HASSELBLAD LENSES

HASSELBLAD XCD LENSES

My XCD Lens Kit

I’ve been around the block a few decades when it comes to lenses and Hasselblad gear. A few photographers have asked how I’ve accumulated what I have—especially since I still shoot as much film as digital—and the short answer is: time, intention, and knowing what I actually need.

Hasselblad was the backbone of my commercial career forty years ago, along with a Calumet (Cambo) 4×5. And here’s the distinction: I never stopped shooting film. During the decade when film seemed to be vanishing, and everyone was “going digital,” film gear could be purchased for prices that would make today’s shooters faint. I used that window to refine my film system. Medium format and 4×5 were two formats I knew I would never give up, so I upgraded those systems while the rest of the world moved on.

I arrived late to digital—2006—with a Nikon D200 and a truly mediocre kit lens. It didn’t take long to discover that digital sensors are far less forgiving of optical flaws. Thankfully, as technology evolved, lenses improved, and many classic Hasselblad V lenses (and even some large format lenses) hold up beautifully on digital backs.

When it came time to enter the Hasselblad digital realm, I knew I wasn’t going to start collecting XCD lenses like trading cards. My V lenses already integrate well, and if you’re shooting Hasselblad V glass, it’s because you appreciate their character as much as their system design. So I decided early: a holy trinity of XCD lenses—no more.

Choosing that trio was easy; waiting for them to actually appear was the hard part. Portability and weight were my priorities since these lenses travel with me more than they live in the studio.

My final pick was the “P” line: the XCD 28P, 45P, and 75P. They perform exactly as I need them to—lightweight, sharp, and practical for life on the road.

I am curious about the two zooms—the XCD 20–35mm f/3.2–4.5 and the XCD 35–100mm f/2.8–4—and will eventually rent them. When I do, I’ll report back with my findings.

XCD 45/4 P

The XCD 45P is the definition of an everyday lens. Its field of view feels natural and intuitive—wide enough for landscapes and environmental portraits, yet close to a classic “normal” perspective for general shooting. What makes it shine is its size. For medium format, it’s surprisingly small and light, turning the X-System into a camera I can comfortably carry all day.

In practical use, the lens is straightforward and dependable. Autofocus is generally quick, and the manual focus ring has a direct, tactile feel that makes fine adjustments easy when I want more control. The leaf shutter adds flexibility by allowing full-speed flash sync, a perk I appreciate in changing light.

Image quality is clean, crisp, and beautifully rendered in that signature Hasselblad way—neutral color, good micro-contrast, and a pleasing level of detail. It doesn’t try to be dramatic or quirky; instead, it delivers consistently great images across a wide range of subjects.

Its datasheet is here.

Bottom line: The 45P is a lightweight, versatile workhorse and one of the most practical lenses in the XCD lineup. It’s the lens I depend on when I simply want to go out and make photographs without thinking too hard about my gear.

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.

IMAGES CAPTURED WITH HASSELBLAD XCD LENSES

HASSELBLAD V LENSES

Intro

The image above shows my current collection of Hasselblad V lenses: the CFE 80/2.8, CFi 60/3.5, 100/3.5, 120/4, and 180/4, along with the CF 135/5.6, which I use with either the bellows unit or a variable extension tube. These lenses serve me well both on the road and in the studio. I also use them occasionally on an ALPA camera, where their quality and character translate beautifully on the CFV II 50c digital back.

501CM Travel Pack

Within the 60, 80, 100, 120, and 180mm focal lengths, I typically select three to four lenses for photography trips. They fit comfortably in my preferred backpacks—the Shimoda Urban Explore 20 or the Shimoda Explore v2 25 Women’s Starter—along with a 501CM body fitted with a PME51 viewfinder and a film magazine. I also pack the 907x 50c with the V-mount lens adapter and related accessories.

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.

FILM IMAGES CAPTURED WITH HASSELBLAD V LENSES

DIGITAL IMAGES CAPTURED WITH HASSELBLAD V LENSES