Hasselblad Medium Format Cameras
By Danny Gonzalez

Article Index

This Overview edition adds info on the CB and CFE series lenses. A new
camera called the 'Arcbody' was also intro'd and is most interesting
because of it's proprietary lens line which consists of three wide angle
Rodenstock Apo-Grandagon LF lenses - 35, 45 and 75mm. All film magazines
have lost their film plane markings but have gained a standard, permanently
mounted d'slide holder. Older magazines are not convertible.

Format size: 55x55 cm (2 1/4 in. square) approx.


Hasselblad Overview:

Models:

Current models:
501c, 501c/m, 500 classic, 503 cxi/cw, 553 elx, 903swc

Current Focal Plane shutter models:
201F, 203FE, 205FCC

Older leaf shutter only models:
500C/CM, 500EL/ELM/ELX, 503CX, SWC/SWC-M

Older focal plane and leaf shutter compatible models:
2000FC/FCM/FCW, 2003FCW, 205TCC

Older models compatible with the TTL flash system:
2003FCW, 205TCC, 503CX, 500ELX (all current bodies are TTL enabled)


Lenses and Accessories:

There have been six lens series:
The C, CB, CF, F, FE and CFE.

There was one lens sub-series:
CT* (differs from the earlier chrome C series by the addition of black
barrels and T* multicoating)

There have been four back series (using 12 exposure, full frame 6x6
designation for clarity):
The M12, A12, E12 and ECC12.

There are two back sub-series:
The current A12N and the not current, TCC12.

New darkslide holder equipped backs:
A12Nd, E12d and ECC12d.

There are magazines for 70mm film, 6x4.5 (A16), 4.5x4.5 cm
superslide(A16S), vertically oriented 6x4.5 (A12V), 6x6 cm. 12 exp.(A12)
and 6x6 cm. 24 exp. (A24). Most variations are available in any back
series.


Cameras:

The oldest Hasselblad 1600F and/or 1000F are not generally considered
usable system cameras and so, are ignored in this Overview.

Most everyone who has an interest in medium format equipment is familiar
with the H'blad 500c/cm, 501c,  501c/m, 503cx/cxi/cw, as a design standard.
For those who aren't, the camera is very compact and spartan. The 500
series bodies, like all H'blads, make use of a unique double casting
'shell-within-a-shell' construction. The advantages of the H'blads unique
construction standard still apply well in the modern world and the basic
design principal continues on .

The current cameras are obvious in their respectful deference to the
original, art deco-ish design of the first production H'blad, the 1600F.
Like many classic examples of design excellence, the changes to it have
been evolutionary and, until very recently, almost undetectable to the eye.

H'blad 2000/200 series:

The 2000/200 series cameras may be the best H'blad choice for most modern
photography. The advantages of this lesser known,  'other' H'blad system
include the ability to use either the bodies 1/2000th of a sec. focal plane
shutter or the C and/or CF lense's, leaf shutter;  the ability to use
superspeed (and extra close focusing) Zeiss lenses, a choice of three
mirror modes, the 'Gliding mirror system' and better used market pricing.

The newest 203FE, 205F and TCC offer TTL flash metering, motor capability,
Acutematte screens as standard equipt (these features are also common to
the 201F and 2003FCW) and H'blad's first TTL, fully coupled metering
system. I'll write more about these cameras later; first, I'd like to cover
the more common 500 C and 500 C/M.

H'blad Oddities:

The most common 500 C/M camera itself is smooth as silk and fairly quiet
(these cameras make a very distinctive sound)( I've been reminded to keep
things relative: The H'blad is a loud camera, as are all MF SLR's. It is
however, fairly quiet in comparison to other MF SLRs). Another thing common
to design classics is old fashioned, though charming, oddity. Both are full
fledged H'blad attributes.

The lens must be cocked before mounting to, or dismounting from, the body.
The body must be cocked before mounting a lens (this is the most usual
cause of the infamous locked body/lens combo that costs money to get
apart.). If a cocked back is mounted to an uncocked body, the unexposed
film will wind to the next frame. All of the 500 series camera bodies
(except the newest 501c, 503 cx/cxi/cw), all of the 2000 series cameras and
all of the backs have a little dot that changes from red (uncocked) to
white (cocked) to warn of the current state of the cockedness<g>.

The M12/A12  backs have no place to store the darkslide when not in
use and back/insert combo's should have matching serial #'s in order to
insure perfect mating (this greatly affects a backs value as well, so
check!).

The back inserts also have a clip that must be threaded by the film
leader in order for the film to feed properly through the camera. Another
distraction (though common to all leaf shuttered, unmotorized slr's) is
that the mirror isn't an instant return.

Lenses:

The older metal barreled 'C' lenses had a constant interlock that was meant
to make it easier to work with when transferring a set EV value to the
camera (instead of the more usual personal preference value). Suffice it to
say that the older lenses were always a little rough to work with.

Use of the newer CF lenses (and the latest 80C from tthe 501c package as
well as all F/FE lenses) allows totally seperate movement of the shutter
and aperture rings (with an interlock tab that allows the CF lenses to
lock/couple the shutter speed and aperture setting rings,  like the older
lenses as well) as well as an F mode for use with the focal plane cameras.
Older chrome 'C' lenses were single coated (with a few of the very last
chrome ones having T* multicoat); older black C lenses are the same designs
as the C's with the addition of T* Multicoating (with a very few early
black lenses lacking T* coating).

Body Differences:

        The differences between the bodies are: the 500c is the oldest and
99% don't allow user changing of the focus screen. There were a few made
the year of the model # change (to 500c/m) that were 500c/m's in 500c
clothing. Obviously, the 500c/m added interchange of the screen. The older
500c/cm and 500 el/elm had a unique, second (the other one is one the C/CF
lens), body mounted flash terminal for sync with the shutter button
activated, internal light baffle. Newer 500 /m's lost the shutter release
lock as well.

Editors question (4/97): My 1976 500 c/m had this body mounted, rear
curtain flash sync socket. I've been told that these weren't on older 500
c/m's (only 500c's). True or not true?

'76 was the last year the 500c/m had the socket; earlier ones had them,
later ones didn't.

Lance Bledsoe( mr500cm@pipeline.com) adds (Thanks):

However there is on important item that is seldom mentioned, the early
500C's had a slightly diffrent keydrive (the keydrive is the part on the
body that that re-cocks the shutter when the advance knob it turned) This
can be a problem for people who want to use the "CF" lenses since they
give the "CF" lenses problems. This can be solved by changing the
Keydrive assembly but it is expensive. Again this effects 500C's made
only in the first few years.

H'blad 503cx:

The 503cx adds an acutematte focus screen, ttl flash metering (via SCA
adaptor), flash ready and OK lights in finder and palpas interior coating.
The 503cxi adds........

Arild Noven writes (Thanks):

The 503 CXi has got a redisigned shutter release (softer), accepts the
new E-type crank and a newly designed winder.

H'blad 503cw:

The 503 cw accepts another new winder model specific to this camera (the
CW) that winds at a rate of 0.8 frames a second. There is an IR remote
release set for use with this newest winder that allows remote release and
frame rate mode change. I've been told that the CW winder may also function
on the 503 cxi I haven't, however, had a chance to check.

Other changes in the CW camera include the 'gliding mirror system', (which
means that the camera sports the longer mirror of the 2000/200 series
cameras) and the lack of the 'body cocked' indicator.

A new 90° meter prism , PME90, incorporates a metering system that includes
spot and integrated as well as incident metering modes. All modes can be
aperture or shutter prioritized. Oddly, no flash meter is provided though
the meter seems to offer every other advantage of a good handheld meter
like the Minolta autometer 3f. As with older 500 series meter prisms,
information transfer/input is completely manual and un-keyed.

None of these 500 series cameras offer coupled metering with any finder;
though I'm sure that will soon change. The most obvious reason for this is
that the H'blad 500 series are completely mechanical cameras (bar the
motorized EL series).

H'blad 501c/m:

H'blads latest release (may 97) is the 501 c/m. The camera body is
identical to the 501c with the exception of two additions: It is standard
as a chrome body and adds the Gliding Mirror system, which cures the finder
top cutoff of lenses 120 through 500mm. It's an interesting, less expensive
alternative to the 503c/w which now comes with the A12Nd (d'slide holder
equipped).

H'blad 500EL/M/X:

 The 500EL is the first motorized H'blad and is like the 500c in vintage
and screendom. The 500EL/M adds the changing screen, the 500ELX the Palpas
coating and and a longer mirror to prevent finder image top blackening with
lenses longer than 150mm (This doesn't affect the film image, just the view
and haunts the 503cx/501c with the 180mm on up, still). The 553ElX is the
current model, it adds the Acutematte screen, TTL flash with viewfinder OK
and ready signals and makes use of AA 's. The Nicad battery Varta made for
the EL/ELM/ELX has been officially discontinued. This greatly affects the
future usability of these cameras and I wouldn't now recommend that anyone
purchase any but the latest versions (553 ELX with AA holder) of this
camera.

Lance( mr500cm@pipeline.com) adds:

This comes from Skip Cohen President of Hasseblad USA, although Varta has
stopped making the Ni-cad battery used in the EL, ELM and ELX they still
have better than a two year supply on hand. At this current time
they are looking for a new vender to make the batteries. This was not
Hasselblads choice, it was Varta's.

        The C/CF lens series is great and extensive. Some of the finest
lenses in photography that can't be found for any other system are the 40
and 50 FLE's, 105 4.3 UV lens, the 100 3.5, the 120 4 macro (in this
outstanding design), the 180 4.0 and the 250 5.6 Super Achromat. A special
purpose, also completely manual, wide angle camera called the
SWC/SWCM/903SWC is available. Featuring a permanently attached 38mm Biogon
lens and a direct view only finder (without parralax compensation) It is
guess or groundglass focussed and has recently become something of a
bargain in superwide cameras (believe it or not).

H'blad SWC/M:

The main difference between the SWC and SWC/M is the older C style lens vs.
the newer CF style one. The 903 adds the ability to mount the polaroid 100
back .

Brad Sherman adds:
The "M" on this model (SWC/M. -ed.) indicates the capability to use a
Polaroid magazine. The SWC can be converted to accept the Polaroid
magazine.

The new porroprism RMfx is a back mounted (in place of a film back), 100°
angle-finder for the 903SWC and the flexbody camera. Displaying a
vertically correct, 3.3x image, it has larger image area coverage to allow
for better viewing with movements employed (on flexbody) and adds the extra
10° for slightly off vertical orientation.

A new magnifying hood, the HM2, was introduced as well, though it doesn't
seem to be an improvement over the older one. Actually, it seems to be more
plastiky; probably to reduce the list price.

H'blad/Zeiss Lenses:

Ask some users to review the benefits of the H'blad/Zeiss lenses
and you're sure to get the most glowing reports you'll ever hear about any
lens.

Besides taking all of the C and CF lenses Hasselblads focal plane
shuttered F camera's have an outstanding lens line of their own: the third
lens series, 'F' line. H'blads fourth lens series, for their  latest FE/FCC
cameras have electronic databus connections between the lens and the body
are called 'FE' lenses, but are otherwise identical to the F series lenses.

F and FE Lenses:

Both the F and FE ranges consist of these lens choices: 50 2.8, 80 2.8, 110
2.0, 150 2.8, 250 4.0 and 350 4.0. There are many that are one of a  kind
in medium format: the 110/2.0 standing out as the longest lens, 2.0 or
faster, in 645, 66 or 67. The main advantages of these lenses is that they
focus much more closely (especially the 350 which focuses to like 6 feet, 3
inches/1.9 meter) and are at least a full stop faster than their CF
counterparts (except for the standard 80 F lens,  which isn't faster but
still focuses much more closely). They're all excellent performers (the 250
being the best in this F/FE series IMO) and they're all smaller and lighter
(with the glaring exception of the 50 2.8, which is very large and heavy as
compared to other 50 2.8's around, except Rollei's PQ, which is the same
basic shape and size)

H'blad 2000 series:

        The older,  non electric databus (though still battery powered) F
cameras are called the 2000 series. Starting with the original 2000FC and
going through the incarnations: 2000FC/M, 2000FCW and finally the 2003FCW.
The features that all of these cameras share are: the titanium foil focal
plane shutter, they all take interchangeable screens, they're all battery
powered (but the battery lasts as long as the one in the Ptx 67. Forever,
that is.), they all have a 2000th sec. top shutter speed setting, they all
have the longer mirror of the 553elx; the shutter on all is settable in
half steps, though none of them offer coupled metering.

The original 2000FC differs from the others in that it doesn't have
a spring loaded shutter. The FCM/FCW shutter loading spring works by a tab
which senses the presense of a back pressing against the camera body (this
was designed because 2000 FC users kept putting the corners of the backs
into the incredibly fragile and exposed titanium shutter curtains, which
causes a $500 repair).

When you remove the back, the spring releases and snaps the curtains open,
preventing any curtain damage. This feature is the only operating
difference between the 2000FC and the 2000FC/M. Problem is, this feature
only works with a fully cocked camera. An uncocked, spring loaded shutter
is still exposed when the back comes on and off which leads us to the next
advancement, the 2000FCW. This camera takes a very strangely shaped motor
winder that, of course, would make sure that the camera is always cocked,
thereby solving the problem (Not that this is 100% foolproof. If you fire a
cocked body and then recock it, sans back, the lack of a back on the
sensing pin leaves the curtains fully pokable).

The last in the 'F' series was the 2003 FCW. It adds the Acutematte screen,
TTL Flashmeter and the Palpas coating. In use, the 2000 series titanium
shutter/Instant return mirror combo is very loud, shrill and jarring. It
doesn't sound at all like the 500 series cameras. The new shutters in the
200/203/205 series are much better dampened for vibration and sound.

All of the 2000 series camera's had a three position mirror control.

Dave Munroe<dmunroe@hpvclmun.vcd.hp.com> adds (thanks):

H'blad 200 series:

The 200 series, H'blads latest, is a lot more complex. The basic
model, the 201F, is very much like a 2003FCW except that it loses the
titanium foil curtains, and the 2000th of a second top shutter speed and
replaces it with a far more reliable and durable, cloth shutter. This
shutter, common to all of the latest 200 series cameras, max's out at a
1000th of a second (2000th on the 205 FCC).

The most important improvements to the latest 203FE and 205T and/or FCC
models are only fully enabled with the very latest 'databus' equipped backs
and lenses. Though the model # system of these accessories is confusing,
I'll mention the differences more than once to make sure that they're
understood. A short run-through is in the next two paragraphs, directly
below:

The higher and highest model, 203/205 series Hblad's make use of  databus
enabled, ECC (and their discontinued equivalent, 'TCC') , or the slightly
simpler, E series backs. The two 'extra' dials on ECC/TCC backs are ISO and
N+/- compensation controls. On plain E series backs, only one 'extra' dial
(ISO) is present (I'll cover the differences fully at the end of this
Overview).

The two top models (203 FE and 205 F/TCC) are also only fully functional
(in the metering and displays) with the latest, databus compliant, 'FE'
series lenses. It is possible to upgrade some of the very last non
electronic, F series lenses to electronic FE status. Contact Hasselbad
America for details (Have the serial # ready).

The 203FE adds Hasselblads first coupled, TTL continuous light
meter (actually it's the second as the 205TCC came out a year or two before
it) and a self timer. This meter is a spot only one that reads in a number
of different ways and adds some new terms to the metering lexicon. Settable
by a large rotary dial on the camera side and manipulated by the up/down
switches at camera side left , the modes are:


Modes:

The 205TCC and the slightly upgraded 205FCC,  add the 'Z', or Zone
mode and make full use of the more sophisticated backs (though, like any
H'blad body, any M, A, E, TCC and/or ECC back is still mountable). The
205TCC lacks the 'Ab' mode. The FCC adds to the TCC design, all of the
features found in the 203FE that aren't on the earlier 205TCC (most
significant is the 'Ab' mode). Specifically, the 205FCC adds auto
bracketing and flash output control, both programmable from the main dial
and the ability to program extremely long exposures (up to 34 minutes).  It
still features the precise 1 percent of image area (3 degree) spot metering
of both the 203FE and 205TCC.

In the 'D' mode the camera (D, or difference, mode is unique to the 203 FE
and/or 205 F/TCC models) allows you to program warning limits for scene
contrast (via the up/down push buttons and in finder LCD). A second (N+/-)
dial, unique to the ECC/TCC model back and set below the ISO dial (on the
ECC/TCC back), allows you to dial in N+/- development and the resulting
expansion/contraction of film latitude such development produces over a N+3
- N-4 stops range.

The mode that's unique to the top-line cameras (205 TCC/FCC only) is the
'Zone' mode. In this mode you first set your chosen midtone and then choose
N-/N+ values (via the N+/- dial on the ECC backs.) based on scene contrast
range and the development you plan to run your film through. The camera
meter LCD then displays the different values, as zone system values, as
they'll properly be represented on the neg. The camera is probably
programmed with Tri-x values (for its computer algorithm) but figuring out
how to set the meter for different film contrast curves shouldn't be much
of a challenge.

Lens Compatibility:

As I said before, both the F and FE ranges consist of these lens choices:
50 2.8, 80 2.8, 110 2.0, 150 2.8, 250 4.0 and 350 4.0.

All of the 2000/200 series cameras share compatibilty with the F series
lenses, the FE/TCC lenses being the earlier mentioned databus versions (For
meter and display compliance; they're the same optically. The 80 2.8 FE has
had a barrel redesign from the older, prettier, F version 80mm). Any of the
older C lens line and the current CF lens line function as either leaf
shuttered lenses or preference can be made for the camera bodies focal
plane shutter. The CF series have a seperate 'F' setting that disables the
leaf shutter, while the 'C' lenses leaf shutter can be either disabled via
the 'T' setting, or set at a speed slower than 1/8th of a second (for an
effective shutter speed range of 1/2 sec., through the top speed of the
chosen F body)
.
The 203/205 cameras share an LCD, in finder exposure display that
is full information (w/databus lenses) and requires use of the new PME
series viewfinders (older prisms and hoods will damage the LCD itself and
cannot be mounted without modification). ISO value is default to 100 with
the standard M and A 12/24/16/16S/12v back series. The compensation range
available on the ECC/TCC backs are N+3 - N-4 stops.

 A couple of 203FE/205T/FCC addenda/clarifications. These camera designs
employ the mode dial lock button as a meter on/ AE lock button. the
exposure latitude of the film is user programmable within a +/- 9 stop
range. The +/- 9 stop (18 stop total deviation from normal) range is the
default value (Not a Tri-x default as earlier stated. Normal process Tri-x
is around -2 1/2 thru +4). To set film speed with the regular backs, you
put the camera in P mode and use the up/down buttons. The programmed
warning limits for scene contrast,  are available and employed in the N+/-
computation that the 205F/TCC must perform in Z Mode . The  warning limits
should expand or contract  with every change to the +/- dial .

Dflash-40:

A new flash called the Dflash-40 works in TTL/OTF mode with properly
equipped H'blads as a TTL autoflash. It has an adjustible reflector for
normal, wide and bare bulb shooting and a tilt head that turns side to
side, 90° up and 10° down. Normal position guide # of 40/132 (meter/feet)
and 33/110 in wide position, both at ISO 100. Powered by 6 AA's or a power
pack, it recycles in 0.3-2/sec. (with the powerpack) or more slowly with
the AA's.

Teleconverter 1.4XE:

A new 1.4x convertor, called 1.4XE,  was introduced with databus contacts
for the FE series, but still usable on the 500 series cameras. Optimized
for lenses of 100-500mm it's an interesting compliment to the PC-Mutar
shift 1.4x convertor already available for shorter lengths and last years
2XE. The PC Mutar shifts +/- 16mm and works with lenses from 40 to 100mm.
It doesn't feature Databus contacts but does come with its own cute little
double cable release.

Accessories:

Other new items (11/96) are the Acute-matte D screens. H'blad claims more
even illumination and increased brightness from older, original Acute matte
screens. They're available in the usual 5 styles (standard, 203 meter
circle, 205 meter circle, micro split, split grid). A new tripod quick
coupler S was shown at Photokina '96 as well. It fits the new rail style
and features a spirit level. H'blad is offering an 'upgrade' kit for older
bodies if you find you need this thing.

H'blad Backs:

All of H'blad cameras accept the same backs. There have been four
incarnations of available back choices: The M series, the A series and the
E series and the ECC series. There were/are two sub-series: The A12N's and
the TCC series. I'll define their differences in a moment.

The latest FE/FCC cameras have electronic databus connections between the
back, the lens and the body; complete ISO information is only transferred
with E and ECC series backs. The 'Zone' mode of the TCC and FCC series
cameras is only fully enabled with ECC (and TCC sub-series) backs via the
N+/- dial.

A12 backs differ from M12's in that they're 'automatic'. The M12 is loaded
by threading the film through the insert (as in the A12)but unlike the A12,
you don't line up the start arrow (on the film leader) with anything.
Instead, you open a port on the back of the holder and sight the numbers
printed on the back of the 120 paper until it reads '1'. Now you 'back
cock' the film advance 'half moon' pseudo-handle (this part was replaced by
a handle on the A12) to reset/set the frame counter to #1.

On the A12, you load the film while lining up the start mark with the
magazines red arrow; then you crank to frame #1 and shoot away. Personally,
I like older A12's the best, as they have seperately hinged spool holders
for each side (empty spool and film spool; R and L); the newer (and newest)
E/ECC/TCC and latest A12's ( called A12N's here) have a 'rocker' arm
arrangement that is hard to load if you have one side loaded already (get
that?).

E backs have true data-transfer ISO dials, a rear mounted dark slide holder
and are otherwise functionally identical to A12N's. ECC backs have ISO
dials, the extra N+/- dial (N+3 - N-4 stops range), the rear mounted dark
slide holder (unique to A12Nd, E and ECC series backs) and are otherwise
functionally identical to E backs. There was an available variation of the
ECC backs called TCC backs, these were identical to the ECC backs but lack
the darkslide holder of the E and ECCbacks.All H'blad back series are
individually numbered/matched shells and inserts; M, A, E, E/TCC alike.

Light Leaks:

Older backs eventually will lose their light-tight felt traps to wear.
Jerry (vicds@aol.com) wrote this interesting treatise:

could use any info on reason for light leaks on backs.

Most of the leaks are from the "felt" light seal around the dark
slide. If this is the only back that leaks eliminate the camera.
You can get the seal kit from Hasselblad in NJ. These leaks can
look like small quarter moons. You can inspect the seal by removing
the screws on the mating plate and taking it off. It's not real
tricky but requires patience.

Make sure the back fits squarely on the body and is not loose.
Make sure the black paint is in good shape and ridges and valleys
on the back to body mating surfaces are not damaged. Make sure
there are no loose or missing parts on the back.

Look at the negative and see if the light leak extends beyond the
sqauare mask of the image area. If it does it's definetely in the
back and not the camera to back seal or in the body.

Orient the image from a negative with the leak so that it is
the same as when it was taken (upside down and reversed left
to right). See if you can see what corner it's comming from.
Sometimes a leak with fall on a section of film that's not
in the frame at all; just in front of or behind the image that's
being exposed. These leaks look like long verticle bars extending
from one edge of the film to the other.

Put the back on with no film. Take the lens off the camera and get
a Mag Light flashlight without the front reflector (bare bulb).
Hold the shutter open with a locking cable release. Go into a
dark room and use the flashlight to search for leaks. It's hard
to see leaks from the dark slide, but you might find a leak in
the back to camera seal, mirror seal, etc. Some cameras don't
allow you to do this.

If you still can't find it put some 400 speed b/w film in the back
and go out in the bright sun. Rotate the camera around in the sun
with the shutter held open and a lens cap on. Start taping up
different sections you suspect with black electrical tape. Keep
a list of which frame numbers have what section taped. At some
point you should have eliminated the leak with the tape and be
able to find it.

Jerry

CB and CFE Series Lenses:

At 11/97's Photoplus two new lens series were intro'd; the CB and CFE

At the moment the CFE series consists of one lens and a matched 1.4x
convertor:

This is an esoteric and very expensive optic (I assume. No list price info here).

MTF:
5.6 center, 66%@40 lpm, 83%@20 lpm, 90%@ 10 lpm
11 center,  66%@40 lpm, 81%@ 20 lpm, 89%@ 10 lpm

The convertor is called the APO 1.4xe.
5 elements/4 groups, weighs 430 grams and is 100mm long.
For use on the CF 250, 350 and 500 APO; the FE 350 and the 350 SA CFE.

MTF on 350 SA CFE:
5.6 center: 52%@40 lpm, 76%@20 lpm, 83%@10 lpm

The CB series is a budget line for match with the new 501 c/m. All but the160 are traditional Zeiss designs, all have Prontor shutters. The 3 lenses are all missing the 'F' setting,
like the 'C' series 80mm of the 500 and 501c cameras. I made the unpardonable sin of not
handling the CB's at the Photoplus show and so, can't say anything about the
construction quality of the optics. The brochure makes mention of a low friction focus mechanism
and has a new style locking PC connection that will be the standard for the upcoming
CFE lens line.

Start with the 60:

7/7 elements/groups, focus to 0.6 meter, filter size bay 60. Weight: 680 grams

The MTF in center
50%@40 lpm and 3.5,
79% @ 20 lpm and 3.5,
90%@10 lpm and 3.5.
At F8 the numbers in center go up to 70, 85 and 92% at the respective LPM's.

The 80 2.8:

MTF in center @ 2.8 37%@40 lpm, 58%@ 20 lpm, 74%@ 10 lpm.
MTF in center @ 5.6 47% @ 40 lpm, 76% @ 20 lpm, 90% @ 10 lpm
heavy drop at 30mm image height (edge performance probably not as good as CF Planar)

The 160 4.8:

MTF is fairly flat across field both wide open and at best aperture (f/8).
Classic Tessar performance.
MTF @ 4.8: 28% @ 40 lpm, 59% @ 20 lpm, 83% @10 lpm
MTF @ 8:    40% @ 40 lpm, 68% @ 20 lpm, 90% @ 10 lpm

I expect both lenslines to expand dramatically. In fact, I expect the CFE
line to replace the current CF's as Hblads standard line. Why? For H'blad's
new line of full-meter coupled 500 series cameras.

Watch this space!
 

Danny Gonzalez
 
 
 

Hasselblad H1 Autofocus 645 SLR Pages [10/2002]



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