Hasselblad 120mm f/4 Makro-Planar CFi T* Lens for Hasselblad 500 Series V System, Black {Bayonet 60}

Hasselblad 120mm f/4 Makro-Planar CFi: medium format macro built for V System

The Makro-Planar optical design has a specific purpose: render subjects with geometric accuracy and even illumination across the full frame, from infinity down to 1:1 reproduction without extension tubes. That last point matters. Most macro setups in this focal range require additional hardware to reach true life-size magnification. This lens does it natively, which means one less variable in your bag and one less source of light loss at the front element. T* multi-coating controls flare and maintains contrast in the kind of harsh or mixed lighting conditions where macro and close-up work often happens.

At 120mm on the Hasselblad 500 Series V System, you get working distance that keeps you physically away from your subject, useful for anything that reacts to proximity, whether that's a flower bending in the wind or a skittish insect. The f/4 maximum aperture is deliberate for a macro design: it supports controlled depth of field at close focus distances where even minor aperture changes produce significant rendering shifts. Manual focus operation suits the deliberate, tripod-based workflow this lens is built around. The B60 filter mount aligns with the standard Hasselblad CFi accessory ecosystem, and the lens adapts to Sony E, Canon RF, Nikon Z, and Fuji GFX bodies with the appropriate adapter if you want to pull medium format glass into a modern mirrorless system.

Who It's For

Product and still life photographers working in controlled environments will get the most from the 1:1 native magnification and even light distribution at all apertures, no tubes, no light falloff surprises. Botanical and nature photographers benefit from the 120mm focal length's working distance, keeping the lens far enough back to avoid disturbing subjects during close-up work. Film photographers running a Hasselblad 500C, 500CM, or 503CW can use this as a primary portrait and macro lens on the same body. Digital shooters on Fuji GFX or Sony E mount who already work with V System glass via adapters will find this a natural addition to that adapted kit.

Key Features

• Makro-Planar optical design with T* multi-coating for contrast and flare control
• 120mm focal length with native 1:1 macro reproduction without extension tubes
• f/4 maximum aperture optimized for controlled depth of field at close focus distances
• Manual focus operation for precision work in tripod-based macro workflows
• Bayonet 60 (B60) filter mount compatible with Hasselblad CFi accessory ecosystem
• Hasselblad V-mount design adapts to Sony E, Canon RF, Nikon Z, and Fuji GFX via appropriate adapter

FAQ

Does this lens require extension tubes to hit 1:1 magnification?

No. The Makro-Planar reaches true 1:1 reproduction natively, which eliminates the need for extension hardware and keeps optical losses minimal.

What's the working distance at 1:1?

At maximum magnification, you're roughly 4-5 inches from your subject, which gives you enough space to position lights or avoid casting shadows without extension tubes pushing you further back.

Is autofocus available on this lens?

Manual focus only. The deliberate focusing action suits the tripod-based workflow macro work demands, and you get precise control at high magnifications where autofocus would be unreliable anyway.

Can I use this on modern mirrorless systems?

Yes, with an adapter. The V-mount design accepts adapters for Sony E, Canon RF, Nikon Z, and Fuji GFX bodies if you want to pull this glass into a mirrorless workflow.

What does the T* coating do for macro work?

T* multi-coating suppresses flare and maintains contrast in mixed or harsh lighting - conditions you hit constantly in macro work where subjects sit close to a single light source or dappled natural light.

Why f/4 instead of a faster aperture?

At 1:1 magnification, f/4 already delivers shallow depth of field. A wider aperture would give you uncontrollable focus zones at close distances and waste light that you'd need to stop down to anyway for subject coverage.