The Swedish brand Hasselblad is inextricably linked to the world’s most famous medium format cameras. Here I will talk about the 503CX, its history, its features, and how it can still give much satisfaction to those who love experiencing film photography today. As a system camera, much of what you will read also applies to other models of the V System 500 series. Enjoy your reading!

A brief history of Hasselblad and the V System

It all came about thanks to the far-sighted vision of a 35-year-old engineer, Victor Hasselblad, whose great-grandfather had founded Wictor Hasselblad & Co in 1841 in Gothenburg. The company was actively involved in international trade and became the sole distributor of Eastman photographic materials in 1885, later known as Kodak.

From a young age, Victor was immersed in photography. His grandfather Arvid sent him around the world as an apprentice to major photographic industries. However, upon returning to Sweden, Victor decided to go his own way. He opened a photography shop in Gothenburg, but that was just the beginning. His expertise gained such renown that in 1941, the Swedish government commissioned him to create a reconnaissance camera.

Thus, the HK-7 was born, followed by the SKa4. Both were intended for military use and already featured technical and aesthetic characteristics that would later define Hasselblad’s consumer and professional camera production.

In 1948 appeared the Hasselblad 1600F, whose features were an absolute first for the time: single-lens reflex, it produced 6×6 cm square negatives, had a curtain shutter that went up to 1/1600 s. It was also a system camera, composed of several interchangeable parts (lens, film magazine, and viewfinder), allowing complete customization. The famous V System had been born, the specifications of which would allow complete interoperability of the accessories of the cameras that would be produced in the years to come.

The focal plane shutter of the 1600F limited flash sync to 1/25s, restricting its use outdoors. This limitation was overcome in 1957, with the launch of the Hasselblad 500C, whose lenses all featured a central shutter, allowing flash sync at all speeds. The 500C was the first model of the 500 series in the V System and remained in production until 1970, when it was succeeded by the 500C/M, which introduced an interchangeable focusing screen. The 503CX (1988) followed, then the 500 Classic (1990), 501C, and 503CXi (1994), the 503CW (1996), and the 501 C/M (1997). Given that the 503CW remained in production until 2013, the V System 500 series lasted an impressive 56 years, setting a longevity record for a system camera. .

In addition to the 500 series, the V System also included the 2000 and 200 series (produced from 1977 to 2002), which were equipped with a curtain shutter but compatible with the 500 series lenses, the EL series (1965-2006), with motorized film advance, widely used in studio photography, and the Superwide (1954-2006), featuring viewfinder cameras with fixed 38mm lenses.

The Hasselblad 503CX

Produced from 1988 to 1994, the Hasselblad 503CX belongs to the successful V System 500 series.

Very similar to its predecessor (500C/M), it introduced several key innovations, such as the Acute Matte focusing screen, which is significantly brighter and facilitates focusing, a new internal coating reducing stray reflections, and TTL flash exposure capability.

It was sold as a kit, including the standard 80mm lens, film magazine, waist-level viewfinder, and strap.

Once these parts are removed, the essential and elegant body design becomes apparent: a virtually cubic form, with a frame made from a single piece of die-cast aluminum.

On the top, you can see the interchangeable ground glass focusing screen and the guide rails for mounting the viewfinder.

At the rear, the film magazine attaches via a light-tight coupling. By swapping the magazine, you can quickly switch between different film types. A metal dark slide protects the film from light when the magazine is detached.

At the front, the bayonet lens mount, shutter release button (with a locking lever), and lens removal button are present. Inside, the mirror reflects the image onto the ground glass screen when the camera is cocked. A drive shaft transmits commands to the lens for stopping down the aperture, triggering the shutter, and recocking it when advancing the film.

By holding down the unlock button located on the front of the body, the lens can be removed by slightly rotating it counterclockwise. This operation is only possible if the camera is cocked.

The 503CX, like all 500 series cameras, features a central shutter in each lens. The body also houses an auxiliary shutter made of rubberized flaps that open before exposure and close immediately after. Its primary function is to protect the film when changing lenses without a dark slide but can also be used as the main shutter at a fixed 1/30s when employing lenses without a built-in shutter, such as those of the 200 and 2000 series.

At the bottom of the body is the threaded tripod mount. A quick-release plate was available as an accessory, but today most tripods offer equivalent solutions.

On the right side, you’ll find the winding crank, strap lugs, and mirror pre-release button, which reduces vibration before the shot. It is important to remember that once the pre-release command is activated, it is mandatory to take the shot (but a trick to deactivate it is to remove the magazine, take the shot, recock, and then reattach the magazine).

On the left, there is the flash sync port and the ISO setting for TTL flash exposure.

The 503CX is entirely mechanical and lacks a built-in light meter. However, an optional metered winding knob was available.

The 503CX’s shutter sound is distinctive, complementing its robust build and reflecting the precise sequence of operations triggered upon release:

1. the mirror lifts
2. the shutter closes
3. the diaphragm stops down
4. the auxiliary shutter opens
5. the main shutter opens for the preset time
6. the main shutter closes
7. the auxiliary shutter closes
8. the diaphragm reopens

After the shot, the mirror stays up until the film is advanced, recocking the shutter.

The magazines

The standard magazine in the kit is the A12, allowing 12 exposures of 6×6 cm on 120 film.

A semi-circular indicator on the left side shows film consumption, turning progressively red as exposures are made.

Both the magazine and the camera body feature indicators showing the respective status of the magazine and the body. The colors of these indicators must always match; if they don’t, the magazine is in an inconsistent state with the body. In this case, remove the magazine and cock or uncock the camera body, as appropriate, before reinserting the magazine.

There is a pocket on the back of the magazine in which to insert a piece of the film packaging as a reminder.

The magazine can be replaced by operating the unlocking command located on the top.

Some safety precautions prevent unpleasant errors:

• if the dark slide has not been removed from the magazine, it is not possible to take the shot,
• if the dark slide is not fully inserted, it is not possible to remove the magazinet.

In addition to the A12 model supplied with the kit, other types of film backs are available.

The most interesting is definitely the A16 model, which allows for 16 exposures in the 6×4.5 cm format on 120 film, with “landscape” orientation (i.e., with the longer side horizontal).

As for portrait orientation, since it is not particularly convenient to rotate a camera with a waist-level viewfinder by 90°, there is the A12V magazine, which enables 12 exposures in the 4.5×6 cm format by simply using a vertical section of the 6×6 cm frame. A more efficient solution in terms of film usage is to use the A16 magazine along with a 90° prism viewfinder, making it easy to rotate the camera body by 90°.

There is also the A16s magazine, whuch provides 16 exposures in the 4x4cm format on 120 film.

Additionally, film backs were produced for 220 rolls and 70mm perforated film, but these have limited use today, as such film formats are no longer available

The lenses

The lens supplied with the kit is the Planar CF T* 80mm f/2.8, an optic of outstanding sharpness built in Germany and branded Carl Zeiss.

A specific ring allows you to select the exposure time, which, in the case of the 80mm lens supplied in the kit, ranges from 1s to 1/500s, in addition to the B setting. Another ring sets the aperture from f/2.8 to f/22 with 1/2 stop resolution. Both rings can be temporarily locked together using an interlock button to easily select time-aperture pairs for exposure purposes.

On the shutter speed ring, there is an “F” position, which can only be selected by pressing a green unlock button. This setting completely disables the shutter, allowing the lens to be used on 200 and 2000 series camera bodies equipped with a focal-plane shutter.

An orange marking next to the 1s, 1/2s, and 1/4s speeds acts as a reminder to keep the shutter release button pressed at least for the entire duration of the exposure when using these settings. Failing to do so may cause the auxiliary shutter to close before the central shutter.

The focus ring ranges from 90 cm to infinity. Depth of field indicators are present, and depth of field can also be visually checked using a dedicated control.

For the 500 series, a wide range of lenses is available, almost all produced by Carl Zeiss. Several lens series have been manufactured, and it is useful to understand their characteristics to make a more informed choice.

The C series was the first lens series, with all models strictly made of metal. Lenses produced until 1969 have a chrome finish, while those manufactured later have a black finish. The anti-reflective coating is of the simple-coating type, but from 1973 onwards, lenses with a multi-coating treatment marked with the T* designation were introduced. These are definitely preferable. All C-series lenses have their shutter speed and aperture rings coupled by default, allowing users to select an exposure pair with a single rotation. To adjust the aperture ring independently of the shutter speed ring, it must be unlocked by pushing a small lever towards the camera body.

The CF series, featuring a more modern design and a more reliable shutter, replaced the C series starting in 1982. In addition to the ability to disable the shutter via the previously mentioned F position on the shutter speed ring, CF lenses have uncoupled shutter speed and aperture rings by default. The T* designation continued to be used for CF lenses, all of which feature multi-coating treatment.

The CB series, produced from 1996 to 2006, includes only the 60mm, 80mm and 160mm focal lengths. It was an inexpensive version designed with the intention of attracting a wider target market to the Hasselblad brand.

Finally, the CFE and CFi series bring both functional and aesthetic improvements to the CF series.

The following list shows the most common lens focal lengths; a more complete description is available through the references in the bibliography:

• F-Distagon 30mm f/3.5 fish-eye
• Distagon 40mm f/4
• Distagon 50mm f/4
• Distagon 60mm f/3.5
• Planar 80mm f/2.8
• Planar 100mm f/3.5
• Sonnar 150mm f/4
• Sonnar 180mm f/4
• Sonnar 250mm f/5.6
• Tele-Tessar 350mm f/5.6

The viewfinders

The kit includes a folding waist-level viewfinder, which shields the focusing screen from external light and features a magnifying lens for precision focusing. However, it presents a laterally reversed image.

A non-inverted view is instead provided by the various prism finders produced by Hasselblad, summarized in the following table:

Viewfinder	View	Exposure Meter
HC-1	45°	no
NC-2	45°	no
CDS	from above	yes
PME	45°	yes
PM5	45°	no
PME51	45°	yes
PM90	90°	no
PME90	90°	yes
PM45	45°	no

 

Technical Specifications

Type	Medium format single-lens reflex (SLR) camera that is fully mechanical
Frame	Die-cast aluminum
Shooting format	6×6 cm (with A12 magazine supplied in kit)
Usable films	120 roll film (with the A12 magazine provided in the kit)
Magazine	A12, interchangeable
Viewfinder	Waist-level, interchangeable, 98% framing area
Focusing screen	Acute-Matte, interchangeable
Lens	Planar CF 80mm f2.8, interchangeable with Hasselblad bayonet mount
Shutter	central (built into the lens), shutter speeds from 1s to 1/500s + B pose
Self-timer	No
Depth of field control	Yes
Optional magazines	A12 for 12 exposures 6×6 cm, interchangeable
Exposure meter	No (available as an accessory)
Film advancement	Manual via crank
Mirror	Non-instant return
Flash shoe	No
Synchro socket	X (on the lens)
Flash control	TTL, only with Hasselblad Proflash 4504 flash (or others via adapter)
Tripod mount	1/4″
Finish	Black or chrome
Dimensions	180 x 114 x 107 mm
Weight body only	610 g
Total kit weight	1510 g

Using the 503CX today

The Hasselblad 503CX is an excellent camera, incredibly robust and of exceptional quality, both in terms of its mechanics and optics. At the time, it was mainly intended for professional use, but today it is highly sought after by those who have the passion and opportunity to experience (or relive) the magic of analog photography.

It holds a strong market value in the second-hand market: while fifteen years ago one could buy the entire kit, with warranty, for between 700 and 1000 euros, today it would cost at least double to acquire one. However, it is comforting to know that this is still only a small fraction of what it cost when new (6.9 million old lira in 1992, which is equivalent to about 14,000 euros today!). 

The 503CX can be safely used freehand, but it is at its best when mounted on a tripod. Indeed, in that situation the pre-shutter control can be used, which reduces the vibrations introduced by the mirror lift and the opening the auxiliary shutter.

Personally, I have always used the 503CX on a Manfrotto 055XPROB tripod with an 808RC4 head: a very solid and versatile tripod setup, although not lightweight (about 4Kg). Additionally, thanks to the quick-release plate, mounting the camera onto the tripod is a very fast process.

For those, like myself, who enjoy shooting in black and white, the 503CX is perfectly suited to apply the Zone System method developed by Ansel Adams. The ability to change film magazines allows for different development times depending on the contrast of the scene being captured. While this is clearly not the same level of versatility offered by a large-format camera, it is sufficient to fully utilise the Zone System.

Since this is a camera without a built-in light meter, an external light meter is required. If you wish to adopt the Zone System, you will obviously need a spot meter.

You must then remember, if you are using multiple magazines, to set each time on the exposure meter the sensitivity of the film you are using.

Regarding filters, I highly recommend purchasing conversion rings so that you can use standard screw-on filters instead of the expensive Hasselblad bayonet filters, which are also difficult to find on the second-hand market. For example, a B60-67mm conversion ring will be suitable for both the Planar CF 80mm and the Distagon CF 50mm.

The Distagon 40mm presents some problems, as it requires the rare (and expensive) Hasselblad bayonet filters measuring 104mm. The solution I adopted (ugly but effective) consists of a self-made foam collar that serves as a holder for standard 100x100mm square filters.

Lastly, when using the camera on a tripod, I recommend using a cable release and removing the camera strap, as it can be cumbersome and, in windy conditions, a potential source of vibration.

It might sound unbelievable, but the 503CX can also be used as a digital camera. This is because, in 2004, following its merger with Danish company Imacon A/S, Hasselblad released digital backs that could be mounted in place of the traditional film magazine, enabling all cameras in the V System to operate with both film and digital media.

The digital backs produced by Hasselblad have a rectangular sensor measuring 36.7 x 49 mm, with a crop factor of 1.5 compared to the rectangular film format. This means that the effective focal length needs to be multiplied by 1.5. There are three models of digital backs: the CF39 (39 Megapixels), CF22 (22 Megapixels), and CFVII (16 Megapixels). There are also digital backs produced by Phase One.

Further Resources

Hasselblad V System(https://www.hasselblad.com/about/history/)– The history of Hasselblad, told and illustrated on the official Hasselblad website.

The Hasselblad V-system master guide: C and C T* lenses(https://emulsive.org/reviews/camera-reviews/hasselblad-camera-reviews/the-hasselblad-v-system-master-guide-c-and-c-t-star-lenses)– The first series of Carl Zeiss lenses, described in full detail.

Hasselblad Historical(http://www.hasselbladhistorical.eu/hw/hwvsys.aspx)– A collection of information and manuals on V System cameras and accessories.