From the past: Hasselblad H4D 60 review

An edited version of my review was published over a decade ago in F2 Freelance Photographer magazine.

The last couple of decades have been turbulent for medium-format camera manufacturers, but now, after several well-known names have withdrawn, the market looks reasonably healthy. Two new unexpected entrants, Leica and Pentax, have added to the dynamic at opposing ends of the pricing scale, forcing the two established system players to compete fiercely in their traditional, rarefied role as well as in the “entry-level.”

Partnering with both Leaf and Mamiya, Phase One has developed a trio of “entry-level” Mamiya DM models starting at under $14k/ £9k while continuing to offer a wide range of Phase One and Leaf backs, up to 80 megapixels. Through various offers and incentives, these backs are most likely to be partnered with the Mamiya/Phase 645DF body, but they could, in the future, be offered in mounts that are compatible with a wider range of medium format cameras.

This is in stark contrast to Hasselblad’s sleek, industrial, and totally integrated design philosophy. Hasselblad H series cameras are modular in name, but from the H3D onwards, the camera and back have been matched at the factory. Not only can you not freely switch digital backs between other Hasselblad HxD bodies, neither can you use third-party backs. For those, you would have to invest in a film-based HxX body. However, new firmware released for H4D-60 (with the H4D-50 /40 to follow later in the year) promises compatibility with view cameras and adds several new features. Unfortunately, the back and sensor pairing between bodies remains, but you can still buy a spare body as a backup and use it with your existing back, provided the body has been calibrated to it. The cost of a spare H4D body (I believe without a viewfinder) is currently £2,695.00 plus VAT.

Although the entry-level H4D-31 can be had complete with the HC 80mm f/2.8 for just $13,995, or £8,995 plus VAT, this pairing means you can’t trade in the 31-megapixel back for a 40, 50 or 60-megapixel back. This could be viewed as a limitation, but in practice, you’ll likely get a better deal as a whole when trading up. Even if you could swap backs between bodies, you wouldn’t be able to do so quite as freely as you might think. The bodies supplied with Multi-Shot sensors most likely adopt specific firmware, but even if that’s not the case, there are two versions of the camera: one adopting smaller-sized sensors, and another essentially a full-frame body. The H4D-60 adopts the larger full-frame 4:3 format 60 megapixel CCD measuring 40.2 x 53.7mm.

Even with 10 million more pixels than the H4D-50, the physically larger sensor means the sensels are the same size (6.0 microns) as the others in the series, only the “entry-level” H4D 31 can boast slightly larger light receiving pixels. You might expect to see this camera match the others with a top ISO1600 setting, but in fact, sensitivity runs from ISO 50 through to a mostly usable ISO 800, though I suspect any higher than this and it wouldn’t be.

Despite accommodating the larger sensor, the body looks no different to the others in the range and is about the same size as the old 500 series models (retrospectively named V series). But the built-in grip, complete with a data panel and a small lithium battery, makes it feel larger than those old mechanical cameras. It feels more robust, though, perhaps because it’s heavier, but the body, with its steel outer shell over an aluminium chassis, is as solid as a rock.

The larger sensor, almost the same size as a single frame of 645 film, means the H4D-60 is equipped with a different eye level viewfinder with a slightly lower (2.8x) magnification than the others, but is no less impressive for its large, bright view and high acuity. Indeed, it’s a variation of the film-based finder found on the original H series, but more importantly, the larger sensor captures more of the lens’ image circle.

Thus, the angle of view of the widest lens in the range, a 28mm (a 24mm has been introduced since), would be the equivalent of an 18mm on a 35mm DSLR, but for the fact that this particular lens is one of two carrying an HCD designation, meaning its smaller image circle is intended for the scaled-down sensors. It can still be used on the H4D 60, but the edges vignette, while the camera’s optional built-in crop feature only reduces the angle of view. Nevertheless, the H4D 60 remains the most suitable of the range for architecture and interiors.

Like others in the range, the H4D-60 has seen the inclusion of the yaw rate True Focus sensor technology. Not only does this AF technology permit accurate automatic correction of focus for off-centre subjects, but it is a highly effective and extremely clever solution for the adoption of a slightly limiting single central AF point. Perhaps more importantly, when used with H-series lenses, the camera can compensate for focus-shift (using a series of built-in correction tables), ensuring sharply focused images throughout the aperture range.

Also common across all models is the adoption of Hasselblad-designed central (leaf) shutter lenses for fast flash sync up to 1/800 sec (faster than the Leica S2), though there is no focal plane shutter, which can be seen as either a benefit or a disadvantage depending on your point of view. Certainly, vibration and noise levels are low for this class of camera. But, using this camera on location is anything but discreet, though that also applies to rivals.

In use, I found the menu system a bit tricky to follow and manage, mainly due to the small size of the data panel. New firmware allows for some features (notably ISO and White balance) to be selected from the rear 3-inch screen, though it’s a long way short of what you would see on a 35mm DSLR. The upgrade also unlocks the screen’s full resolution, now at 460K dots and up from a grainy 230k dots. Greatly adding to the flexibility, the new firmware means the back can also be used with view cameras. Power is supplied via the FireWire 800 connection, adding the benefit of tethered operation using Hasselblad’s free, fully-featured Raw conversion utility, Phocus. Live view via Phocus is now possible, too. Although the image is in mono (B&W) only and refreshes about once a second, it could be a valuable addition for shooting still life or product photography, but it’s far removed from the live view systems found on modern 35mm format DSLRS.

Hasselblad’s strengths are many and wide-ranging. The H-series is a proven system, but equally as important is the support network, not only in the field and from the factory but also in terms of a subsidised studio and equipment rental. While not without some shortcomings, the H4D-60 is an outstanding camera, and with others in the range to suit more modest aspirations and budgets, any commercial photographer will find the H4D a tempting proposition.

UPDATE 18 May, 2012: Hasselblad is set to reduce the price on the H4D cameras by as much as $11,000 / 6,200 Euros on the H4D-60, bringing the price to 23,900 euros ($30,995 / £21,995).

Sample Images

St Paul’s Cathedral, London. H4D-60 with HC-80mm f/2.8 ISO200 at f/8, developed in Phocus.

The H4D-60 captures an enormous amount of detail, even when hand-held, as this 100-per cent crop from the above reveals – you can just make out a small crowd of sightseers on the Golden Gallery – 85 meters above the Cathedral floor.