Photography of Simon Galbally - f8Vision

Technical

Selecting a Medium Format System - A structured approach

What you will find in this article:
- Medium format photography equipment review,
- Hasselblad V series 6x6 camera equipment,
- Hasselblad 501CM and 503CW camera reviews,
- Hasselblad / Carl Zeiss lenses.

How to select the optimal medium format camera - buying into a medium format system - is not about picking a "best" camera simply because there is no best camera in any format. But, there is an optimal camera for you and how / what you plan to use it for. So, here I suggest a structured approach to help avoid expensive disappointment.

What is medium format photography (MF)? Strictly speaking it is equipment designed for "medium" sized images made on medium sized film - 120 roll film. Likewise small format photography uses "small" image frames made on 135 cassette film (or digital sensors). Again, likewise, large format (LF) photography involves "large" frames made on cut sheet film, these days typically made on 4" x 5" film.

Why medium format photography? As digital sensors become the norm in 35mm (135 small format) photography today, the topic of medium format is often overlooked. Medium format photography basically takes over where 35mm photography leaves off - the size of the image and consequently the relative degree of magnification required to produce a print of that image. From this factor arise issues such as image quality and detail etc..

An undeniable law of optics and image reproduction is that a larger source image enables a higher quality enlargement - print or transparency.

It is for such reasons that amateurs and professionals alike migrate to an MF system. But, and MF system is not a substitute for any other format - each has it benefits and costs. They are just different horses for different courses.

This article is for non-professional photographers considering an entry into the MF world of 120 roll film images that boasts the visual benefits of much detail made possible by a larger film frame - 3 plus times larger than a 135 format frame.

The choice of MF system is directly affected by your film frame preference - 6x4.5, 6x6, 6x7 etc. It's also affected by how you intend to use the system: studio only, hand-held in the field only; a mixture of uses in the field and in a studio.
- SLR or Range-finder or TLR
- This choice is about ergonomics, functionality and use, and system modularity.

Typically as an example, rangefinder MF cameras are often the domain of shooters seeking a compact system for mostly hand-held shooting; or, those demanding optimal wide-angle shooting where the absence of a pentaprism enables optimal optical lens design (such as Mamiya's 7 II and 43mm very wide angle lens and Hasselblad's legendary SWC and its 38mm Biogon lens).

MF TLRs were once a critical tool in wedding photographers' kits - for in-church quiet shooting - Rolleiflex iterations as well as Mamiya TLR iterations (with their uniquely interchangeable lenses!) and others are a testament to that.

Among SLR incarnations there's a huge choice available all boasting systems with at least very capable optics. Hasselblad set the standard for total modularity as well as alternative body systems (all mechanical, motorised and focal plane shutter types), together with access to the wonderful Carl Zeiss optics. Fuji developed a varied range including the massive bellows focusing and adjustable lens standard models best kept in a studio on a big tripod. The further one looks the more confused one can become, hence my suggested selection approach! These are the types of user requirements one needs to determine before going any further.





So, assuming you've evaluated the camera body type and decided on an SLR, TLR or rangefinder; from hereon, the following decision criteria mix to narrow down the system/brand optimal for you. At each point you'll have a short list that gets narrowed down. If and when you "strike-out", go back to the beginning and reassess your needs / desired features:

1. Why medium format and what are how do you plan to use it?

Simple isn't it? Not really, because this makes you take a long hard look at what is motivating you. It may even make you give up the idea altogether.

However, what I'm suggesting is that you start by deciding answers to questions like: what am I not being able to achieve with the system I already have? Am I prepared for some of the trade-offs involved, such as regularly using a tripod (no, you do not have to use a tripod all the time, just understand that to get the very best from the increased film size and larger optics, you will likely use a tripod more often than you already do with a 35mm system). Will I really get the use from an MF system to justify the commitment involved - or will it become a seven day wonder (a more romantic notion than a practical need)? And there will be other similar questions to ask yourself at the outset, which are important before you proceed further with the selection process that follows.





2. What image format meets your creative and finished image requirements?

6x4.5; 6x6; 6x7 or 6x9 or a mix of these - here 6x9 enables cropping to any smaller format and so it continues down the line. So it's the maximum format that meets your needs that should determine the basis of further evaluative decisions.

3. What type of system in the preferred format fits best?

Here one considers features like: modularity - does the planned use require interchangeable viewfinders (waist level, metered; non-metered; eye-level etc); fully or partly interchangeable film backs (eg the whole back or just the film insert - ease of changing film; alternative formats like 6x4.5 and 6x6 interchange-ability; simply reload film as with 135 format); interchangeable lenses.





4. What range of lens focal length and types (and quality) are required in the system versus nice to have available?

Here you need to consider type of shooting MF will be used for: range of wide angle optics - super wide, very wide, wide; macro lenses optimised for close focus work and what range of image reproduction (eg 1:1, 1:2 etc); range of telephoto lenses available - from short tele, medium tele to long telephoto; etc..

Care is required here because each brand has differing lens ranges - some have bellows style lens mounts enabling close focusing with all lenses and are ideal for macro shooters.

Then one should also consider the alternative optical qualities - not all are to the same standard while all are of a high average standard.





5. What other functional aspects need to be well covered by a system?

Here issues like flash photography come in. A frequent flash user will prefer TTL flash metering not always offered by MF makers. Heavy flash users may prefer a system that is based on "in the lens" shutters that enable flash synchronisation at all shutter speeds. Some don't. Some have differing model types.

6. Availability of accessories and lenses in the used market?

General wide availability of used accessories and major components on the used market makes a system/brand more convenient and economical in the longer term. It helps avoid having to buy all add-ons new at relatively high cost.

The accessories one feels he can do without today may become an important issue down the track, so knowing that a system/brand is supported by a wide range of accessories that are generally readily available on the used equipment market is a significant benefit.

7. Other functional capabilities required.

Here one must consider the type of use and optical implications.

Such issues include the ability to shift lens positions if for example architecture is a key interest. What are the minimum acceptable optical attributes of the makers’ lenses that must be satisfied by in the system's lens selection?

Here its also necessary to identify the camera functions required. These include capabilities like: auto exposure; auto focus; all mechanical operation avoiding battery dependence in adverse climates; motor drive film advance; type of metering if in camera metering is desired. There will be other factors one should consider too.





8. Quality and reliability issues.

Here the systems' reputations for capable manufacturer design and commitment to the format are important. Will the equipment stand up to the environment I shoot in; will it stand up to how I work; is it generally reliable; are repairers readily available; are spare parts available at reasonable (even if a bit high) cost; does the manufacturer backward/forward integrate its system changes; can the equipment be used with digital imaging in the future; do the after-market digital back manufacturers support this system; what is the optical reputation of the manufacturer?





9. Feel and ergonomics?

What am I prepared or not prepared to use in the field? What ergonomic characteristics are essential (eg weight and size)? How does this equipment feel in my hands? Do it functions operate in a manner I am comfortable with?


One is typically making a "life-time purchase/investment" of equipment that must perform so that you have the tools you like to use and enable your image making and creative skills to reach their peak. The equipment is just a set of tools, but it must not hinder your performance as an image maker.

10.Finally, we come to BUDGET.

Yes a budget for initial and further equipment purchases is a fact of life. But, it should logically be the last consideration - not because you should ignore the inevitable, but because it can distract good selection judgement. If your budget won't go that far find used examples or continue saving. But, never buy the wrong item because it fits a budget!

To plan a budget, one must decide initial spending capacity and what, if, when other spending can be budgeted.

The role of a budget:

Initial spend - identify the core system components required; brand and preferred condition (for example rough may be purely cosmetic but the working condition may be perfect). Use a spreadsheet: list the items, preferred/essential condition; wish list condition (if applicable) and minimum condition acceptable. Therefore there will be 3 columns for each line item in the list.

So, the list may look like:
- Hasselblad 6x6 - mechanical V series; 503 with - TTL flash;
- 45 degree metered view finder;
- 1 x 6x6 film back;
- 50mm Floating Element (FLE) lens - landscapes and environmental portraits.

Later spending - Identify the other system components in ORDER of need priority and assign it a priority according to your actual shooting requirements. The same procedure should be adopted. For example:
• 120mm macro lens – portraits, objects and compressed landscapes - A;
• D40 dedicated flash unit - A;
• 1 x 6x6 film back - B;
• 1x waist level viewfinder - B;
• set of filters - B;
• 180mm lens - portraits and long landscapes - C
• 1 x 6x6 film back - C.

Then, like all budgets do some market research or the prices and comparative condition costs. See how it totals and juggle a bit to finally resolve what the initial kit and spend will be. The final kit may change a little from what you thought initially.





11. The final question – the art of planning a lens kit.

This lives in every user's mind is: but what lens/s should I buy? Questions like: should I get the 80mm or the 60mm; but I've got a 50mm; and what if I get a 120mm; does it overlap too much; ....... it goes on.

So, a critical part of buying any ONE LENS is how it will fit among any others you own or PLAN to own!! The above planning process helps ensure any one lens purchase is not soon regretted, yet few people really plan their lens kits.

Within the budget planning, the following rules for successful lens buying apply:

1. decide the "core" normal lens focal length around which the system will be built - it is like a point of equilibrium against all others bought will be balanced;

2. decide what all the other wider and longer focal lengths will be even if they are planned to be added in the very long term. Future buys may simply be "gap filling" but at least you'll know they are a part of a plan and not an ad hoc regrettable purchase;

3. typically each lens wider or longer than the core lens should be a significant difference to make it worthwhile; but not too different to leave a gap that is hard to fill later on without causing silly overlap;

4. each should have its specific purpose rather than just cover a focal length you don't have;

5. having gaps in itself is not a bad thing as long as you know why you have that gap;

6. A useful guiding factor to focal length steps among your overall planned lens kit is about a factor of 1.6x - e.g. if 80mm is your core normal lens a next wide may be 50mm and a next long may be 120 or 135. But it is only a guide because 50 may not suite your style for wide and 40 may be better. However, if you go with 40 be sure you don't feel there will be a gap between it and 80 that you need to fill and the dilemma between 50 and 60 may annoy you - 50 is too close to 40 and 60 is too close to 80, but then again it may suit you perfectly;

7. so, if you don't use such a "spacing" factor" you risk jumping around buying the odd lens because it seems a nice one to buy at the time. But, the risk is that as your kit grows you discover various overlaps that force you to quit the odd lens (most often at a loss) and fall into a deepening (and increasingly expensive) trap of a system that is never quite right;

8. try focal lengths before you buy, even if you have to borrow or rent;

9. check user and wider industry opinions about that maker's specific lens and its optical performance.





Conclusion

Keep in mind that like most things in life, a planned approach ultimately works best - and of course, an over-planned approach becomes paralysing!

PS: While all the images I have included in this article and all are made with Hasselblad / Zeiss MF equipment, it is not to suggest this is the system for you - it's simply my chosen system and I could not be more happy with it! Images were meade with the following focal length optics: 50mm, 60mm, 120mm, 150mm, 180mm and 250mm.

Photos and text copyright of f8Vision