
Choose the 500CM if you want the better viewing experience. The brighter Acute-Matte screen and tool-free swaps make focusing easier and faster, especially in lower light or when stopped down. The extra four hundred and fifty dollars buys real usability. This is usually the smarter pick for portrait, wedding, and anyone who spends long sessions looking through the finder.
Note that some late-production 500C bodies left the factory with the improved interchangeable screen. These are worth hunting for if you find one in excellent condition.
In the end, a well-serviced example of either camera beats a neglected one of the "better" model. Buy the nicest body you can comfortably afford from a trusted seller. Both will give you the same sharp 6x6 negatives that made Hasselblad famous.
Final Take
Both the 500C and 500CM are solid cameras that will outlast most of us if they have had a recent service. The 500CM edges ahead for everyday use because of the brighter screen and the simple ability to change it. That practical upgrade is usually worth the extra four hundred and fifty dollars.
The 500C is still a great buy when you want to keep the price lower and you shoot mostly in good light without needing grid lines or frequent screen swaps.
At Brooklyn Film Camera right now we have fully serviced examples of each. Every kit includes a lens and carries our standard six-month warranty. They are ready to shoot the moment you open the box.
Choose whichever fits your budget and your way of working. You cannot make a bad decision here.
Fully serviced. Six-month warranty. Ready to shoot.
Shop Hasselblad 500CM