INTRO
The image above displays my current collection of Hasselblad V lenses, including the CFE 80/2.8, CFi 60/3.5, 100/3.5, 120/4, and 180/4 lenses, as well as the CF 135/5.6, which I use with the bellows unit or a variable extension tube. These lenses are useful both during travel and in the studio.
Among the 60, 80, 100, and 180mm ranges, I typically choose three lenses to carry on my photography trips. They easily fit into my preferred compact backpack, the Think Tank Retrospective 15. I carry three lenses in this pack: a 501cm or 503cx camera body with a waist-level viewfinder, a PME51 viewfinder, a film magazine or digital back, and various accessories. These lenses are selected based on their field of view (FoV) and compatibility with digital backs. The 120mm and 135mm lenses are kept in the studio, primarily used for macro and copy work.
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.
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.
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 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.
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.
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.
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.
DIGITAL IMAGES MADE WITH HASSELBLAD V LENSES
HASSELBLAD V MACRO OPTIONS
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.
Hasselblad Auto Bellows (40517)
The Hasselblad Automatic Bellows (AB) connects the camera to the lens, allowing the camera to function as if the lens is directly attached. The AB features adjustable knobs and an extension range from 63.5mm to 202mm. When used with the CF 135/5.6 Makro-Planar lens, it provides a focusing range from infinity to a 1:1 reproduction scale. Also shown above with the AB & CF 135/5.6 is the Lens Shade (40525), which has the transparency holder attached.
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
The 2XE Converter
The 2XE Converter is compatible with all Hasselblad V fixed lenses, except the CF 135/5.6. It doubles the lens’s focal length. For example, using 2XE with the CFi 180/4 changes the focal length to 360mm. Since teleconverters magnify the lens, they also highlight quality faults. They can produce excellent images when paired with top-quality lenses, such as Hasselblad lenses. The “XE” in 2XE indicates that it has an electronic Databus connection for the metering system in 200-series cameras. I use the 2XE converter for macro work and creating abstract digital images.
HASSELBLAD & ALPA COMPATIBILITY
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.
V Wide Angle Lenses & Digital
I do not have a Hasselblad V lens wider than the CFi 60/3.5. I shot with the CF 50/4 for decades, which was extremely useful for some of my commercial film work, but I don’t like how it renders digital sensors. Hasselblads CF 40mm lenses are a choice. Still, they are expensive, especially when you already have a top-quality wide angle in your toolbox that can easily fit in your bag when you trek out into the field; the ALPA Schneider XL 35/5.6 APO Digitar (image #2).
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.
IMAGE: ALPA TC + CFI 180/4 + CFV 50C
