ALPA operates on a modular system, allowing users to tailor their setup to their preferences. Many components designed initially for Hasselblad V cameras are compatible with ALPA medium format cameras. Combining Hasselblad equipment with ALPA bodies brings me immense satisfaction, given Hasselblad’s longstanding role in my commercial work.

When asked about my film digitization process, I explain how ALPA and Hasselblad work seamlessly together in my digitizing setup. For increased file size from a medium format sensor, I pair the ALPA TC with an ALPA/Schneider 120mm macro lens and macro/multifunctional adapters, combined with the Hasselblad CFV II 50c (50c) digital back. Sometimes, I also opt for a Hasselblad CFi 120/5.6 macro lens and a Vari-tube to digitize 4×5 film. These precise and tack-sharp setups work efficiently on my Beseler CS Copy Stand without needing a computer connection, thanks to the 50c’s sharp live view zoom and electronic shutter, which minimizes cabling for digitization and much of my landscape work.

This is just one example of how I use the ALPA camera system’s adaptability. Integrating ALPA cameras with Hasselblad lenses, digital backs, and accessories has dramatically enhanced my creative process.

My first ALPA camera was the Max, a versatile technical camera body offering both horizontal (36 mm total, 18 mm each way) and vertical shifting (43 mm, +25 mm up, -18 mm down). Its design allows seamless shifting without moving the lens or causing stereoscopic effects.

The Max is built for stitching, with tilt or swing movements up to 10° possible using the right adapters and lenses. After a decade, I traded it for an SWA (Shift Wide Angle), as I no longer needed all of the Max’s shifting features. I developed a lighter, more travel-friendly stitching technique using the TC with a gimbal and rail slide. Eventually, I transitioned to the STC for its lateral shifting, which better suits my on-the-road stitching and solo shooting needs.

However, I kept the SWA for studio work, which pairs well with my favorite ALPA Copal shutter lenses and Hasselblad digital backs for product photography. Ultimately, technical cameras involve trade-offs in weight, size, or cost, and the Max’s weight became undesirable for me. Still, I highly recommend the Max to photographers who need its capabilities. And now, with the addition of the ALPA 12 Pano camera, a girl can only dream!

The ALPA 12 STC (Shift Travel Compact) is well-known for its compact size and lightweight design. It features integrated shift capabilities for perspective correction, allowing for stitching multiple images and effectively increasing the pixel count in a single shot.

The STC provides 18mm of lateral shift in each direction, for a total shift range of 36mm. By rotating the camera 90°, the lateral lens shift can be converted into rise or fall adjustments, enhancing versatility.

From a design perspective, the STC and other ALPA cameras with integrated shift share a key advantage: all shift movements are performed on roller bearings, ensuring unmatched precision. This attention to detail demonstrates ALPA’s dedication to producing the most accurate tools for professional photographers.

The STC has become my preferred setup for stitching digital images, especially for landscapes where I use normal to long focal lengths. Its precision in stitching makes it ideal for capturing detailed, seamless panoramas.

After creating a three-slice image, like the one shown below, importing the slices into Lightroom for panorama stitching is straightforward. With hardly any perspective distortion, what’s not to like? The process becomes even easier with Live View, and I prefer Hasselblad digital backs for their excellent color science. The combination of ALPA and Hasselblad is a winning duo for me.

The SWA (Shift Wide-Angle) is a precise and popular camera for both film and digital shooting. It was ALPA’s first model in the ALPA 12 medium-format camera series.

The SWA has a front rise of 25 mm, and if you place it upside down on a tripod with its appropriate adapter, it then has a front fall of 25 mm. Additionally, when used with a digital back, you can achieve a similar downward shift by positioning the lens on the rear of the SWA and the digital back at the front. With the appropriate modules (which can be stacked), the SWA, like all ALPA cameras, allows tilt and swing movements.

The SWA became my primary medium-format studio camera for product photography after I replaced my Max with it. For most catalog work, I use the Hasselblad CFi 100/3.5 and CFV II 50c digital back alongside the SWA.

Shooting with ALPA’s SK 28 and 35 lenses on the SWA makes this an effective setup for architectural photography, especially on location inside tight spaces, as it allows perspective correction.

The SWA is a pleasure to shoot with, thanks to its simple yet versatile design, lightweight build, built-in handles, and spirit levels. It is a beautiful camera.

The ALPA 12 TC (Travel Companion) is perfect for photographers on the move. Compact and lightweight, it integrates seamlessly with the ALPA 12 camera platform despite lacking movements. It supports both modern digital backs through adapters and roll film up to 6×9 cm, appealing to both digital and film photographers. The TC is compatible with all ALPA adapter-compatible lenses.

In Image #1, my TC features a black synthetic grip, which I prefer over the standard rosewood grips for its soft texture and comfortable feel. Image #2 highlights the TC’s frame, showcasing its lightweight design—essentially just a precise, though expensive, frame! Image #3 displays the TC with the SK 35/5.6 lens, Hasselblad CFV50c digital back, digital back adapter plate, grip, hand strap, metal lens hood, accessory shoe, and bubble level, weighing just 3 lbs 5.6 oz. I often called this my lightweight digital alternative to the Hasselblad SWC, though now the 907x 50c offers another option. However, unlike the TC, the 907x cannot use film magazines.

The ALPA TC was my go-to camera for travel and landscape photography, often used with a gimbal for stitching, until the STC showed up. Now, the TC is my lightweight option for high-resolution travel photos without stitching.

The panoramic gear I use for capturing sequences of images is shown above.

My setup consists of the Fotopro E6-H Gimbal Head paired with an Acratech Leveling Base that features a Quick Release Clamp (Model #1134). While the image displays the Really Right Stuff TA-2U Leveling Base, I switched to the Acratech leveling base when I upgraded all my ball heads to Acratech pano heads and leveling bases in 2021.

The main difference between the two leveling bases lies in their tightening mechanisms: the TA-2U uses a collar, while the Acratech employs a knob. I prefer the knob for its ease of use, although the collar’s space-saving design is beneficial for storing the tripod assembly under the floor of my camper van.

This setup maximizes portability while allowing for precise horizontal and vertical adjustments. It is compatible with my STC setup, ALPA-Schneider lenses, Hasselblad V lenses, and the CFV II 50c digital back.

The E6-H’s ability to align the camera over the tripod at any angle from 0° to 45° provides a valuable no-parallax adjustment (commonly referred to, but incorrectly, as the nodal point), as shown in image #3. Without this feature, I would need to carry a separate nodal point rail to achieve the same adjustment. This capability eliminates parallax issues when shooting over long distances, allowing for seamless panoramic stitching for each shot. To find the no-parallax point, ensure that the aperture mechanism of your lens is centered over the tripod, not in front; this alignment is particularly crucial for wide-angle lenses.

Below is an example of a stitched image captured with the CFi 180 lens. I find that panoramic images stitched with longer lenses often deliver a more appealing aesthetic for certain scenes.

Lenses are essential tools for photographers. They are highly sought after for their quality, though they often come with a hefty price tag for top-tier options.

One prestigious brand that I came to appreciate midway through my photography journey is ALPA. Transitioning from large format film to medium format digital, ALPA became my second medium-format digital camera system after my initial setup with the Arca Swiss ML2 fell short. Despite its high cost, the quality of ALPA lenses proved unmatched. Starting with the SK Digitar 72 L and the 43 XL, I added a used SK 120 M for specific product work. Over time, I acquired the SK 28 XL and the SK 35 XL on the used market. Each lens serves a distinct purpose—while the SK 28 XL requires more attention due to its wide-angle design, the 35 XL hits the sweet spot in my kit.

However, ALPA no longer offers SK lenses in their mounts, as Schneider Optics discontinued this line when Copal shutters stopped production. Despite my preference for the smaller size and asymmetric design of ALPA’s SK lenses over Rodenstock’s, I remain open to the latter’s offerings.

As I consider acquiring a CFV 100c in the future, mainly for its BSI sensor rather than its 100 megapixels (which would require a new computer), I am prompted to reassess my need for all my ALPA lenses. With the high resolution of 100 megapixels, cropping becomes a feasible option, leading me to reconsider my lens collection.

Let’s now examine each lens pictured above in greater detail. I used this Depth of Field (DoF), Angle of View, and Equivalent Lens Calculator for the calculations.

ALPA offers a variety of accessories for its cameras. Here are some of the accessories that I am familiar with.

ALPA DIGITAL BACK PLATES: HASSELBLAD V

The first image in the teal-colored box shows two versions of ALPA’s Hasselblad V digital back plates. The plate on the top left is the older version, Mk I. I have used it for several years, initially with Hasselblad accessories while shooting with a P45 and M645 plate. Later, it worked seamlessly with the CFV 50c digital back. However, when I upgraded to the CFV II 50c digital back, the original V plate couldn’t properly connect the back to the ALPA camera because the fittings of the CFV II 50c had changed, resulting in some slop. ALPA recognized this issue and introduced Mk II of their plate, which I am currently using, while still utilizing the original plate for V accessories.

ALPA acknowledges that the back mount of Hasselblad V cameras has historically been one of the most widely used connections for accessories and digital backs. This widespread adoption led to the need for adapters to ensure compatibility with various accessories, often resulting in a slight amount of play, or slop. While this is not a significant issue, it does not meet the high precision standards associated with ALPA products.

Hasselblad has now addressed the slop issue with the 907x and the CFV II 50c by introducing a locking pin. ALPA’s latest adapter, HAA version Mk II, also features this pin, which guarantees an optimal fit. Users can remove this pin when working with older digital backs without any difficulties.

ALPA DIGITAL BACK PLATE: MA645

I use this ALPA digital back plate with my P45 and MAX cameras. It was purchased brand new and came with a set of shims for alignment adjustments. Recently, I took my MAX camera to a nearby greenspace, where I used trees at varying distances to check the alignment of the back plate for sharpness. Fortunately, my setup required no shim adjustments, as everything aligned perfectly at infinity.

ALPA MULTI-USE SPACER/ADAPTER: 17MM

This adapter is usable on the front or the rear of the camera, and for short barrel 17 mm lenses if infinity must be reached.

ALPA MACRO ADAPTER: 51MM

When doing macro photography, I use this adapter, which can be mounted on the front or rear of the camera, with multiple 34 mm and  + one 17mm adapters.

Hasselblad offers a comprehensive medium-format modular system. By acquiring an ALPA-Hasselblad ‘V’ rear adapter plate for a Hasselblad digital back, you can use some of Hasselblad’s accessories with your ALPA camera. These accessories include viewfinders, ground glass, and film magazines. Additionally, by obtaining an ALPA Hasselblad lens adapter plate, such as the one I got from Litz Studio, you can use Hasselblad lenses on your ALPA camera as well. This combination creates a remarkable marriage between two fantastic systems!

Once I realized I wanted to forgo the Hasselblad V bodies for digital but continue using my favorite CFi lenses, the STC became my choice for travel and landscape work because it does what I want in the smallest possible package for medium format digital. I just needed a way to adapt the lenses, and the adapter made by Litz Studio, pictured above, does just that. If you are familiar with the Hasselblad Flexbody, you already know how this V lens adapter works. It is the easiest option to use Hasselblad V lenses with an ALPA body and Live View (LV).

Zeiss has not published official image circle specifications for Hasselblad V lenses, but user experiences shared online can offer some guidance. However, be cautious when reviewing these sources—both Ernst Wildi Hasselblad manuals I own state that Hasselblad Zeiss lenses were designed specifically for the 56mm x 56mm format, with little excess coverage.

With my CFV 50c II 44×33 CMOS back and lenses (CFi 80/100/180), I have found they generally allow for up to 15mm of movement. That said, it’s crucial to test your specific lenses with your digital back and camera movements to fully understand any limitations when planning shifts or tilts. Because my sensor is smaller than those in some other digital backs, it offers slightly more flexibility for movements.

SWC FOCUSING SCREEN/GROUND GLASS ADAPTER (#41050)

The SWC Focusing Screen Adapter (FSA) #41050 was made explicitly for the Hasselblad SWC and FlexBody cameras. It has a line grid and a split image rangefinder in the center. It is made with the same material as the Acute Matte screen. The top and bottom line in the grid outlines the borders of the 6×4,5cm image format. The FSA attaches to the camera in the same way as a film magazine. It accepts all viewfinders of the Hasselblad V system. The older, similar model, #40125, is not made with the Acute Matte material. I had one, and because I was familiar with the brightness of the Acute Matte screen, I immediately noticed the difference and sought a replacement #41050.