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In the above table, 1="a good choice", 2="usable", 3="some difficulties in use" under camera types (view camera includes 6x9cm as well as 4x5 inches). Under features, Y=definite advantages, N=not specifically needed, P=possibly an advantage, C=not a major consideration, and X= not easy to use. Mr. Ray's table is a good starting point, but you should read further to learn why each system or feature has the listed factors. [from Medium Format FAQ...]

The above table gives a good quick summary of what cameras types are suitable for each specialty areas, and which features are most useful for each. For example, the SLR is clearly preferable over the TLR or rangefinder for copying work or telephoto usage. You can see what the film will see directly in each case, unlike the TLR or rangefinder. The view camera is optimal for architecture work, since it provides movements for correcting and controlling perspective. While too slow to setup for most action shots, the view camera is at no great disadvantage when shooting buildings and interiors which don't move.

As you examine the above table in light of the strengths and weaknesses of each camera type, the ratings should resonate with your understandings of each specialty area's needs and challenges. For example, both rangefinders and SLRS/TLRs can take great theatre photographs. But the rangefinder is superior in focusing in dim light over both SLR and TLR, often has faster lenses than TLRs and most SLRs, and is quieter than the SLR. So it should make sense that the rangefinder is top rated in the listings. Further examination of the table suggests that a leaf shutter rangefinder would have advantages, presumably for flash synch at any speed needs to freeze action. Interchangeable lens rangefinder models would also be useful.

In short, the above table summarizes a lot of thought and issues about camera selection for different specialty areas of medium format photography.

Lens Recommendations for Specialty Photography Areas

Would you have guessed that advertising has the broadest requirements for various lenses and their effects? Or that longer telephotos are useful for industrial photography, but the shorter telephotos rather less so?

Since this table is obviously a summary of many photographers opinions, it probably represents some idealized advice such as you might expect for the average or typical practitioner in the field. I hurry to add that the original brochure text points out that there are some Hasselblad portrait photographers who use only the 40mm or 50mm wide angle lens, for example. For each set of recommendations, you could find photographers of note whose work and lens usage violates one or more of these recommendations. In other words, this table isn't cast in concrete, you can modify it for your needs.

Lens Sales Guide

The short answer is that roughly 85% of all Hasselblad lens sales are for the classic trio of 50mm wide angle, 80mm normal, and 150mm telephoto lenses (see sales table below). I consider these the "people and places" lens kit. Most photographers shooting such subjects will want a trio of wide/normal/tele optics of their choice. Lens choice is obviously highly personal and dependent upon your professional needs. I also need to highlight that these sales were for the older and more limited range of chrome (C) lens offerings for which numbers are available. Today, lots of photographers are bypassing purchase of the 80mm lens in favor of the wider 60mm or fast 110mm short telephoto lens.

On the other hand, if you are buying the 250mm APO lens or the $15,000 US quartz 105mm UV specialty lenses, you should have a specific scientific need for these lenses (or be a very well heeled collector!). The fisheye lens is often rented for specialty shots, since its frequency of use for most photographers is low and that is a lot of money to tie up in a low usage lens. Similarly, unless you do a lot of bird/nature or industry telephoto shots, the 350mm and 500mm lenses run under 2% of sales. Many are probably rented, but if you anticipate lots of rentals over time it may be wiser to buy one if you can afford to do so.

The Hasselblad Superwide slightly distorts the wide angle sales of the Hasselblad line, since you can opt for the highly corrected 38mm Biogon as your wide angle. SLR users may prefer the 40mm distagon lens instead, but even adding up both lenses suggests that only 7+% of Hasselblad lens sales are in this 40mm very wide angle range.

For Hasselblad C lenses, from the Hasselblad Compendium per posting:

24mm f3.5 F Distagon     - about 50          0.01%
30mm f3.5 F Distagon C   - under 1000        0.24%
40mm f4 Distagon C       - approx. 9,000     2.16%
50mm f4 Distagon C       - approx. 75,000   18.03% 
80mm f2.8 C Planar       - approx. 210,000  50.46%
105mm f4.3 UV (quartz)   - approx. 100       0.02%
120mm f5.6 S-Planar      - approx. 14,000    3.36%
150mm f4 Sonnar C        - approx. 70,000   16.82%
250mm f5.6 Sonnar C      - approx. 30,000    7.21%
350mm f5.6 Tele-Tessar C - approx. 3,000     0.72%
500mm f8 Tele-Tessar C   - approx. 4,000     0.96%

For non-SLR Hasselblads:
38mm Super Wide (Angle)  - approx.  2,000
38mm Super Wide C        - approx. 14,000
38mm SWC/M (incl. CF)    - approx.  6,000

[from Medium Format FAQ...]

Aerial Photography

Fast framing sportsfinders or viewfinders may be useful option. Useful image area of 6x7cm is larger. Polarizer effects easier to see on SLR, if used. Ability to swap backs (thereby varying films loaded too) is helpful and saves time in airplane. Backs with 70mm film can be handy, as more shots may be loaded, but development is an issue. Focal plane shutter’s higher top speed over leaf shutter may be an advantage in some situations (minor). Interchangeable lenses very useful where mix of wide angle and telephoto shots are needed. SLRs with interchangeable focusing screens may be customized with non-split image screens (as no focusing as all shots are at infinity).

Motorized SLRs (such as Hasselblad EL/M) and rangefinders (such as Koni-Omega 6x7 interchangeable back models RO200 etc. ) are often cited as cameras of choice.

Animals and Pets:

Cameras of choice are smaller lightweight SLRs (including 645 AF models) and rangefinders (e.g., Fuji models), especially featuring interchangeable lenses (e.g., G690 series). Some 6x6cm cameras such as the Hasselblad 500c/m series are very compact and lightweight too if you use them with waist level finders, and may offer 6x4.5cm back options (more shots per rollfilm).

Architecture:

A much less capable setup uses shift lenses on SLR cameras, which provide limited control of converging vertical lines. Besides the high cost of such shift lens optics, you usually only have one shift lens option – if that . The Kiev cameras (Kiev –88, Kiev-60) have 3 shift lenses available at modest cost, but their range of shifting is limited and they are close together in mid-range wide angle focal lengths. However, many architectural photographers will buy into the Kiev system ($250+) just to use the low cost ($200+) but superb 30mm fisheye lens. The low cost shift lenses add to the utility of the Kiev SLRs, provided you can deal with reliability issues (hint: backup camera).

You might also argue that the Hasselblad superwide series finder cameras with their rectilinear 90 degree covering 38mm optics are ideal for cramped interior shots. SLR users will usually add wide angles of 50mm, 40mm, and even 30mm fisheye lenses, depending on their needs. Panoramic cameras such as the Fuji G617 (6x17cm) and Linhof 612 (6x12cm) provide panoramic photos, sometimes with limited shift capabilities. Rotating lens cameras (Widelux) and rotating 360 cameras (e.g., low cost LARSCAN) can also have great value in architectural photography.

TLRs and rangefinders are not much used outside of lightweight travel shot situations. An assortment of interchangeable camera lenses, including wide angles for interior shots, are useful for both SLR users and view cameras (using lens boards). On SLRs, interchangeable screens using a grid pattern are recommended for precise alignment. View camera users usually have such grids on their cameras.

Landscapes

Surprisingly, landscape shooting offers many chances to use a macro or closeup lens. Just as a photo of a worker's hands can say as much or more than a full-length portrait, a part can suggest much to the viewer's imagination about the whole from which it is selected.

A few lenses seem peculiarly suited to landscape work. For example, I find my fisheye lenses and fisheye adapters to be most useful in doing landscape style shots. Nature lacks the straight lines that give away the use of fisheye lenses from the distortion of lines. So a fisheye can be a great way to take a very different look at landscape shooting - and fun too!

The ideal medium format camera for landscape work would therefore seem to be an SLR or rangefinder with interchangeable lenses (or perhaps the interchangeable lens TLRs such as the Mamiya C2xx/3xx series). The mini-view cameras can also be used to great advantage, especially where some movements can provide desired effects with depth-of-field issues.

Theatre

Ideally, you would like to have a lens that is relatively fast (f/3.5 or faster) to enable shooting darker theatre scenes. You can tradeoff the larger film area of medium format to permit using faster films without running into grain problems. Thanks to this capability, you can often use a medium format camera with f/2.8 lenses and 400 ISO film and get equal or better prints than a 35mm shooter with a 50mm f/1.4 lens and 100 ISO film.

Multicoating may also be helpful for flare or ghost control, as many theatre scenes have huge lighting ranges. A spot meter can be very helpful in such conditions to ensure accurate exposures of subjects faces and costumes. A sports finder makes it easy to follow action on stage and compose shots quickly, but requires prefocusing the desired distance (critical, due to narrow depth of field with wide open lenses). Some of the newer bright screens make it easier to focus in dim lighting. Waist level finders don't attract attention, at least compared to bringing a camera to your eye to focus and shoot.

Historically, an awful lot of theatre style shots were taken with the venerable Rollei twin lens reflex cameras. These cameras are easy to handhold, even at surprisingly slow speeds, and have lenses that are quite sharp even when used wide open (at f/2.8 or f/3.5). The leaf shutter and winding mechanism is quite silent. On some cameras (e.g., Hasselblad SWC/M), the leaf shutter may be relatively quiet, but the winding mechanics may be too noisy.

Today, one might recommend some of the new AF cameras such as the Contax 645AF or the new Rolleiflex 6008 AF. New rangefinders such as the compact Mamiya 7 II or the new Bronica RF645 are also options worth checking out. Older rangefinders (such as Koni Omega 6x7cm) tend to be slower and heavier, often with f/5.6 or slower optics. A folder might be a good choice, especially if you have to sneak it into the theatre! Some folders have rangefinders and very quite leaf shutters and silent film advancing mechanics. But the newer Fuji folders are likely to provide a greater range of features and very sharp optics.

A few cameras offer fast lenses, such as the Mamiya 645 80mm f/1.9 or the Hasselblad 110mm f/2. Most of the faster lenses are unfortunately on focal plane shutter bodies, since leaf shutter dimensions tend to restrict lens speed a bit. An older Norita 6x6cm with 80mm f/2 lens might be the cheapest and fastest medium format lens kit option (at under $250 for camera, body, and prism). Bronica had 80mm f/2.4 lenses on their S2/EC series, and even a Komura 135mm f/2.3 optic, but these focal plane cameras are the loudest 6x6cm SLRs ever made IMHO. But while a TLR like the Yashicamat is only about 5 dB or about twice as loud as a Leica M4-2, the other MF SLR cameras are 8 to 16 times louder (ouch!).

Copying

One unusual camera for copying artwork or documents is the Hasselblad superwide series (e.g., SWC/M, 903SW). This camera has such low distortion that it stands alone for applications where distortion must be minimized. Usage is a bit clumsy, however, since you have to first focus and frame using a ground glass back, then use the film backs to take the photo.

The majority of copying work commends itself to use of a macro (or process) lens, formulated for closeup work (e.g., nearer 1:1 rather than infinity). Macro lenses also usually optimize flatness of field response, which is especially important when photographing documents or other copy with straight lines or text (e.g., blueprints). Most MF SLRs have one or more macro lenses in their lineup, along with bellows.

With the mini-view technical cameras such as the Linhof, the bellows is built into the camera design. Selection of the right lens can provide the desired macro functions directly. In some cases, you can add bellows extensions to get extra scope for closeup work. The mini-view cameras have a major advantage, in that their movements make it possible to set the limited available depth of field onto the macro subjects. While this isn't so critical with a flat document, it is a nice feature that only a few tilt/shift bellows (such as the Bronica bellows) provide for MF SLRs. The Rollei SL66 was probably the best 6x6cm SLR in terms of macro or copying photographic tasks, thanks to its built-in bellows and limited 7 degrees of useful lens tilt feature.

Our Mirror Alignment Tool pages describe how to construct a simple mirror based device to ensure precise alignment (within one part in 10,000 accuracy). Copying slides also requires the right copying films to prevent buildup of contrast and other image defects.

Telephoto, Sports and Action Photography

Hasselblad recently discontinued its 500mm f/8 leaf shutter lens line, as this lens represented under 1% of its total lens sales. The 350mm f/5.6 leaf shutter sells even less, despite the fact that it is rather similar to a 200mm lens on 35mm SLRs. Telephoto lenses for medium format also are a good bit heavier than their 35mm counterparts, partly due to coverage issues. So a 500mm f/8 lens for Bronica ETRS/SQ/GS weighs over 8 1/4 pounds and takes 122mm filters. A similar 500mm f/8 T-mount lens for 35mm weighs under 2 pounds and takes 67mm filters. Ouch!

Pentax 67 users have the best selection of longer telephoto lenses. There are a few Rollei 1,000mm lenses, but these monsters (at 20 pounds) cost more than most cars. However, you can easily "hack" or modify existing telephoto lenses to work on some focal plane camera bodies. This trick can make it affordable to do real telephoto work in medium format.

The new autofocus 645 bodies such as the Contax 645AF and the just introduced Rollei 6008AF 6x6cm AF SLR provide many features long taken for granted by 35mm autofocus camera users. But you can shoot action and sports photographs with the older cameras, you just have to be better at anticipating and timing your shots ;-).

Some of the current rangefinders such as the Mamiya 7 and Bronica RF645 provide rapid composition, focusing, and metering. Unfortunately, the Mamiya 150mm f/4.5 lens equates to a 71mm lens on a 35mm SLR, hardly very telephoto. Even the Mamiya 250mm lens is problematic, as it uses an accessory finder (due to limits in RF accuracy) and is mainly aimed at infinity only uses. The Bronica 135mm lens has been dropped (6/2002), leaving only a 100mm alternative, which is even less telephoto. Surprisingly, the older twin lens reflex cameras such as the Rolleiflex were very good street action cameras. The fact that you could focus and compose at waist level made them less obvious in many situations than a camera raised to the eye to compose, focus, and shoot. The sports finder option on many MF cameras makes them much faster in use than any eye-level camera. Other cameras such as the Hasselblad superwide obviate the need to focus (e.g., 3 feet to infinity f/16).

Within the lens limitations, many MF rangefinders can also be used to advantage. But the fact remains that fast telephoto photography remains a strong point of 35mm autofocus camera shooters, if only because of the unique fast glass they can use in shooting. There simply aren't any comparable lenses for medium format users at any price to equal the 300mm f/2.8 and 500mm f/4 lenses that 35mm shooters can use.

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