I have a nice Canon 35mm DSLR that gets the job done, but I'm not a photographer.
A Canon DSLR will teach you enough about photography to understand any discussion about Apollo photography.
But I am smart enough to know you get what you pay for, and Hasselblad and Leica are the price of a used car, or new car.
I was fortunate as a college student to apprentice part-time with a professional photographer who had a whole stable of high-end medium- and large-format film cameras. Then as I become more involved with theater and film, I was privileged to learn more.
So, while I can talk about my experience with a low-end Canon DSLR, I am in no way qualified to discuss what any of the high-end cameras can do.
The same as a 35 mm SLR, just to a higher standard of quality. The lenses cost more, and do a better job of capturing the image without aberration or distortion. The film area is larger, so you get more grain in the picture. But other than that, it's just focal length, f-stop, and shutter speed. They don't work differently, just better.
While a professional fine art photographer can do wonders when they master their instrument, this was not required of Apollo. The shutter speed was set to 1/250 s and never changed. The f-stop was either f/5.6, f/8, or f/11. There was a diagram on the magazine that gave the proper f-stop for each direction relative to the sun. As I show in the video, you just had to push a paddle attached to the ring.
Focus was a technique called zone focusing. This was commonly used in photography until the advent of easy auto-focus technology. With the SLR (and with the unmodified Hasselblad 500/EL) you have a viewfinder to help you focus. You just turn the ring until the picture is sharp on the focusing screen. In zone focusing, you're using the fact that a high f-stops your depth of field is quite deep. You can experiment with this using your DSLR in manual mode. Thus your focus adjustment doesn't have to be spot-on. The Zeiss lenses had a detent—a "click" stop—at focus settings corresponding to different ranges that the astronauts could easily estimate. These zones overlapped so that you could be off by a little in your estimate.
On top of that, Neil Armstrong was already an avid photographer. In taking the "suspiciously perfect" picture of Aldrin, he knew that the recommended setting was near-distance focus and f/5.6, but he slightly overexposed the shot (as an experienced photographer knows to do when shooting up-sun). Aldrin was not an especially talented photographer, which is why Armstrong shot most of Roll 40.