HASSELBLAD FILM AND DIGITAL CAMERAS

INTRO

I found no other medium format camera system as complete. A system that can withstand the abuse of a long commercial career. Much of my work was done on location, where we would constantly break down, shoot, pack up for transport, and rebuild again. This quickly highlights which equipment is built for the commercial world and which will fail or get damaged too soon. I tried several other medium-format camera systems over my career, but quickly learned that their plastic housings, weak lens mounts, or electronic builds could not compare to what I knew I had with Hasselblad. This page will showcase my continued use of Hasselblad cameras for both film and digital, as well as the kits I select for my projects.

Below is a list of Hasselblad cameras and accessories with which I have experience. I can be contacted regarding questions about my experience with these items.

The Pacific Rim Camera Reference Library has Hasselblad catalogs from various years past. Its library contains a great collection of information on many different brands and vintages of photographic equipment.

For those interested, using the first two letters of any Hasselblad serial number for bodies, film magazines, and other items, the year of manufacture can be determined using the code below. For Hasselblad Zeiss lenses, please go here.

Hasselblad cameras are modular cameras. You start with a camera body, then add the interchangeable parts: lenses, viewfinders, film magazines, digital backs, plus accessories. These items are interchangeable between each camera body, and I often incorporate Hasselblad lenses, viewfinders, and digital backs with ALPA gear. The Hasselblad components I use with ALPA cameras work seamlessly. Because ALPA does not offer similar camera components that I like and Hasselblad does, I have grown to appreciate the beautiful design that Hasselblad built upon.

The digitization of my film is another area in which the marriage of Hasselblad and ALPA gear works for me. When I want the optimal digital file of my film, I use a Hasselblad CFi 120 macro lens mounted on the Variable Extension Tube 51691 with the CFV II 50c digital back on an ALPA TC. It does not matter the film format or type; if I need a digital file created from the best available equipment, it is digitized with this setup on a Beseler CS copy stand.

What is not to like about a camera system that has stood the test of time for quality, dependability, and adaptability? In my opinion, no other medium-format system has been built like Hasseblad.

HASSELBLAD V BODIES

The 501cm, Flexbody, and 503cx camera bodies are shown above. They are without lenses, film magazines, or digital backs. The 501cm on the left has a Waist Level Finder attached, but the other two do not. This is where you start when building a Hasselblad with specific parts. I shoot the 501cm with film magazines and the 503cx with a digital back, and when using the Flexbody, I shoot with either.

503CX

The 503cx is my digital and film travel camera and features a custom mask on the focusing screen that matches the sensor size of my digital back. Manufactured from 1988 to 1994, it is available in chrome or black and was designed with an automatic dedicated flash system, a much brighter Acute-Matte focusing screen, and a new Palpas coating on the interior surfaces to reduce flare. You can view the 503cx user manual here.

I acquired the 503cx because I wanted the latest in the 500 series, which includes the time exposure lock (TEL). The TEL has two settings: O (disengaged) and T (engaged). Use the TEL for time exposures set at Bulb (B) when you want to lock it. Set the lens to B, depress the shutter, and secure it with the catch set to T. This is useful when using Live View on a digital back instead of a mechanical locking release cable to lock the B setting. The winding crank can only be advanced once the lock is reset to O. A cable release cannot be used while the TEL is engaged. If you enjoy engaging the electronic shutter with your digital back and Hasselblad ‘V’ body, as I do, you will appreciate the TEL option.

Here is a recommended video from Carl Bozza showing how the Flexbody works and its various movements.

907x 50c

The Hasselblad 907x 50c draws inspiration from the iconic Hasselblad 500 series. Its 50-megapixel back, the CFV II 50c (50c), seamlessly attaches to 500 series bodies and, with a flash sync cable, to technical cameras. Utilizing the 50c on the 907x body offers photographers automatic operation for focusing, various forms of bracketing, and more.

It is a delightful camera, yet its compact design calls for a grip or strap. I secure it with a wrist strap, which works well for me. It offers a comfortable hold when cradled in the hands like a 500 series with the waist-level finder attached.

I initially acquired the 907x solely for the 50c, replacing my original CFV 50c. However, I later decided to add the 45P lens to explore their combined potential. The pairing worked seamlessly. I’ve used this setup handheld for street photography with excellent results. Now it is 2025, and I have my XCD three-lens kit—all “P” lenses: the 28, 45, and 75. This setup should keep me happy for a while.

Hasselblad offers a Control Grip, and while it can add to the ease of automatic settings, it does not interest me. As pictured above, my more economical answer for a grip is the Kirk Universal L Bracket and a Small Rig Wooden Side Handle. The Peak Design Wrist Strap is what I use for most of my cameras, and I use it with the 907x without difficulty.

When capturing landscapes on a clear, wind-free day using the stitching technique, I rely on my proven stitching setup: an RRS Series 1 Tripod paired with an Acratech Pano Head and Leveling Base, complemented with a FotoPro Eagle 6 Gimbal-type head as shown above.

This configuration seamlessly supports my 907x camera, fitted with a Kirk Universal L Bracket, and my ALPA TC, which features a dedicated attachment shoe, should I decide to use it instead.

The ALPA TC, being a square frame camera, eliminates the need to change camera orientation, simplifying the process by simply attaching the digital back in either landscape or portrait orientation.

While I’ve successfully utilized this stitching setup with my 500 series bodies, the 907x is preferable due to its automatic features, such as exposure, electronic shutter, and bracketing modes. However, when I opt for the 100 or 180 lens for stitching, it will be the ALPA TC due to its lighter weight than the 500 bodies and the absence of a long lens for the 907x. I am unsure if I will ever acquire a longer lens for the 907x, and my current longest lens, the 75P, is working well enough for stitching at the moment.

DIGITAL BACK: CFV II 50c

Pictured above in the first photo is the CFV II 50c back on a 907x camera and lens. The CFV II 50c is an updated version of the CFV50c digital back, featuring a classic V-system interface for the included 907x (below) and all Hasselblad V-series cameras. Designed with the classic look of the A12 back, this digital back features versatile digital capabilities centered around a 43.8 x 32.9mm 50MP CMOS sensor, which produces high-resolution imagery with a wide 14-stop dynamic range, 16-bit color depth, and an ISO sensitivity range of 100-25600. The CFV II 50c incorporates a rear 3.2″ 2.4m-dot tilting touchscreen LCD. The rechargeable lithium-ion battery is now nestled internally for a sleeker overall profile. Additionally, built-in Wi-Fi permits wireless remote control and file transferring via Hasselblad’s Phocus Mobile 2.

The significant differences between the Hasselblad CFV50c and the CFV II 50c digital backs are the User Interface (UI) and the rear tilting screen. Other photographers owning both backs, such as I have, may notice another difference I may not use in the CFV II 50c UI or a tool added to the newer back I do not use. The sensors are the same in the CFV50c and CFV II 50c, but the rear screen and UI differ. There is also a better screen resolution on the II, but not enough for me to justify an upgrade.

I only chose to upgrade from the original CFV50c because it got damaged and had to be sent to Sweden for sensor glass replacement. I needed another back for commercial work ASAP, and my backup, the Phase One P45, stepped in, but the color palette is different. When you work for a client where you maintain their website, catalogs, and web graphics, the colors need consistency. Sweden returned the CFV50c to me in about 3-4 weeks, and the cost was approximately $2,500.00. I decided to sell it because, after learning from my P45 backup, it would not get enough use, and selling the P45 did not make good economic sense; it would fetch only a fraction of its value, and I prefer having a CMOS and a CCD back in my gear closet.

DIGITAL BACK: CFV 50c

The CFV50c back is shown in the third photo. It features the world’s first medium-format CMOS sensor, marking a significant step forward in digital imaging technology with Live View (LV) capabilities. It broke new ground for photographers aiming to achieve digital quality with V system gear using LV. Like the CFV II 50c, the 43.8 x 32.9mm 50MP CMOS sensor in the CFV50c delivers high-resolution images with a wide 14-stop dynamic range, 16-bit color depth, and an ISO sensitivity range of 100-25600.

The CFV50c was my first Hasselblad digital back and my first with LV. LV alone was a breakthrough, and the CFV50c was the first to offer it. Shortly after its release, Phase One introduced a back with the same sensor and LV technology. The CFV50c was an excellent back. I sold it after it was returned with a new protective sensor glass from Sweden. It served me well and would still be in my kit if I didn’t need to replace it.

Using a digital back with vintage mechanical cameras, like the Hasselblad, introduces unique focusing challenges. Film and digital sensors differ in how precisely they require the focus plane to be aligned; film is comparatively lenient, whereas digital demands exactitude.

The mechanical nature of these older cameras means components like the mirror—which reflects the image to the focusing screen—can shift out of perfect alignment, complicating the task of accurately focusing on the digital sensor. The traditional focusing method relies on this mirror and screen system; any misalignment here can cause errors in focusing. Misalignment can happen for several reasons, but one is mirror movement over time.

The advent of Live View (LV) technology on digital backs has significantly mitigated these issues. LV allows direct focusing between the lens and the sensor, circumventing any potential misalignment issues with the mirror. Thus, even with a slightly off-kilter mirror, LV’s direct lens-to-sensor focusing method renders this misalignment moot, ensuring accurate focus every time.

Alternatively, tethering to a computer offers a solution for precise focusing, although modern computers might lack the specific ports needed for a CCD digital back to function correctly. A potential fix involves incorporating an older laptop equipped with the required connections like FireWire, but this method might reduce your efficiency.

Therefore, if your budget allows, invest in a digital back equipped with LV. This bypasses the hassle and ensures a smoother workflow.

To utilize Live View with a ‘V’ series camera body, follow these steps:

1. Switch the camera to ‘B’ (Bulb) mode.
2. Lock the mirror up to allow the sensor visibility through the lens.
3. Ensure the lens shutter remains open by using a locking release cable.
4. Frame & Focus your shot on the Live View screen.
5. Disengage ‘B’ mode.
6. Advance the film crank to prepare for capturing the photo.
7. Take the image.

In the past, I primarily used the Flexbody for digitizing film with my digital back, especially when creating very large files. It also works well for creating macro art images. While I haven’t yet tried using it for landscape photography outside the studio, I am confident in its capabilities for that purpose. I know several photographers who use it exclusively for landscape shooting, which demonstrates its effectiveness in such situations.

The only thing I wish were different is the ability to rotate the film plate for use with a digital back. The rear of the Flexbody is similar to a 500 V camera, fixed in a square orientation. Over the years, photographers have asked me if a Flexbody has rear tilt in portrait orientation, and the answer is no. I tell them you can position the Flexbody with the right tripod head or use an “L” bracket in portrait view, but then the tilt becomes swing. They ask because they want to use the Flexbody with a digital back in portrait orientation for stitching. Unfortunately, this is a deal-breaker for many, but if I really wanted to use the Flexbody with a digital back exclusively, I would get a Hasselblad CFV 100c digital back and shoot in square mode, and be done with it. With 100 MP, there is a lot of real estate to work with.

HOODMAN 3.0 HoodLoupe

If you plan to shoot in bright, sunny conditions with your digital back, investing in a Loupe designed explicitly for camera digital screens is highly recommended. I’ve used the Hoodman 3.0 HoodLoupe since 2011 with my first digital back, a Phase One P45. Despite the absence of Live View on the P45, I still required visibility of the data on its screen for proper operation. That’s when I acquired the HoodLoupe 3.0, which has consistently met my visual requirements when working with a digital back in sunny conditions. It is made from a durable rubber-like material that does not scratch my screen. Today, Hoodman offers an updated version, the HoodLoupe 3.2.

MEMORY CARDS

When it comes to memory cards, it’s advisable to invest in the best and fastest ones within your budget. The cards depicted above are the ones I currently utilize with my CFV II 50c. They were the finest and quickest options available when I acquired the back, and they still perform admirably.

IMAGE CIRCLE COVERAGE FOR ‘V’ LENSES

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.

If you enjoy using the FlexBody for its movements but find the limited wide-angle lens movement frustrating, keep in mind that this is precisely why the ArcBody was developed. Designed with special Rodenstock lenses featuring larger image circles, the ArcBody offers greater flexibility for movements, addressing the limitations of the FlexBody in wide-angle applications. Here is a copy of the ArcBody’s user manual.

CFE 80/2.8 Planar T*

I have had a few Hasselblad 80/2.8 Planars in my life. As soon as I think I will no longer need it, I need it again. It is the CFE this time because it was the cleanest one I have found. The Planar lens is the most triumphant design in the history of camera lenses. Its almost symmetrical structure furnishes lens makers with extensive methods to exceptionally correct aberrations, even at wide-open apertures. This forms the perfect foundation for high-end lenses characterized by excellent color correction, rapid speed, a flat image plane (derived from the name), and minimal distortion. The Planar lens design is the basis for most professional ‘workhorse’ lenses used on our planet and in space. Here is its datasheet.

CFi 120/4 Makro-Planar T*

The CFi 120/4 macro lens is a beautiful lens optimized for serious copy work and for half-life-size (1:2) to infinity. It works well with digital and has been my go-to close-up lens for product photography and for digitizing my film. I have used the CFi 120/4 with the FlexBody for macro work and with digitizing film. I use it primarily with a 64-85mm variable extension tube on a Beseler CS copy stand today. I have had fun making abstract images with this setup as well. Its data sheet is here.

CFi 180/4 Sonnar T*

The 180/4 is a telephoto lens. I replaced a CFi 150/4 only because I wanted the extra 30mm reach of the 180. The angle of view between 150 & 180 is more noticeable than I thought. The 180’s reach was well worth any increase in heft as it is an excellent portrait lens and for constructing stitched panos. This lens is sharp and works well with digital. It has a comparable FoV of a 97-100mm lens on a 135 film camera or a full-frame digital. Here is its datasheet.

INTRO

Hasselblad offers several ways to approach macro photography with the 500 series, from specialized lenses to bellows and extension tubes. Two standouts in my own kit are the CFi 120mm f/4 Makro-Planar T* and the CF 135mm f/5.6 Makro-Planar T*.
The 120mm is the more versatile of the two, focusing from half-life-size (1:2) to infinity. It’s excellent for product photography, digitizing film, and even creating abstract images. I’ve used it with the FlexBody and now mainly pair it with the 64–85mm variable extension tube on a copy stand, where it performs beautifully with both film and digital.

The 135mm is designed to work with bellows or the variable extension tube and can achieve life-size (1:1) magnification. While it lacks its own focusing mechanism, in the right setup it delivers superb results, especially for high-magnification work.

Both lenses reflect Hasselblad’s strength in precision optics—offering different paths to macro photography, whether you prefer the convenience of the 120mm or the specialized versatility of the 135mm.

Extension Tubes: Variable & 56mm

Hasselblad produced a range of extension tubes for the 500 series in various millimeter (mm) lengths, including 8, 10, 16, 21, 32, 55, and 56. They produced a variable tube, the 64-85mm, which I use with the CFi 120/4. Tubes can be used individually or combined with other tubes. I have used two 56mm tubes together (pictured above) for macro work. It is not recommended to use more than three tubes at once. Extension tubes must be attached to the camera body before the lens is mounted on the tube. When using multiple tubes, attach the first one to the camera body, then add additional tubes, and finally attach the lens. To remove the lens, first detach it from the extension tube, then remove the tube from the camera body. If using several tubes, remove the one closest to the lens first, then work back toward the camera body

Litz Studio Hasselblad V Lens Adapter for ALPA

The lightest setup I have for shooting Hasselblad lenses with a digital back is with an ALPA TC (image #3), which is possible because of the Litz Studio Hasselblad V Lens adapter for ALPA cameras (image #1). It operates precisely like the Flexbody and can rotate the back.

Favorite Stitching Lens, CFi 180/4

The CFi 180/4 is one of my top picks for stitching shots with my ALPA TC. There’s a distinctive charm in capturing landscapes through a telephoto perspective. While it might not suit every scene, it can create captivating views. As illustrated in the following image, I’ve discovered that stitching is the optimal technique to achieve my desired visual effect.

INTRO

In the past, I used Hasselblad V cameras on shooting sets with multiple magazines, some with 120/220 color film, others with 120 B&W, another for Polaroid shots to test the color temperature or direction of lighting, and lastly, many special event jobs required using 70mm magazines. I like the convenience of switching different magazines, viewfinders, screens, etc., and I appreciate Hasselblad’s modular system as this deep dive into what I shoot continues to confirm this liking.

There are a few different-looking magazines for the V system, some that look different but function the same, and some that look different but do indeed operate a bit differently. I photographed three magazine backs for the above graphic to show some differences. Once you become familiar with the V system film magazines (backs), you can quickly distinguish what makes them different operationally.

A 12 MAGAZINE

The second photo shows an older “A 12” magazine. According to the year dating code, this magazine was manufactured in 1972. This magazine has served me well over the years. A primary difference between this “A” magazine and the latest model, as shown in the above graphic (image #3), is the convenience of having a designated area to store the dark slide while shooting. There is little difference besides convenient dark slide storage and updated cosmetics. To my knowledge, the film gate produces the famous ‘two triangle cutouts’ (“V”s for Victor) on the left side of the film frame on all 120/220 Hasselblad film magazines. Instructions on how to load any of the “A” magazines can be found here.

Many affordable, used, and functional Hasselblad V-series 220 film magazines are on the market. This presents an opportunity for film photographers. However, a challenge arises when we realize that no manufacturer produces 220-size rolls of film. I wrote an article after thoroughly testing two rolls of 120 film, one in an A12 and the other in an A24 magazine, photographing the same subjects and testing the developed film for flatness, sharpness, and frame spacing. I also explain how to load 120 film in an A24 magazine to get 12 frames. Follow this link to read the article.

PME51 (#42296)

The PME51 is my most used viewfinder (VF) when shooting the 501cm and 503cx cameras. The viewing angle is 45° to the vertical, and the focusing image is unreversed and magnified 3x. It has a centered-weight integral meter that is fast and accurate and is designed to be used with the Acute-Matte focusing screen. The operating knobs and buttons are countersunk, and the scales and indicators are behind windows to protect them from damage and the elements. It has a cold shoe on top that I installed a bubble level but will slip in a Profoto Air (remote trigger) when using the 501cm/503cx in the studio.

The PME51 uses a 6V PX28 battery, which I fulfill with a Duracell 28L 6V lithium battery. I highlight the 45° to the vertical above to remind folks this is not a 90° VF, but I do use it as such. I stand slightly to the side when I flip the camera to the vertical position (using a digital back) and get used to it. Even though I have a PM90 VF in the gear closet, I prefer the PME51 as my ‘daily viewfinder,’ so to speak. I found in photography; I can use gear that others seem to have conniptions over.

Below are instructions on how to meter with the PME51. I include this checklist because a few photographers who purchased their PME51 used without instructions were using it incorrectly. If you have a PME51 or plan on getting one for your 500 V camera, read over the checklist to see how you are supposed to use this meter, it might change how you shoot with it a little.

MAGNIFYING HOOD (#52096)

Better than the WLF for some photographers but not as convenient for others, the Magnifying Hood #52096 (MH) does not fold but does not take up too much space in a camera bag. It features an adjustable magnifying scope with a range of -3 to +3 magnification, and the image is upright but reversed, similar to the WLF. When my back is against a wall, this viewfinder can help, except I cannot see the entire image at a glance. I need to move my head around, from corner to corner, when looking through the MH, which is inconvenient.

Known to many photographers as the chimney viewfinder or hood, the #52096 can also be used as a critical focusing lens for the ground glass on my large format cameras and is perfect for viewing negatives or slides on the lightbox or contact prints. The only thing missing is a cord to wear around your neck. These are not expensive, and if you already have a WLF and are looking for a backup substitute that can also aid as a loupe for your view camera or film viewing, this might interest you.

PRISM FINDER NC-2

The NC-2 provides a 45° sighting angle about the lens’s optical axis. The view provided is an unreversed, 3x enlarged image on the focusing screen—the short light path of the NC-2 results in minimal light loss. I used the NC-2 for over a decade with my 500C and 500CM cameras at special events, portrait sittings in the studio, and in environmental settings. It served me well. If you’re looking for a non-metered 45° prism finder, this might be the right choice. Due to their age, I recommend purchasing from a reputable dealer with a clearly stated return policy if the mirror, glass, or overall condition does not meet your expectations.

PRISM FINDER HC-3/70 (#52043)

Designed for use with the larger A70 film back and a V-series camera, the HC-3 features a 45 ° sighting angle about the lens’s optical axis. The view provided is an unreversed, 4x-enlarged image on the focusing screen, and the HC-3’s eyepiece is adjustable ± 5 diopters. I used this viewfinder for over a decade while shooting 70mm at special events. It was a lifesaver if you shot 70mm, which many photographers did not. Back then, I would purchase 100-foot rolls of Kodak VPS III film and load it into 70mm cassettes. Kodak Portra is what VPS III evolved into. I am unsure if this viewfinder is still necessary today, given the availability of 70mm film and the need to use an A70 magazine. You could still use it, but it might look a bit awkward.

RAPID WINDING CRANK #44040

The Hasselblad winding knob on the 500 series cameras can be replaced with a Rapid Winding Crank for faster film winding. It increases shooting speed and advances the film quickly and smoothly. Marketed as an excellent advantage for studio, fashion, and wedding photographers, but realistically speaking, it is beneficial for all types of shooting, unless the mounting of your camera prevents its usage, which is why it was removed on my 503cx (more below). If your V series camera did not come with one (originally sold as an accessory), I recommend it for its easier grip and faster film winding.

WINDING KNOB #44024

The Winding Knob #44024 is the standard knob with all-new V-series cameras. My 501cm and 503cx had Rapid Winding Cranks (RWC) installed when I purchased them. I prefer the RWC except when my digital V, the 503cx, is used with my panoramic setup. When the 503cx is placed sideways and in the vertical position for making pano slices with my Fotopro E-6 Gimbal, the RWC is too difficult to grab onto because there is not enough room between the RWC and the tripod—this issue can be easily fixed by installing the Winding Knob #44024.

The image comparison above shows ‘In A Dream,’ created with the Hasselblad 501CM and a CCB pinhole lens of 0.35mm. The left image has no sharpening applied, while the right image has been sharpened using Topaz Sharpen AI.

The CCB Hasselblad #4 kit includes five different pinhole sizes, along with the cap and an empty pinhole holder for use alone or to install a customized pinhole. Miroslav Francuz from CCB was kind enough to answer my questions and respond with helpful information about why different pinhole sizes are included in the kit.

Thanks to CCB’s kit and the information they provided, I will test these various pinholes on my Hasselblad camera with my digital back before shooting film.