THREE ALPAS THAT HELPED SHAPE MY WORK
INTRO
ALPA is my preferred medium format technical camera system in the digital age. It offers the precision, durability, lightweight design, and versatility I need for both studio and field work. Whether using a digital back in the studio or working outdoors with film or digital capture, it performs with remarkable consistency. Its seamless integration with my Hasselblad system made the transition an easy one.
The ALPA system represents a significant investment. Digital backs, lenses, and accessories are all priced at the high end, even on the secondary market, and some lenses can be difficult to find. Even so, moving to ALPA was the right decision as I transitioned from Hasselblad and 4×5 film into medium format digital. I purchased my first ALPA, the MAX, in 2010 and have never looked back. Given the choice, I would make the same decision again without hesitation.
MY FAVORITE TRAVEL COMPANION
Now about 80% retired from commercial work, I spend much of my time traveling throughout Florida in search of photographs, with occasional trips to visit friends and family in other states. When I decided to retire, I purchased a van and had it customized to fit my needs, avoiding many of the unnecessary features found in most factory built camper vans.
I tend to photograph landscapes with normal to longer focal lengths, but I always carry a wide angle lens for architecture and city scenes where it becomes essential. One camera that has consistently met both needs, for panoramic stitching as well as single frame images, is the ALPA STC.
Over the years, I built my ALPA system one piece at a time, back when prices were more reasonable and Copal shutters were still in production. What follows is a record of the cameras, lenses, and accessories I have used, along with my experiences and photographs made with them. If you have any questions about the equipment featured here, feel free to ask.
MY ALPA GEAR EXPERIENCE
ALPA cameras & related equipment I have used with their cameras.
LITERATURE & LINKS
ALPA:2018 Product Brochure
ALPA:Parallel Shift and Scheimpflug Lens Tilt
SCHNEIDER DIGITAL LENSES:Brochure
SCHNEIDER CENTER FILTERS:Chart
ALPA:Website
ALPA:Helvetar 28/5.6 Product Page
DAVE CHEW:Schneider Kreuznach Apo Digitar Lens Data
A LITTLE HISTORY ABOUT ALPA
ALPA, based in Switzerland, traces its roots to 1946 in Zurich. The company began by producing high quality 35mm SLR cameras that quickly earned a reputation for exceptional craftsmanship and precision engineering. During the 1990s, ALPA moved away from traditional SLRs and developed a modular medium format camera system built around mechanical precision and flexibility. This evolution culminated in the ALPA 12 series, with early models such as the SWA and WA making their debut at Photokina in 1998.
The ALPA 12 system, which eventually grew to include cameras such as the SWA, TC, STC, and MAX, became known for its compact, modular design and exceptional build quality. It proved especially well suited for landscape, architectural, and fine art photography. Compatibility with digital backs from Hasselblad, Phase One, and Leaf allowed photographers to combine state of the art digital capture with ALPA’s precision engineered platform.
Today, ALPA continues to manufacture its cameras in small numbers, maintaining the same emphasis on craftsmanship, modularity, and mechanical precision that has defined the company for decades. As digital back technology has evolved, the ALPA 12 system has evolved with it, remaining one of the most respected technical camera systems available.
ALPA MODULAR SYSTEM
ALPA is built around a modular platform, allowing me to configure the system to fit my needs. One of the reasons it has worked so well for me is its compatibility with the Hasselblad V system, which I have relied on for decades. With the appropriate adapters, I can mount Hasselblad digital backs, film magazines, viewfinders, and ground glass onto ALPA bodies. An ALPA 12 to Hasselblad V lens adapter also allows me to use V lenses, extension tubes, and macro accessories. This continuity between systems has been one of the greatest advantages of working with ALPA.
In my early film digitizing workflow, this compatibility proved invaluable. Before high resolution mirrorless cameras and modern live view systems became practical, I relied on an ALPA body paired first with a Phase One P45 digital back and later with a Hasselblad digital back. The P45 required a tethered workflow because its live view capabilities were extremely limited, making a laptop essential for critical focusing and composition. Even so, the ALPA platform provided precise alignment and excellent optical performance.
As live view improved with later digital backs, the process became much more streamlined. Using a macro lens with the appropriate extension, combined with live view magnification and an electronic shutter, allowed accurate focusing and capture with minimal setup. It proved to be an efficient solution for digitizing both medium format and 4×5 film using equipment I already trusted.
My digitizing workflow has continued to evolve, but this experience illustrates why the ALPA system fits so naturally into my broader kit. Rather than replacing my Hasselblad system, it complemented and extended it, allowing me to build a precise, adaptable workflow around tools I already knew well.
ALPA MAX
WHERE MY ALPA JOURNEY BEGAN
My first ALPA camera was the MAX, a versatile technical body offering both horizontal shift (36 mm total, 18 mm in each direction) and vertical shift (43 mm total, +25 mm up and −18 mm down). Its design allows the rear standard to shift independently while the lens remains fixed, eliminating the stereoscopic errors that can occur when the entire camera is moved.
The MAX is exceptionally well suited for stitched panoramas, with tilt and swing movements of up to 10° available when used with the appropriate adapters and lenses. After nearly a decade, I traded it for the SWA (Shift Wide Angle), as I no longer needed the MAX’s full range of movements. My stitching workflow had also evolved. I first adopted the lightweight TC paired with a gimbal and rail slide, then eventually settled on the STC, whose built in lateral shift proved better suited to the way I travel and work alone.
I kept the SWA for studio use, where it pairs beautifully with my ALPA Copal shutter lenses and Hasselblad digital backs for product photography. As with all technical cameras, there are trade offs in weight, size, and cost, and the MAX ultimately became more camera than I wanted to carry into the field. Even so, I continue to recommend it to photographers who need its full capabilities.
And now there is the ALPA 12 Pano… I’m pretending I never saw it.
IMAGE: LIGHT FINDS A WAY IN
ALPA MAX GALLERY
ALPA STC
ALPA STC + SK 35/5.6 + CF + SLIDING REAR + STITCHING ADAPTER
The ALPA 12 STC (Shift Travel Compact) is known for its compact design and lightweight construction. Its integrated shift mechanism provides precise perspective control while making multi-frame stitching straightforward, allowing for higher resolution images from a single camera position.
The STC offers 18 mm of lateral shift in either direction, for a total of 36 mm. Rotating the camera 90° converts that movement into rise or fall, giving it remarkable flexibility for both landscape and architectural photography.
When I purchased my STC, I also bought two stitching adapters, one for everyday use and a second as a backup. With an adapter mounted on each side of the camera, I can rotate the camera body rather than the digital back while stitching. This keeps the sensor plane in the same position, minimizes parallax, and makes the entire stitching process quicker and more efficient in the field.
DUAL STITCHING ADAPTERS FOR FAST ROTATION
From a design standpoint, the STC and other ALPA cameras with integrated shift share a significant advantage: every movement is guided on precision roller bearings. The result is exceptionally smooth, repeatable movements that reflect ALPA’s commitment to building highly accurate photographic tools.
The STC has become my preferred camera for stitched digital landscapes, particularly when working with normal to longer focal lengths. Its precise movements produce clean, seamless files that stitch together effortlessly in post processing.
A simple three frame sequence is all that is often needed. Stitching in Lightroom is straightforward, and because perspective distortion is minimal, the files align quickly with little or no correction required. The process has become even more efficient with modern Live View, and I continue to favor Hasselblad digital backs for their excellent color. For me, the combination of ALPA and Hasselblad has proven to be a natural fit.
IMAGE: AUTUMN GLOW ON THE MARSH
ALPA STC GALLERY
ALPA SWA
ALPA SWA + HASSELBLAD CFV 50C + SK 35/5.6 & CFI 100/3.5 + LINHOF VF
The SWA (Shift Wide Angle) is a precise and widely respected camera for both film and digital photography. Introduced at Photokina in 1998, it was the first model in the ALPA 12 medium format system.
The SWA provides 25 mm of front rise. Mounted upside down on a tripod with the appropriate adapter, that movement becomes 25 mm of fall. When working with a digital back, a similar effect can be achieved by reversing the configuration, mounting the lens on the rear standard and the digital back on the front. Like all ALPA technical cameras, the SWA also supports tilt and swing through the use of modular adapters, which can be stacked as needed.
After replacing my MAX, the SWA became my primary medium format studio camera for tabletop photography. In the studio, I typically pair it with either the Hasselblad CFi 100 mm or the SK 72 mm lens and a Hasselblad CFV II 50c digital back.
With wider lenses such as the SK 28 mm and 35 mm, the SWA is equally at home photographing architecture, particularly in confined interior spaces where perspective control is essential.
The SWA is simply a pleasure to use. It is compact for its capabilities and feels wonderfully balanced in the hand. Its straightforward design, precision construction, integrated hand grips, and built in spirit levels make it both intuitive and enjoyable to work with. It is one of those rare cameras whose craftsmanship is as satisfying as the photographs it helps create.
IMAGE: AWAKEN
ALPA SWA GALLERY
ALPA TC
TC + GRIP + SK 35/5.6 + CFV II 50c + ACCESSORIES = 3.56 LBS
The ALPA 12 TC (Travel Companion) is well suited for photographers on the move. Compact and lightweight, it integrates seamlessly into the ALPA 12 system despite having no built in movements. It accepts modern digital backs through adapters, as well as roll film magazines up to 6×9 cm, making it equally appealing for digital and film photography. The TC is compatible with the full range of ALPA mounted lenses.
In Image #1, my TC is fitted with a black synthetic grip, which I prefer to the standard rosewood for its softer feel and comfort in the hand. Image #2 reveals the simplicity of the TC itself: essentially a precisely machined, and yes… rather expensive, frame. Image #3 shows my complete travel configuration with an SK 35/5.6, Hasselblad CFV II 50c, adapter plate, grip, hand strap, metal lens hood, accessory shoe, and bubble level. Altogether, the setup weighs just 3 lbs 5.6 oz.
I often thought of the TC as a digital counterpart to the Hasselblad SWC. Today, the 907X offers another compact approach, but unlike the TC, it does not provide the option of using film magazines.
IMAGE: THE IMPERIAL HOTEL
ALPA TC GALLERY
ALPA TC STITCHING SETUP
ALPA TC + HASSELBLAD 100 CFi + CFV 50c + FOTOPRO E-6
The panoramic and stitching setup I use for capturing frame sequences is shown above.
My current configuration pairs a Fotopro E6 H gimbal head with an Acratech leveling base and quick release clamp. The photographs show the Really Right Stuff TA 2U leveling base I used previously. In 2021, I transitioned to Acratech leveling bases and pano heads throughout my system.
The primary difference for me is the locking mechanism. The TA 2U uses a collar, while the Acratech uses a knob, which I find easier to adjust. The RRS collar design is more compact, however, and fits more easily when storing a tripod beneath the floor of my camper van.
This setup provides a good balance between portability and precise control, with easy horizontal and vertical alignment. It works equally well with my TC and STC, ALPA SK lenses, Hasselblad V lenses, and CFV II 50c digital back.
One of the key advantages of the E6 H is its ability to position the camera directly over the tripod’s axis at angles from 0° to 45°. This allows me to align the lens entrance pupil with the axis of rotation without adding a separate sliding rail. The entrance pupil is sometimes casually referred to as the nodal point, although entrance pupil is the more accurate term for panoramic photography.
For proper alignment, I position the lens so its entrance pupil, rather than the front element or lens barrel, is centered over the tripod’s rotational axis. This minimizes parallax between overlapping frames and becomes particularly important when foreground objects are relatively close to the camera.
Below is an example of a stitched image made with the Hasselblad CFi 180 mm lens. I often prefer stitching with longer focal lengths because they allow me to retain the perspective and visual relationships I want while expanding the final composition.
IMAGE: LONE PINE = ALPA LONG LENS STITCHING
The composite image above was created by stitching six frames captured with the ALPA TC, using the Litz Hasselblad lens adapter, Hasselblad CFi 180mm lens, and CFV II 50c digital back.
The CFi 180 has become my preferred lens for stitched landscapes. It gives me a very different way of seeing a scene than I get with a wide angle lens, allowing me to work from farther away while maintaining the perspective and relationships I prefer. While ALPA offers longer focal length lenses, I have never found the cost, availability, or selection compelling enough to move in that direction.
Working with the 180mm can be particularly rewarding. The increased shooting distance creates a more compressed relationship between foreground and background, while stitching allows me to expand the composition without giving up that perspective. In this case, I was drawn to a solitary pine standing in rising water. It had a quiet sense of isolation, and I found myself wondering how long it could hold on.
When I returned months later, it was gone.
ALPA SCHNEIDER LENSES
Lenses are essential tools for photographers, often chosen as much for their rendering characteristics as for their optical precision. At this level, however, exceptional optics come at a price.
ALPA entered my kit midway through my transition from large format film to medium format digital. After my initial experience with the Arca Swiss ML2 fell short, ALPA became my second medium format technical camera system. Despite the investment, the quality of the SK lenses immediately made an impression. I began with the SK Digitar 72 L and 43 XL, later adding the SK 120 M for product work. Over time, I found the SK 28 XL and 35 XL on the secondary market. Each serves a specific purpose. The 28 XL demands a little more attention, while the 35 XL has become a particularly natural in my kit.
ALPA no longer offers Schneider Kreuznach lenses in its mounts following the discontinuation of Copal shutters. I have always preferred the compact size and asymmetric design of the SK lenses over the Rodenstock alternatives, although I remain open to what is currently available.
As I consider moving to a CFV 100c, more for its BSI sensor than its additional resolution, I find myself reconsidering how many lenses I really need. The 100 megapixel files provide considerably more freedom to crop when needed, making some overlap between focal lengths less important to me than it once was.
What follows is a closer look at each lens shown above. I used a depth of field, angle of view, and equivalent focal length calculator to work through the numbers.
ALPA SK LENSES: 35XL, 47XL, 120M, 72L, 28XL
ALPA HELVETAR 28/5.6
SCHNEIDER APO-DIGITAR 28/5.6:Data Sheet & MTF Chart
This is a much sought-after lens if you specialize in architectural or landscape photography. It epitomizes the pinnacle of extreme wide-angle optics, with minimal distortion owing to its partially symmetrical construction and remarkably short flange focal length. Schneider spared no effort in ensuring seamless integration with the ALPA system, pushing boundaries to deliver unmatched performance.
The ALPA Helvetar 28/5.6 mm version features an exclusive HPF-like distance scale in meters, supplemented by a mirrored 180-degree scale in feet, all within its square mount, enabling versatile positioning. A generous 90mm image circle allows ample room for adjustments when paired with digital backs. This lens captures an image area similar to a 22mm lens on a 35mm format camera, making it ideal for photography in the tightest spaces with its short focal length and expansive 115° viewing angle.
However, its susceptibility to oblique ray paths presented a challenge for digital backs with pixel sizes below 9 or 6.8 microns, often resulting in significant color casts that were challenging to rectify until BSI sensors became available. The inclusion of a special center filter offers some relief with color casts when used with a non-BSI sensor.
This lens remains unparalleled for high-resolution achromatic digital backs and black-and-white photography. It delivers exceptional imaging performance in a lightweight and compact form.
Key Features:
- 90mm image circle
- resolution: 80/lp
- 10-element design
- expansive 115° viewing angle
ALPA DIGITAR 35/5.6 XL
SCHNEIDER APO-DIGITAR XL 35/5.6:Data Sheet & MTF Chart
The ALPA DIGITAR 35/5.6 XL Lens with Copal #0 Shutter is a highly specialized large-format lens tailored for digital backs. It was designed to excel even at larger apertures to prevent degradation from diffraction and maintain peak performance at its widest settings.
It has been recommended for use with backs as large as 37x49mm. This lens captures an image area similar to a 28mm lens on a 35mm format camera, making it ideal for tight-space photography with its short focal length and expansive 102° viewing angle. For larger backs nearing the lens’ maximum coverage, optimal performance is achieved with the recommended Schneider #08-1003286 center filter.
This is a much sought-after lens as it has a small footprint and is lightweight. I have had my copy for years and find it my go-to wide-angle choice.
For a fair price, I found a new center filter (CF) at Linhof Studio in the UK. Using the 35 XL with my P45 back did not prompt the use of the CF, but after upgrading to the CFV50c, I began my search for the CF and was lucky to locate one, as these are difficult to find. Overall, this lens is an excellent tool in my ALPA toolbox, and I recommend it if you need a small, lightweight wide-angle.
Key Features:
- designed for extremely high resolution on digital backs up to 37x49mm
- fitted with a conventional Copal #0 shutter
- delivers an exceptionally fine, uniform 90mm image circle
- a wide-angle view with expansive 102° coverage
- apochromatic design eliminates color fringing
- ideal aperture range of f/5.6-11
- compatible with 52mm threaded filters
- compact rear barrel with a minimal flange back, facilitating use across a range of cameras
- optional 08-1003286 center filter for enhanced performance
ALPA DIGITAR 47/5.6 XL
SCHNEIDER DIGITAR 47/5.6 XL:Data Sheet & MTF Chart
The ALPA Schneider 47mm f/5.6 Apo-Digitar XL Lens, equipped with a Copal #0 Shutter, is a specialized wide-angle lens designed for digital back use where demanding high resolution and color-accurate image circles of a reduced size are essential. Digital backs particularly benefit from using larger apertures to circumvent image quality loss due to diffraction, making this lens ideally suited for use at its full aperture at all times.
Recommended for backs up to 63x63mm, this lens delivers a field of view similar to a 37mm lens on a 35mm camera, offering a broad perspective onto the sensor. Its short focal length and wide 100° viewing angle make it perfect for photographing confined spaces, architectural subjects, and scenarios where space is limited.
Key Features:
- designed for digital backs as large as 63x63mm
- copal #0 shutter
- 113mm image circle
- wide-angle view with 100° coverage
- apochromatic design to eliminate color fringing
- ideal working aperture range of f/8-11
- 52mm threaded filters
- small rear barrel with minimal flange back
ALPA APO DIGITAR 72/5.6 L
SCHNEIDER APO-DIGITAR 72/5.6 L:Data Sheet & MTF Chart
The ALPA Schneider 72mm f/5.6 Apo Digitar L Lens is a telephoto lens tailor-made for medium-format digital photography, delivering images with high resolution and precise color accuracy within compact image circles. Its design caters specifically to digital backs, allowing for optimal performance at wider apertures to prevent the loss of image quality due to diffraction. This lens is equipped with a standard Copal #0 shutter for reliability and ease of use.
Suitable for digital backs up to 63x63mm, the 72mm Digitar captures an image field comparable to a 64mm lens on a traditional 35mm format camera, making it a versatile choice for both on-location and studio photography. It maintains consistent sharpness across a wide range of reproduction ratios, and its 90mm image circle is preserved across all apertures, including its maximum of f/5.6. This consistency in image circle size, alongside its exceptional sharpness at f/5.6, allows it to surpass the image quality of any medium format SLR lens when used with 6×7, 6×6, and 645 format film backs.
Digital photography often outshines traditional film photography, especially for print outcomes, by requiring lenses that can reproduce intricate details within the constrained area of a digital sensor. The 72/5.6 L Digitar lens excels in leveraging the full potential of your digital back, ensuring maximum image quality and detail capture.
Key Features:
- high-resolution lens for digital backs as large as 63x63m
- apochromatic color correction for excellent edge delineation across the entire field
- produces extremely fine, uniform 90mm image circle
- lens coverage remains identical at all apertures, including f/5.6 maximum aperture
- can be used with 6×7, 6×6, and 645 film backs to provide superior image quality
- mounted in conventional copal shutter
- telephoto view with 62° maximum coverage
- ideal working aperture range of f/5.6-11
- accepts 40.5mm threaded filters
- small rear barrel, minimal flange back
ALPA SK APO DIGITAR 120/5.6 M
SCHNEIDER APO-DIGITAR 120/5.6 M:Data Sheet & MTF Chart
The ALPA Schneider 120mm f/5.6 Apo Digitar M Lens stands out as a macro specialist for medium-format digital backs designed for smaller, highly detailed, and color-accurate image circles. Its performance in macro photography at high reproduction ratios surpasses that of any standard lens. To prevent image quality loss due to diffraction, this lens thrives at its maximum aperture of f/5.6, although it allows stopping down to f/8 for 1:1 macro shots and f/11 for distances beyond 1:2. It is equipped with a standard Copal #0 shutter.
Suited for digital backs up to 63x63mm, the 120mm Digitar M’s design ensures optimal image quality at maximum aperture and includes sufficient rear flange distance to accommodate an internal mirror, making it adaptable to 35mm digital SLR cameras as well as 6×6 and 645 film backs. This adaptability offers superior image quality over conventional SLR lenses, which are often compromised by the need to fit around an internal viewfinder mirror.
Key Features:
- focal length: 120 mm
- focal length effective: 124.9 mm
- equivalent 35 mm @ 33×44 mm : 98 mm
- equivalent 35 mm @ 40×54 mm : 80 mm
- image circle: 110 mm
- shift @ 33×44 mm: horiz. 30 mm / vert. 34 mm
- shift @ 40×54 mm: horiz. 24 mm / vert. 28 mm
- close focus distance: 1.10 m
- filter thread: 40.5 mm
- best f stop digital: f 8 – f 11
- best f stop film: f 8 – f 16
- shutter: copal 0, 1sec – 1/500sec, b, t
ALPA ACCESSORIES
ALPA DIGITAL BACK PLATES: HASSELBLAD V
The first image in the teal-colored box shows two versions of ALPA’s Hasselblad V digital back adapter plates. The plate at the top left is the earlier Mk I version, which I used for several years. It initially served well with Hasselblad accessories while working with a Phase One P45 and M645 plate, and later paired successfully with the CFV 50c digital back. However, when I upgraded to the CFV II 50c, the original plate no longer provided a precise fit due to changes in the back’s mounting interface, resulting in a small amount of play. ALPA addressed this by introducing the Mk II version, which I now use, while the original plate continues to serve for V-system accessories.
The Hasselblad V mount has long been one of the most widely used interfaces for digital backs and accessories. That broad compatibility has required the use of adapters, which can sometimes introduce slight tolerances. While generally minor, this level of play falls short of the precision typically associated with ALPA.
Hasselblad later addressed this with the 907x and CFV II 50c by adding a locking pin to improve registration. ALPA’s updated HAA Mk II adapter incorporates this feature, providing a more secure and precise fit. The pin can be removed when working with earlier digital backs, maintaining backward compatibility.
ALPA HPF HIGH PRECISION FOCUSING RING
ALPA’s HPF (High Precision Focusing) rings are designed for accurate scale focusing, especially when working with a laser distance meter. They allow precise freehand operation without the need for conversions or guesswork. Each ring is engraved with distance markings from infinity, with references at five-degree intervals up to 270°, along with intermediate degree markings for fine adjustment.
I purchased my SK 35 used, and it came fitted with an HPF ring. In use, it proved to be exceptionally precise. In the field, I could take a quick distance reading, set focus directly on the ring, and work confidently without ground glass.
Today, I rely on Live View for focusing, so I no longer use the HPF ring. That said, for photographers who prefer scale focusing or work without Live View, it remains an excellent and highly accurate tool.
ALPA DIGITAL BACK PLATE: MA645
I used the ALPA MA645 digital back plate with my Phase One P45 and MAX cameras. It was purchased new and included a set of shims for alignment adjustments.
Shortly after receiving it, I took the MAX out to a nearby greenspace and used trees at varying distances to check alignment and sharpness. As it turned out, no adjustments were needed. Everything was properly aligned right out of the box, including at infinity.
Shims fine-tune the lens-to-sensor distance for accurate focus, especially at infinity. With modern Live View, however, focus can be confirmed directly on the sensor, making shim adjustments far less critical in practical use.
ALPA PHASE ONE WAKE-UP CABLE
The ALPA wake-up cable is designed for use with mechanical shutters and Phase One digital backs. It features an 8-pin connector for the back, a PC connector for the lens, and a plunger to wake the back when needed.
The wake-up function is necessary because these digital backs enter a sleep state to conserve power. Without waking the back before triggering the shutter, the capture can be missed or improperly timed.
I relied on these cables whenever I was shooting with the P45 digital back, and I still use them today with Hasselblad digital backs. Since those do not require a wake-up, I simply ignore the plunger.
ALPA MACRO & MULTI-USE ADAPTERS
ALPA MACRO & MULTI-USE ADAPTERS: 17MM + 34MM + 51MM
ALPA’s multi-use spacers and macro adapters may appear simple, but they are fundamental to how the system handles both infinity focus and close-up work. I keep multiple copies of each size, as they became essential in my workflow when working with both short and long barrel lenses, where precise spacing is required to achieve proper infinity focus.
They are equally important for macro photography. By combining spacers, I was able to extend lenses like the SK 120/5.6 M to reach higher magnifications, including 1:1 and beyond. As extension increases, so does magnification, but it also reduces the lens’s ability to focus at distance, which is why modular spacing becomes so useful. This approach allowed me to build flexible macro setups without the need for bellows, while maintaining the rigidity and precision of the ALPA platform.
I also used these adapters extensively for film digitizing, where precise lens-to-sensor distance is critical for edge-to-edge sharpness and accurate focus.
What follows are the specific spacers and adapters I’ve used, and how they fit into my workflow.
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 MULTI-USE SPACER/ADAPTER: 34MM
This adapter is usable on the front or rear of the camera and for short barrel 34 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 and 17 mm adapters.
ALPA TC DIGITIZING SETUP
In the infographic above, you’ll notice my initial ALPA TC and SK 120 M setup, featuring ALPA Multi-Use Adapters (extension tubes). While I utilized this configuration for a couple of years, I eventually transitioned to using the TC with a Hasselblad CFi 120 or CF 135 macro lens and a Hasselblad variable 64-85mm extension tube paired with the Hasselblad CFV 50c II digital back. I’ve found that this setup performs just as admirably with fewer components to manage.
An essential consideration when digitizing with a medium-format setup is the stability of the copy stand. I maintain two copy stands for this purpose: a Kaiser RS 2-XA for my APS-C setup, which is portable and ideal for lighter camera systems, and the non-portable Beseler CS Digital/Photo-Video, designed for medium-format cameras. The latter shares the same sturdy chassis as Beseler’s 4×5 enlarger.
For fellow film enthusiasts, I recommend transitioning from a scanner to a digital camera setup for digitizing your film, if you haven’t already done so. I’ve documented my digitizing journey in three articles detailing equipment choices, stitching techniques, conversion software, film naming conventions, film storage solutions, and more. You may find these articles insightful: Part 1, Part 2, and Part 3.
DIGITIZING UPDATE 2026
After nearly a year of working with the Sony system for both digitizing and macro, my ALPA TC has seen less use. For now, it remains in my gear closet, still appreciated, just not currently part of my active workflow… though I wouldn’t be surprised if it finds its way back out again.
ALPA + HASSELBLAD
Hasselblad offers a comprehensive medium format modular system, and with the right adapters, it integrates beautifully with ALPA. By using an ALPA to Hasselblad V rear adapter plate, I’m able to mount a Hasselblad digital back and continue using familiar accessories such as viewfinders, ground glass, and film magazines.
With an ALPA to Hasselblad lens adapter, like the one I use from Litz Studio, Hasselblad V lenses can also be brought into the system. This level of compatibility allows me to extend my Hasselblad setup rather than replace it.
For me, this combination brings together the best of both systems. The precision and flexibility of ALPA, paired with the familiarity and depth of the Hasselblad V system, creates a workflow that feels both capable and deeply satisfying to use.
ALPA CAMERAS + HASSELBLAD V LENSES
ALPA TC + LITZ STUDIO ADAPTER + HASSELBLAD LENSES
Once I decided to move away from Hasselblad V bodies for digital, while continuing to use my CFi lenses, the STC became my choice for travel and landscape work. It gives me exactly what I need in the smallest possible medium format package. The missing piece was lens compatibility, and the Litz Studio adapter, shown above, solves that cleanly. If you’re familiar with the Hasselblad FlexBody, you’ll recognize how this works. It’s a straightforward and effective way to use Hasselblad V lenses on an ALPA body with Live View.
Zeiss has never published official image circle specifications for Hasselblad V lenses, so most guidance comes from user experience. That said, both Ernst Wildi manuals I own make it clear that these lenses were designed for the 56 × 56 mm format, with little extra coverage.
In my own use with the CFV II 50c (44 × 33 mm) and CFi 80, 100, and 180 lenses, I’ve found they generally allow up to about 15 mm of movement. As always, it’s important to test your specific lenses with your back and camera movements to understand the limits. Because the 44 × 33 sensor is smaller than some other digital formats, it provides a bit more flexibility for movements.
A simple way to test this is to use Live View and gradually apply shift or tilt while watching the edges of the frame for vignetting or loss of sharpness. This gives a quick and reliable sense of how far each lens can be pushed before image quality begins to fall off.
ALPA TC REFLEX VIEW SETUP
HASSELBLAD RMFX REFLEX VIEWFINDER + SWC FOCUS SCREEN
Before Live View, whenever I wanted an upright, non-reversed image with my ALPA cameras, I relied on the Hasselblad Reflex Viewfinder RMFX (72530) paired with the SWC Focus Screen Adapter (#41050). The #41050 uses the Acute Matte screen, which provides one of the brightest viewing experiences Hasselblad offered, making focusing both easy and precise.
Setting this up requires an ALPA to Hasselblad digital back plate. Once installed, the #41050 mounts in place, followed by the Hasselblad V viewfinder of your choice.
At times, I would walk around with my ALPA TC fitted with the #41050 and RMFX, using it to explore compositions before committing to a shot. It’s a simple, effective setup that remains bright and easy to focus with.
While Live View has made focusing faster and more direct, this setup still has an important place when shooting film. Some photographers use a digital back for focusing, but I prefer to keep things simple in the field. If I’m out in the marsh, the last thing I want is to carry an expensive digital back just to focus… especially if I need to move quickly and an alligator shows up with opinions.
REFLEX VIEWFINDER RMFx (#47070)
Designed for use with SW, SWA, SWC, and FlexBody cameras when paired with focusing screens such as the #41025 or #41050, the Reflex Viewfinder RMfx provides a comfortable viewing position with a 10° angle. It features an enlarged eyepiece for full-frame viewing, even when wearing eyeglasses, and delivers an upright, non-reversed image.
I originally used the RMfx with the FlexBody and later adapted it for use with my ALPA cameras. It became a reliable tool for composing before switching to a digital back or film magazine.
Paired with the #41050, this setup has proven, in my experience, to be more effective than the viewfinder and ground glass options I’ve used from ALPA.
SWC FOCUSING SCREEN/GROUND GLASS ADAPTER (#41050)
The SWC Focusing Screen Adapter (#41050) was designed for the Hasselblad SWC and FlexBody cameras. It features a line grid with a central split-image rangefinder and is made using the same Acute Matte material found in Hasselblad focusing screens.
The grid includes top and bottom lines that indicate the 6×4.5 cm image area. The adapter mounts to the camera like a film magazine and accepts all Hasselblad V system viewfinders.
An earlier version, the #40125, does not use the Acute Matte material. I owned one briefly, and the difference in brightness was immediately noticeable. After working with Acute Matte screens for years, I quickly replaced it with the #41050.
The split-image center is especially helpful when working with film in the field. It allows for quick, confident focus without relying on magnification or additional tools, which is exactly what I want when I’m setting up a shot and the light, or the environment, isn’t waiting on me.
ALPA + HASSELBLAD GROUND GLASS + WL VIEWFINDER
ALPA SWA + HASSELBLAD GROUND GLASS + WAIST-LEVEL VIEWFINDER
Adapting Hasselblad components to ALPA cameras brings a clear advantage, access to the wide range of Hasselblad viewfinders. Above, I’ve shown my SWA fitted with the #41050 ground glass and a waist-level finder.
While the waist-level finder is not my preferred option, it can be very practical when working in tighter indoor spaces, especially during group or family portraits, or when I want a bit more magnification for focusing with film. It folds down to protect the ground glass and stays securely attached during transport, making it a simple, reliable solution when in the field.
HASSELBLAD “C” MAGAZINE + ALPA CAMERAS
HOW TO SHOOT FILM WITH A HASSELBLAD “C” MAGAZINE ON ALPA CAMERAS
If you’re interested in shooting 120 film with your ALPA camera but don’t want to spend roughly $1,500 on a used ALPA film magazine, there is an alternative, especially if you already own Hasselblad gear. If not, the ALPA-converted magazine may still be the more straightforward route. For those curious, here’s the approach I use.
You’ll need an ALPA to Hasselblad digital back adapter plate, and this is where things get a bit particular. There are differences between the earlier ALPA HA plate and the newer Mk II version. I used the original plate with my CFV 50c, and later moved to the Mk II for the CFV II 50c. The tolerances are different. The Mk II does not properly fit my Hasselblad “C” magazines, while the older plate does not work with the newer CFV II 50c. In short, the details matter, and not all combinations are compatible.
Once you have the correct plate and a Hasselblad “C” magazine, shooting film on an ALPA 12 body becomes straightforward. The “C” magazine does not offer automatic film advancement like the Hasselblad “A” magazines, so everything is manual, but it remains a practical alternative to the more expensive, heavier, and harder-to-find ALPA-Linhof option. The slower pace can actually be a benefit, encouraging a more deliberate way of working.
For focusing, I use the Hasselblad ground glass (#41050), typically paired with the RMFX viewfinder (#47070), though any compatible Hasselblad finder will work. The ground glass mounts directly to the adapter plate.
I load the “C” magazine and use the small peephole to read the frame numbers on the backing paper. These days, I also use a loupe to see the numbers more clearly.
After focusing, I remove the ground glass, attach the film magazine, pull the dark slide, and make the exposure. The dark slide goes back in, the film is advanced to the next frame using the peephole, and the process repeats until the roll is finished.
While automatic advance would be convenient, Hasselblad “A” backs are not compatible with non-Hasselblad V cameras due to their internal film advance mechanism.
To make things a bit easier, I’ve added a Hasselblad winding crank for C-series film magazines (TIRCC / #41076) to each of my “C” backs (see example above). It’s a small addition, but it makes advancing the film quicker and more comfortable in use.
This approach may also apply to other medium format technical cameras such as Cambo or Linhof, provided you have a compatible Hasselblad digital back adapter that works with the “C” magazine.
ALPA ROAD KIT
Since 2025, I have used the Shimoda Designs Explore V2 25L Women’s Backpack when traveling with my ALPA STC kit. It fits me well, is comfortable to carry, and makes packing and transporting my gear genuinely enjoyable.
My typical ALPA travel setup includes a wide lens and either a longer or macro lens. I can also choose from my collection of six Hasselblad lenses ranging from 60mm to 180mm. In practice, I travel as light as possible with the STC, two or three lenses, and the CFV II 50c digital back.
My packing approach has always been to remove the manufacturer’s dividers and carry each piece of equipment in its own case or pouch. I use a mix of Tamrac, Gnass Gear, now discontinued, and Lowepro pouches, with Stone Photo Gear providing a good modern alternative to the older Gnass cases.
This approach makes packing and organizing simple while keeping everything protected and ready to go. It also suits the way I work in the marsh, where the heat, mosquitoes, and occasional snake or gator tend to encourage efficiency… and a quick exit strategy when necessary.