My Preferred System - The sublime Hasselblad 6x6 500 Series.

What you will find in this article:
- Medium format photography equipment review,
- Hasselblad photos,
- Hasselblad V series 6x6 camera equipment,
- Hasselblad 501CM and 503CW camera reviews,
- Hasselblad / Carl Zeiss Distagon 50mm FLE and 60mm lenses, Planar 80mm lens, Makro-Planar 120mm lens and Sonnar 150mm, 180mm and 250mm lenses,
- Hasselblad lens reviews,
- Hasselblad accessories.

The Hasselblad 6x6 attraction

- Attraction or mystique, or even legend; why has Hasselblad's classic V series system been so compelling for so many photographers - professionals and amateurs alike? I suppose the answer is quality - quality of: the components, the image results and the systems itself.

Many argue that the most compelling aspect of the Hasselblad system is its use of Carl Zeiss lenses, which are arguably the finest optics in medium format photography. Interestingly though, Victor Hasselblad originally partnered with Kodak when he invented what would become the most enduring MF system ever - a totally modular 6x6 SLR system. His company's engineering and quality standards would ultimately be dedicated to the equally high standards in lenses by Carl Zeiss.

It is the totally consistent performance among all the Zeiss lenses offered that users can rely on - consistent optical attributes, which consistency is unmatched by any other lens maker. These attributes are: resistence of flare; minimal (possibly invisible) light fall off; evenly excellent sharpness; minimal (again possibly invisible) distortion; smooth out of focus progression.

When you add such outstanding optical performance, which stands up to extra critically close examination and the demands of very large prints, to outstanding camera and component design, engineering and manufacturing quality the result is a remarkably enduring tool.

Hasselblad 501CM and 503CW

- I chose Hasselblad's "V Series 500" all-mechanical 6x6 format cameras for my general / all-purpose medium format system.

The V series camera bodies are the centre of Hasselblad’s totally modular system of selected Carl Zeiss lenses, backs, viewfinders and many, many other accessories.

The digital "revolution" has made this more affordable category of Hasselblad cameras very affordable today on the used markets around the world.

It's the access that Hasselblad V system offers users to the superb range of Carl Zeiss optics that is initially so compelling. Then the superlative engineering, design and quality of the Swedish manufacturer's equipment takes hold of users' imagination.

Here I outline my system - the lenses I use and why I use them; the camera accessories and the roles they play; the other accessories such as filters, flash, cases etc. and why I selected them.

I begin with the wonderfully enduring Hasselblad camera bodies, which to me are enduring enough to not only survive the "digital revolution", but remain "digital ready" should I too become digital ready!

The key to the genius behind these cameras' design, engineering and finish is not just Zeiss optics but also that their robust performance includes very intuitive functionality - making their use easy and equally intuitive. The relatively compact size and 6x6 frame are also compelling features. The links among various mechanical functions such as shutter release, film back operation and lens fitting are clever and reliable.

It is often said that Victor Hasselblad settled on a 6x6 frame arguing that 6x4.5 did not offer a large enough increase in film area over 135 format especially after some often necessary image cropping. He also commented that a square format avoided horizontal versus vertical orientation of the camera. Clearly 6x7 is an appealing frame size but would result in "clunky" and cumbersome equipment (as IMHO can be seen among the very capable Mamiya 6x7 SLRs). So, 6x6 was the Hasselblad selected frame and offers three key advantages, bearing in mind that 6x6 was never intended to totally confine users to a square image composition:

1. 6x6 format does not require any changes to camera orientation - vertical vs. horizontal - it's a square;

2. 6x6 provides substantial enough film area to enable cropping an image without losing the advantage of a large negative;

3. 6x6 provides for very efficient camera body and lens design given that a square format is the closest fit to an image circle and the size that a lens must throw to provide even illumination from axis to edges.

For me personally there is a fourth benefit of 6x6 - the sublime beauty of square composition.

Hasselblad 6x6 Bodies:
• 501CM – all-mechanical in-lens shutter system (Hasselblad also offers focal plane shutter bodies - the 200 series - and integrated motor driven cameras within its V series) and battery independent non-metered body:

o a perfect robust “all terrain” body, which I use principally on a Manfrotto 055 tripod with the WLF or chimney viewfinders;

o offers fully interchangeable system components;

o enables in-lens shutter based flash synchronisation at all shutter speeds;

o totally fuss-free shooting where I’m in control of the process;

o provides excellent mechanical integration of functions.

• 503CW – all mechanical in lens shutter and battery independent non-metered body PLUS inclusion of TTL flash metering with film speed selection for TTL output control and the ability to attach the CW winder. It’s essentially a 501CM with TTL flash and the ability to add a winder (not a motor-drive, just a 1fps winder):

o a perfect handheld “all terrain” body, which I use hand held with the CW winder and PM45 prism viewfinder for all hand-held and MF flash work;

o 100% compatible with all my 6x6 Hasselblad system;

o provides two key “convenience” features not available on the 501CM – TTL flash and a winder;

o offers fully interchangeable system components;

o provides excellent mechanical integration of functions.

There is a 3rd wonderful capability too - these cameras are 100% digital ready! They can accept a digital back just like a film back! Today Hasselblad offers 16MP and 39MP backs that produce extraordinarily high quality images.



Hasselblad / Carl Zeiss series lenses:
The most compelling attributes shared by all of these lenses and the various design groups (illustrated by their specific names, such as Distagon) include well balanced correction of various optical aberrations that challenge all optical engineers and designers and, which provide:

o Excellent resistance to flare – even without the use of the appropriate lens hoods one can be pleasantly surprised by flare free results. While most wide and very wide angle lenses in all formats often show a relatively higher propensity to flare in strong oblique light, the Hasselblad lenses such as the Distagon 50mm FLE produce superb results;

o Beautiful tonality – typical of many German modern optics and coatings, these Carl Zeiss made lenses show sublime natural tonality;

o High (extremely high in many cases!) resolution from axis into the field – while there is much debate about Carl Zeiss’ regular claims of incredible resolving power of up to 400lpm from many of its MF and even 135 format lenses, the fact is that these lenses have huge resolving power beyond our eyes' capabilities. The effect visible to the eye is superb detail maintained to the edges adding great quality to finished prints and their 3D "look";

o Excellent distortion performance – there are at least 2 Hasselblad / Carl Zeiss lenses that record incredibly low distortion claimed to be the best in the industry, but in any comparative context most (if not all) of the other lenses exhibit outstandingly low optical distortion to a point where it is not visible to the eye;

o Exceptionally low visible vignetting (light fall off) – vignetting is a natural outcome of lens physics and the challenge is to minimise it especially its visibility in prints and these certainly achieve that objective. All the lenses I use have virtually invisible light fall off even at the maximum aperture;

o Excellent off axis definition, sharpness and contrast – these lenses should never be described as being “overly contrasty” because they are not, but they exhibit strong and pleasing contrast right out to the extreme edges. The outstanding sharpness is maintained evenly across the image even at the widest aperture with minor softening at the edges. This produces outstanding definition of the finest details (to varying degrees) among the lens groups;

o Very consistent optical performance and reliable results whichever lens you choose to use on the day – while each lens has comparatively excellent performance wide open, they all show improvement when closed down one or two stops, with the optimal performance found 2 or at most 3 stops from wide open. But users have confidence knowing that at any aperture the results will be outstanding, so may shoot freely never worrying about variability in image quality;

o Amazing sharpness – taking full advantage of the film format, the combination of resolving power and contrast results in superb sharpness (especially where the lens design specifically seeks that optimal sharpness to be - at infinity or close distance). Two lenses in particular offers what should be described as blistering sharpness - 100mm and 180mm.

This sharpness is not based on excessive contrast or lens design that can bring with it some less appealing side effects.

The specific lenses I use (own or borrow) are also outlined here. Some ask: "why so many prime lenses – don’t some overlap?" The answer is simple - each has a very specific role and look. None makes any other redundant. I learned over time why makers like Hasselblad offer such a range of prime lenses – each has its place. Others of course have different shooting needs to mine.

Over time I’ll add images and notes pointing out specific attributes exhibited by the images they help me to create.

Lens kit choices:
o 50mm Distagon FLE f4 lens – My very wide angle lens. My main landscape / city scape and architecture lens in this format. It's sufficiently wide through the diagonal to provide a dominant foreground. With the FLE feature optimising close distance sharpness, it is simply an outstanding performer in every possible respect; providing optimal sharpness throughout the focus range due to the floating element feature. It is quite a compact lens for its focal length and very easy to use. I have shot this lens into direct bright sun only to find a gorgeous star appearing where the sun was positioned and some fine rays extending into the image. It has very low distortion for its angle of view especially compared to the 40mm lens available – so low in comparison that I’d never be comfortable with the 40mm lens. In 135 format the 50mm offers a similar AOV to 24mm and 28mm lenses from diagonal and horizontal perspectives respectively;

o 60mm Distagon f3.5 lens – a “normal” wide angle lens offering a very natural perspective similar to our full peripheral vision (as opposed to camera manufacturers’ definition of a normal lens, relating the focal length to the diagonal of the film format). It enables foreground interest and large depth of field, but allows the background to be more present in landscape photography. An ideal street, event and people group focal length choice. Its combined exceptionally low distortion, sharpness and high resolving power make its images simply superb. In street and city shooting it partners very well with both the 120mm and 150mm lenses;

o 80mm Planar f2.8 lens – My every day “standard” lens – it’s where I begin to see how I am seeing a scene. It provides a lovely natural balance between foreground and background. There is something so compelling about the 80mm focal length – how natural and well proportioned things seem in its frame. The comparatively fast aperture and strong performance at f2.8 make it a very versatile lens to keep at hand. I use it among other focal lengths for most types of shooting and for landscapes in particular;

The Iconic Australian Gum Tree

o 100mm Planar f2.8 lens – My most "prized" lens due to its beautiful angle of view and extraordinary optical perofmance. It is unquestionably one of Carl Zeiss/Hasselblad's truly remarkable achievements. In particular, it is famous for it near zero optical distortion, having initially been designed for aerial mapping and NASA moon missions. The angle of view also makes it a very flexible every day “standard” lens.

Bird of Paradise - Full image taken in harsh oblique light with the Hasselblad / Carl Zeiss Planar CFi f3,5/100mm lens. A 100% crop is taken of the very small area of the flower's stamen as shown below - highlighting the superb resolution of super fine details. Taken on Kodak Ektar 100 film.

o 120mm Makro-Planar f4 lens – a regular “detail” lens – here I mean that whatever I’m shooting, if I’m picking out detail within the overall scene or a specific object, this is my first choice lens. While it maintains foreground and background balance, it makes the background more involved in the scene than does the 80mm. I have adored its beautiful rendering of objects and its special character especially at close distances. Of course, when shooting objects at a close focus distance or making macro images, this is a no-brainer first choice lens due to its optimization at closer distance rather than infinity. This lens has the greatest creative impact on me, it is indeed a very special lens in ways that are hard to describe;

o 150mm Sonnar f4 lens – my standard “tele-lens” – whatever I plan to shoot and even if I limit my kit to 2 lenses, this comes too. This lens really brings the foreground and background together. This focal length is one of the most common lenses found in any Hasselblad user’s kit. Offering an AOV similar to a 90mm in 135 format, it is the ideal short to medium telephoto lens – so versatile in all shooting from people to landscapes and cityscapes. Its strength of performance is virtually unchanged from wide open to stopped down – such a good all round lens and performer. It is relatively compact and light making it a convenient take everywhere lens;

o 180mm Sonnar f4 lens – my favourite long lens and ideal portrait lens. Its narrower AOV enables reasonable distance between me and a subject while producing a nice compression and no adverse impact on facial features. This focal length begins to show strong compression of background and foreground making deep landscapes so appealing. Most of all it offers incredible sharpness one of the sharpest in the Hasselblad lens range, which is not surprising since it is the “newest” focal length offered by its maker. In landscape shooting it offers superb compression of scenes and good isolation of key forms. While a sizeable and weighty lens by any measure, it still offers a good mix of reach, speed, weight and performance. Did I say it is sharp – blisteringly sharp? I scoffed at suggestions that it may even be too sharp requiring the use of a Softar when shooting women’s portraits, only to discover how true that statement is!

o 250mm Sonnar f5.6 lens – simply enough, a long lens. The largest practical long focal lens. In landscape shooting the strong compression of foreground, mid field and background is very appealing to me. While there are Hasselblad users who go that further mile and choose the Superachromat version of this excellent lens, I for one could not afford it, nor could I see from the types of images I make any visible difference between them. The SA version is one of the “special” lenses produced for Hasselblad by Carl Zeiss (along with the 350mm version, the 38mm Biogon and the 100mm Planar). I get huge enjoyment from this lens in landscape shooting and its ability to create strong isolation and highly visible compression of the image depth;

o 1.4Xe extender – This extender is such a versatile and useful tool, providing increased reach from my longest lens (from 250mm to 350mm) as well as very effective extension of all my telephoto lenses from 120mm should I need to limit the number of lenses in my kit on any day, which occurs more often than not. I have never noticed any visible degradation of image quality using this fine and compact lens. Interestingly, this lens is not manufactured by Carl Zeiss, but by Fuji despite the fact it is designed to be coupled to all the Carl Zeiss primes above 100mm focal length and not one prime lens in the V series lens groups is made by Fuji! More importantly, this lens obviously couples to them very well indeed.

Camera accessories:
• A12 film backs – I prefer to buy young used backs to ensure they are light tight and have low wear and I far prefer to have the dark-slide holder available for obvious reasons. I have these serviced each two years to ensure they are equally in top condition;

• Hasselblad quick coupling plates with spirit levels – I’m committed to the Hasselblad system for all my equipment in each format since I have 2 Hasselblad V series bodies, and an XPan which use it, so have just fitted accessory plates to my other cameras when using them on tripods.

• D40 TTL flash – a parabolic bare-bulb flash unit dedicated to the Hasselblad TTL system. This provides a superbly even 6x6 illumination not so available from common thyristor flash heads. Being a dedicated TTL flash unit, it’s simple to use - mount it, plug it in, turn it on, set the camera ISO and fire away. However it does have an Achilles Heel - relatively limited output. At reasonable shooting distances with an 80mm lens one is limited to about an f8 aperture. Otherwise it is an excellent performer, nicely made and quite light in weight.

Other accessories:
• Hasselblad UV and coloured filters – While the use of Hasselblad's proprietary bayonet mounts makes lens filters expensive from any manufacturer, I prefer to use Hasselblad branded filters simply because I can be sure that the glass quality is likely to be well matched to the lenses. Because they are relatively expensive I have managed to buy all my Hasselblad filters second hand. Any image is only as good as the glass that sits in front of the film plane and there is no use in buying wonderful Carl Zeiss made optics to then add cheaper lower quality filters at the front. Also, I use filters sparingly because adding a layer of glass and air at the front always risks some degree of image degradation.

I use UV filters to protect the lens front elements in riskier situations (otherwise I leave them off); I use red, green and orange filters for my B&W shooting; I use warming and cooling filters for some colour shooting.

Additionally I use some Cokin P series filters for obvious reasons where a square filter is more practical - such as ND and other graduated filters for landscapes. I have always found the Cokin filters to produce good results without visible image degradation.

• Sekonic L558 light meter – One of the best investments I have made, this light meter is an essential part of my medium format kit. While there are a couple of other top-end integrated light meters on the market, I prefer the Sekonic L558 for 2 main reasons.

Offering incident, multi-spot and flash metering and many supporting controls, this meter is an "all-in-one" product: there are no attachments to fit for varying types of metering. This meter is very intuitive to use and ergonomically well designed in a rugged impact absorbing body.

Newcastle's

• Carrying cases - I have two types: the hard case and a soft case / bag.

My hard case choice is the StormCase roller case (i2650) – These days such a case is essential if you travel by air with a full camera system - too much to be allowed on an aeroplane as hand luggage. We all know how it seems that luggage handlers do their best to destroy your cases, so this case was a must for me. Given the weight being carried, the sturdy handle and rollers were also essential.

I have the size that is similar to a standard suitcase.

For flight travel I use the foam insert so that no items can move around at all. However, I also have the compartment insert for travel with even more gear packed in using car transport. BUT, I must say I find the StormCase compartment materials cheap and nasty - badly sewn, thin and it came with far too few dividers to be fully useful. Soon I plan to buy the closest fit Pelican version of interior compartment, which looks perfect. I chose the StormCase over the Pelican version due to a mix of design, ergonomics and optimal size of the rolling case version.

My soft case / shoulder bag is the Lowepro Stealth Reporter 650. The quality of their outer materials and inner foam compartments is superb. But, it’s the overall design and ergonomics that made me select this bag specifically for my medium format gear.

The bag is not a fixed rectangle shape; its back side has thick foam and curvature / flexibility so that is rests comfortably against my side or back. It has no Velcro so is not noisy to use; it is a top load design allowing entry through a top centre zipper or by flipping over the top cover. It also does not have a myriad of fussy annoying compartments to "lose" gear in.

o Other accessories – for my purposes the following is a list of other things I keep in my medium format kit and would not leave home without.

- Maglite torch - a small one just in case the ambient light is too dark to see my camera controls;
- Compass / map grid - a combined plastic see-through map-grid with a quality compass in the centre - so handy to be sure you are heading in the right direction for a sunset or sunrise etc.:
- Micro-fibre cloth - forget the expensive mini cloths sold through camera stores as many companies make top quality micro-fibre cloths (nice big ones) suitable for both lens and camera body cleaning (such as sea spray, which should be removed from camera bodies and lens barrels as soon as possible;
- note pad and pen - for recording carious information that can always be reliably forgotten later on;
- sticky labels - handy to put on exposed film rolls should special instructions for processing be necessary;
- lens blower and brush - their use is obvious. I use one of the newer higher volume blowers that are available now;
- changing bag - a small one can be a life saver and takes up little room. I always feel that the day I go off without one will be the day I need one!

Finally, if you are considering taking up medium format photography and are confused by the range of brands and systems available (current and discontinued), read my separate topic: "Selecting your MF System". Above all, remember that you are not simply buying a camera, you are buying a system!


Photos and text copyright of f8Vision and SimonPG