INTRO

Over the course of my career, I have found no medium-format camera system as complete, or as durable, as Hasselblad. Much of my commercial work was done on location, where equipment was constantly packed, transported, assembled, and used under real-world conditions. Through decades of commercial use, Hasselblad repeatedly proved itself in ways many other systems did not.

Over the years, I tested several other medium-format camera systems, but issues such as plastic housings, weak lens mounts, or fragile electronic construction often revealed their limitations rather quickly. This page documents my continued use of Hasselblad cameras, both film and digital, and the core equipment I rely on for my work today.

Below you’ll find direct access to film cameras, digital cameras, lenses, and accessories, organized as a working reference and expanded over time as I add and refine the content.

THE HASSELBLAD MODULAR SYSTEM

Hasselblad cameras are fully modular. Each system begins with a camera body and expands through interchangeable lenses, viewfinders, film magazines, digital backs, and accessories. These components are interchangeable across bodies, allowing photographers to configure the system to suit nearly any type of work.

In my own workflow, I frequently combine Hasselblad lenses, viewfinders, and digital backs with ALPA technical cameras. Because ALPA does not offer comparable modular components in the same way Hasselblad does, this pairing has proven both seamless and highly flexible.

What continues to distinguish Hasselblad is its long-term reliability, mechanical consistency, and adaptability across decades of photographic practice. Few medium-format systems have demonstrated this level of longevity.

907x 50c

The Hasselblad 907x 50c draws inspiration from the iconic Hasselblad 500 series while incorporating modern digital capture. Its 50-megapixel CFV II 50C digital back seamlessly attaches to 500-series film bodies and, with a flash sync cable, to technical cameras as well. When paired with the 907x body and an XCD lens, it also supports autofocus. It offers photographers automatic exposure, bracketing functions, and streamlined operation—features that blend classic design with modern usability.

Despite its compact size, the 907x benefits from a grip or strap for comfortable handling. I secure mine with a wrist strap, which works well for my shooting style. When cradled in the hands, it handles similarly to a 500-series body equipped with a waist-level finder, maintaining that familiar Hasselblad feel.

I originally acquired the 907x specifically for use with the CFV II 50C, replacing my earlier CFV50C. Later, I added the XCD 45P lens to explore the native XCD system. The pairing proved seamless, and I successfully used this setup handheld for street-style photography with excellent results. Now, in 2025, I have completed a three-lens XCD “P” kit—the 28, 45, and 75—which should serve me well for quite some time.

Hasselblad offers a dedicated Control Grip, but I chose a different solution. As shown above, I use the Kirk Universal L-Bracket paired with a SmallRig Wooden Side Handle. For most of my cameras, including the 907x, I rely on the Peak Design Wrist Strap, which provides secure handling without adding bulk.

When capturing stitched landscapes on clear, wind-free days, I rely on a proven panoramic support setup: an RRS Series 1 tripod paired with an Acratech Panoramic Head and Leveling Base, complemented by a FotoPro Eagle 6 gimbal-style head, as shown above.

This configuration supports both my 907x, fitted with a Kirk Universal L-Bracket, and my ALPA TC, which features a dedicated attachment shoe, allowing me to switch between systems as needed.

While I have successfully used this stitching setup with my Hasselblad 500-series film bodies, I generally prefer the 907x for stitching. When I choose to stitch with the CFi 100 mm or CFi 180 mm lenses, I use the XV lens adapter for its lighter weight compared to the 500-series bodies.

I am uncertain whether I will ever add a longer lens to the 907x system; at present, my longest native lens, the 75P, is working well for stitching.

DIGITAL BACK: CFV50C II

Pictured above in the first image is the CFV II 50c mounted on the 907x body and lens. The CFV II 50c is the updated version of the original CFV50c digital back and retains the classic Hasselblad V-system interface, allowing it to be used with the included 907x body as well as all Hasselblad V-series cameras. Styled after the traditional A12 film back, the digital back centers around a 43.8 × 32.9 mm, 50-megapixel CMOS sensor capable of producing high-resolution images with approximately 14 stops of dynamic range, 16-bit color depth, and an ISO range of 100–25,600.

The CFV II 50c incorporates a 3.2-inch, 2.4-million-dot rear tilting touchscreen LCD. Unlike the original CFV50c, which used an external battery grip, the rechargeable lithium-ion battery in the CFV II 50c is housed internally, resulting in a cleaner and more streamlined overall profile. Built-in Wi-Fi also enables wireless remote control and file transfer through Hasselblad Phocus Mobile 2.

The primary differences between the original CFV50c and the CFV II 50c are the updated user interface, the addition of the rear tilting screen, the internally housed battery design, and the inclusion of an electronic shutter in the newer model. Photographers who own both backs, as I do, may notice additional UI tools in the CFV II 50c that I do not personally use in my workflow. The sensor itself is identical in both versions. The differences are limited to the screen, UI, battery configuration, electronic shutter option, and screen resolution. While the Mark II version does provide a higher-resolution display, that alone was not compelling enough for me to upgrade. However, after using the electronic shutter with my ALPA and Hasselblad 500 bodies, I came to prefer the CFV II 50c.

I upgraded from the original CFV50c only after it was physically damaged and had to be sent to Sweden for a sensor glass replacement. I needed a working digital back immediately for commercial use, and during that period my backup Phase One P45 CCD back filled the role. However, the color palette of the P45 differs noticeably from the Hasselblad CMOS back. When maintaining consistency across a client’s website, catalogs, and web graphics, color continuity is critical.

Hasselblad returned my CFV50c in approximately three to four weeks, and the repair cost was about $2,500. At that point, I decided to sell the original CFV50c. Based on what I learned while using the P45 as a backup, the CFV50c would not have seen enough continued use to justify keeping it. I now prefer having both a CMOS and a CCD digital back available in my equipment cabinet for maximum flexibility and differing color characteristics.

The CFV 50c back is shown in the third image above. It features the world’s first medium-format CMOS sensor, representing a major step forward in digital imaging with the introduction of Live View (LV) to the Hasselblad V system. This breakthrough allowed photographers to achieve modern digital capture while continuing to work with classic V-series cameras using Live View for critical focusing.

Like the CFV II 50c, the CFV 50c uses a 43.8 × 32.9 mm, 50-megapixel CMOS sensor, delivering high-resolution imagery with approximately 14 stops of dynamic range, 16-bit color depth, and an ISO range of 100–25,600.

The CFV 50c was my first Hasselblad digital back and my first to offer Live View. LV alone was a transformative capability at the time, and shortly after its release, Phase One introduced a digital back using the same sensor and LV technology. The CFV 50c was an excellent performer. I ultimately sold mine after it was returned from Sweden with a new protective sensor glass. It served me very well and would likely still be in my kit today had I not needed to replace it.

Using a digital back on vintage mechanical cameras such as Hasselblad V-series bodies introduces unique focusing challenges. Film and digital sensors differ in their tolerance for focus accuracy: film is comparatively forgiving, while digital capture demands far greater precision at the sensor plane.

Because these cameras are fully mechanical, components such as the mirror, which reflects the image to the focusing screen, can drift out of perfect alignment over time. Traditional focusing relies on this mirror-and-screen system, and any misalignment between those components and the sensor plane can result in focusing errors. Mirror shift is one of the most common contributors to this issue.

The introduction of Live View (LV) on digital backs has largely mitigated these problems. LV enables direct focusing between the lens and the sensor itself, bypassing the mirror entirely. Even if the mirror or focusing screen is slightly misaligned, Live View renders that misalignment irrelevant, ensuring precise focus directly at the sensor.

An alternative method is tethered focusing using a computer. However, many modern computers no longer support the legacy ports required by older CCD digital backs. While an older laptop with FireWire or similar connections may solve this, it often introduces workflow inefficiencies.

For these reasons, when budget allows, I strongly recommend choosing a digital back equipped with Live View. It eliminates mirror-alignment uncertainties and provides a far more reliable and efficient focusing workflow.

When shooting out in the landscape with my 907x, I prefer using the digital back in Electronic Shutter mode whenever possible. There are advantages to this approach, particularly its ease of use, but also disadvantages. Like all electronic shutters, it is not ideal when the subject is moving or when windy conditions may introduce motion into the scene.

That said, the simplest and most efficient method I’ve found for using a digital back on my 503CX is to rely on the electronic shutter. By setting the 503CX to T (Time) lock in Bulb mode, I eliminate the need for a locking shutter cable and avoid advancing the film crank altogether.

There are a few limitations to this workflow. It is not suitable for moving subjects, and it cannot be used with studio strobe lighting. However, for most natural-light photography, this method transforms the 503CX into a highly flexible tool capable of shooting both film and digital within the Hasselblad system. It is especially effective for travel and location work, where speed, simplicity, and a lighter working rhythm become important advantages.

The primary reason I prefer the CFV series of digital backs over Hasselblad’s X1D and X2D camera line is my long-standing preference for using digital backs on technical cameras, as well as on 500-series bodies with V-system lenses.

If you do not require camera movements, whether through the lens, the digital back, or both, Hasselblad’s X-series cameras are excellent choices. I do occasionally use the 907x 50c as a walk-around camera with a compact three-lens XCD kit consisting of the 28P, 45P, and 75P, and for that role it performs beautifully.

My core medium format digital workflow, however, remains centered around ALPA technical cameras, along with occasional use of 4×5 view cameras fitted with digital backs. When traveling, I often pair a Hasselblad 501CM with the 907x, creating a flexible and highly enjoyable hybrid film-and-digital kit.

Over the years, I have successfully used Hasselblad digital backs on the following technical cameras: the ALPA Max, STC, SWA, and TC; the Linhof 3000; the Cambo Wide 650; and the Sinar Norma.

I have not acquired the CFV 100c, but I have been giving it considerable thought for several reasons, particularly its potential use with my FlexBody for tabletop and still-life photography in the studio. Below is my current rationale as I continue to weigh the idea.

HOODMAN 3.0 HOODLOUPE

If you plan to work in bright, sunny conditions with a digital back, a loupe designed specifically for camera LCD screens is strongly recommended. I’ve used the Hoodman 3.0 HoodLoupe since 2011, beginning with my first digital back, a Phase One P45. Although the P45 did not offer Live View, I still needed clear visibility of on-screen data for proper operation—and that need led me to the HoodLoupe 3.0. It has consistently met my visibility requirements when working outdoors in bright light.

The HoodLoupe is constructed from a durable, rubber-like material that does not scratch the screen and remains comfortable to use for extended periods. Hoodman now offers an updated version, the HoodLoupe 3.2, with improved optics.

MEMORY CARDS

When selecting memory cards for digital backs, it is best to purchase the fastest and most reliable cards your budget allows. The cards shown above are the ones I currently use with my CFV II 50c. They were the fastest options available when I acquired the back and continue to perform reliably.

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 body in the 500 series, which includes the Time Exposure Lock (TEL). The TEL has two settings: O (disengaged) and T (engaged). The TEL is used for time exposures set at Bulb (B) when a locked exposure is required. Set the lens to B, depress the shutter, and secure it with the catch set to T. This is especially useful when working with Live View on a digital back, instead of using a mechanical locking release cable to hold the shutter open.

The winding crank can only be advanced once the lock is reset to O, and a cable release cannot be used while the TEL is engaged. If you enjoy engaging the electronic shutter with your digital back and a Hasselblad V body, as I do, you will appreciate the TEL option.

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.

XCD 28/4 P

The XCD 28P is one of those rare medium-format lenses that practically disappear on the camera — in the best possible way. It’s small, light, and changes the feel of the X-System into something I can comfortably carry all day. On my 907x, it makes medium format feel almost mirrorless-compact.

In use, the lens is quick, quiet, and responsive. Autofocus locks in confidently, and the leaf shutter gives me the luxury of full-speed flash sync, which opens creative options outdoors. The rendering has that familiar Hasselblad clarity: clean detail, gentle contrast, and a natural look that suits landscapes, street scenes, and environmental portraits.

This isn’t a “show off” lens — it’s a practical one. The f/4 aperture keeps it tiny, and while it’s not meant for low-light drama, it excels everywhere else. Its biggest strength is how effortlessly it fits into real life. It’s the lens I take with me because it ends up making more photographs than the heavier, more serious glass.

Its datasheet is here.

Bottom line: The 28P is a travel-friendly, everyday wide that delivers strong image quality without weighing me down. It’s the XCD lens that encourages me to shoot more simply because it’s so easy to live with.

XCD 75/3.4 P

The XCD 75mm f/3.4 P is one of those lenses that quickly becomes a favorite once it’s on your camera. Its field of view sits in a classic short-tele range for medium format, making it ideal for portraits, detail work, and scenes where you want a bit of compression and separation without feeling too long. On an X-System body, it balances beautifully — not too light, not front-heavy — and feels like a natural extension of my vision rather than a tool I have to wrestle with.

In real-world shooting, the 75P delivers a sense of purposeful precision. Autofocus is smooth and confident for most situations, letting me lock in on my subject without hesitation. The manual focus ring is solid and predictable when I want direct control. Because it shares the same leaf-shutter design as other P-line lenses, I also get full-speed flash sync, which gives me creative flexibility in open shade or bright light.

Optically, the lens has a clarity and character that suit its role well: images are sharp where they need to be, with pleasing rendering that doesn’t feel clinical. Skin tones and textures come through with a natural look, and backgrounds roll off in a flattering way without being distracting. The f/3.4 aperture isn’t about extreme shallow-depth drama, but it gives you just enough separation to make subjects stand out.

What stands out most is how comfortable this lens feels in everyday use. It’s not oversized or intimidating — it’s the kind of lens I reach for when I want dependable results without fuss. Whether shooting portraits, street scenes with a bit of distance, or cropped detail work, the 75P is confident and capable.

Its datasheet is here.

Bottom line: A beautifully balanced medium-format short tele that delivers sharp, natural images and inspires me to shoot — not fiddle with settings. It’s a lens that just works, quietly and reliably, in a wide range of real-world situations.

CFi 60/3.5 DISTAGON T*

The 60/3.5 is a wide-angle lens that does not produce the noticeable, sometimes distorted perspective of the 50/4. It has a comparable FoV of a 33mm lens on a 135 film camera or a full-frame digital. I prefer this lens over the 50/4, which I have used for decades performing special event photography. This lens is very sharp and works well with digital. Here is its datasheet.

CFi 100/3.5 PLANAR T*

The 100/3.5 is a planar lens with a reputation as the sharpest lens in the Hasselblad V series. Hasselblad states it is an exceptional lens and “is optimized to deliver virtually zero distortion and at the same time extremely well-defined image details – sharpness – over the entire frame, and all this even at full aperture.” It has a comparable FoV of a 54-56mm lens on a 135 film camera or a full-frame digital. This lens is super sharp and works well with digital. Here is its datasheet.

CF 135/5.6 MAKRO-PLANAR T*

The CF 135mm f/5.6 is a close-up/macro lens similar to the CFi 120mm f/4 but lacks a built-in focusing mechanism. It was specifically designed for use with a bellows extension. I have used it with the Auto Bellows, achieving life-size (1:1) magnification without difficulty. Additionally, I have paired it with the Variable Extension Tube 64-85 (51691), which is optimized for the 135mm Makro-Planar CF f/5.6, allowing a focusing range from infinity down to 1.15m. Based on my experience, this lens performs well with both digital and film. Its data sheet is here.

For a detailed look at how I use this lens for close-up and macro work—including bellows, extension tubes, and the 2XE converter—see Hasselblad Macro & Auto Bellows.

Below are examples of both film and digital work made with the Hasselblad V lenses discussed above, illustrating their continued relevance across formats and workflows.

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.

For an overview of the lenses used here, see the Hasselblad Lenses page.

EXTENSION TUBES: VARIABLE & 56MM

Hasselblad produced a range of extension tubes for the 500 series in various millimeter 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 and 135/5.6. 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

WAIST-LEVEL FINDER (#42315)

The foldable Hasselblad waist-level finder (WLF) shields the focusing screen from stray light. It displays a full, upright, but reversed image even with the camera at hip level. It has a built-in magnifier that enlarges the image 4.5x, which I appreciate greatly. Hasselblad made interchangeable correction magnifiers ranging from -4 to +3 diopters for this finder, but I have never used one.

The best use I find for the WLF is in its folded position on the camera to protect the focusing screens while in storage and transport. I had used WLFs in the past during indoor shoots when my back was up against a wall, but I found it annoying if it was a group portrait session and having to remember, since the image is reversed, to look up and tell the subjects to go a little more right or left. If I did it while looking through the WLF, I would say the wrong direction 50% of the time. But truth be told, I find it better for this type of shooting (back up against the wall) than the Magnifying Hood #52096 (below).

I have a WLF for my ALPA cameras since I need to protect the Hasselblad ground glass I use with the ALPAs, and because the magnifier 4.5x is an excellent focusing tool. I love how Hasselblad gear will integrate with my ALPA gear, and up next is the viewfinder I use the most with my ALPA and FlexBody cameras.

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.

CCB V PINHOLE CAP & PINHOLES

The Custom Camera Building (CCB) Hasselblad Body Cap & Pinholes should be on your shopping list if you enjoy pinhole photography and own a Hasselblad 200, 500, or 2000 series camera.

My initial feelings about shooting a pinhole negative less than 6x17cm or 4×5″ were not very positive. My thoughts drifted toward the added blurriness a smaller negative might produce. Pinhole images are already unsharp, but just enough that I like them. I assumed shooting a pinhole with a smaller film frame might cause the image to be less likable due to more blur. Boy, was I surprised. Not only were my images artistically fulfilling with the unsharpness I like, but there was an added workflow bonus I had never thought of until my first shooting.

On the 2023 Worldwide Pinhole Day, April 30, I used my Hasselblad 501cm as a pinhole camera for the first time, using the 0.35mm (77mm/220) pinhole. The ability to take a few pinhole images with the CCB body cap in place, then remove it to take one or two images with my CFi 180/4 lens was priceless to this photographer. I had never considered that option before. When I travel with my Hasselblad kit, the CCB Pinhole Cap & Pinholes will travel with it. This is a nice and easy way to be creative with the same subject.

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.