Hasselblad 1600F

Medium format MF film SLR camera



Production details
System: Hasselblad 1600F/1000F (1948)
Imaging plane
Maximum format:Medium format 6x6
Mount and Flange focal distance:M60x6 [82.1mm]
Imaging plane:56 × 56mm film
Speeds:1 - 1/1600 + B
Exposure metering:None
Exposure modes:Manual
Physical characteristics

Manufacturer description #1

HASSELBLAD - the new single-lens 2 1/4 x 2 1/4" reflex camera with interchangeable lenses and interchangeable roll film and sheet film holders


The camera has a climate-proof stainless steel focal plane shutter.

Shutter speeds: 1, 1/2, 1/5, 1/10, 1/25, 1/50, 1/100, 1/200, 1/400, 1/800, 1/1600 sec. and B.

Shutter speeds are selected with the film-advancing knob. Changes can be made in any direction and from one shutter speed to any other, both before and after winding the shutter.

The shutter is automatically wound when film is advanced by rotating the film-advancing knob one turn.

The camera has an indicator showing whether the shutter is cocked or not.

The focusing hood is easily removable. This facilitates the cleaning of the ground glass.

The camera has two tripod sockets, one 1/4 in. and one 3/8 in.

The neck strap is quickly attached to the stainless steel neck strap lugs with an absolutely positive locking effect.

Dimensions of camera body with roll film magazine: length 4 7/8 in., width 3 1/2 x 3 1/2 in.

Camera with standard lens weighs 2 lbs. 12 oz.


The roll film magazine has an exposure counter and exposure indicator. The loading is extremely simple.

The sheet film holder holds one film and has a combination indicator, showing whether the holder is loaded and if exposure has been made.

All film holders and magazines have a locking device preventing exposure when the slide is in. When the slide is out the film holder can not be detached from the camera.


Standard lens: Lumenized Kodak Ektar 80 mm. f/2.8. Focusing scale from INFINITY to 20 in. from film.

Special lenses:

  • Lumenized Kodak Wide Field Ektar 55mm. f/6.3. Focusing scale from INFINITY to 40 in. from film.
  • Lumenized Kodak Ektar 135mm. f/3.5. Focusing scale from INFINITY to 40 in. from film.
  • Lumenized Kodak Ektar 254mm. f/5.6. Focusing scale from INFINITY to 7 ft. 4 in. from film.

The lenses are mounted on the camera by a combination screw-in and bayonet mount, giving the quick action of the bayonet and the rigidity of the screw mount.

The lens mount has a lens lock, which is opened by pressing a button on the camera front.

The diaphragm has a patented pre-selector. This means that the actual diaphragm stop for exposure can be chosen at full opening and before focusing, without actuating the diaphragm. The stopping down is made immediately before exposure in one single operation without looking at the diaphragm scale.

Manufacturer description #2

one Camera - many uses!

For many years, professional and amateur photographers alike have been looking for one camera... one camera capable of meeting their needs in work or hobby... one camera flexible and versatile enough to deal with a wide variety of photographic subjects... one camera designed to do so many things that they'd need to carry only - ONE CAMERA! They wanted...

  • a negative large enough to produce sharp enlargements of considerable size, yet small enough to be relatively inexpensive;
  • a reflex system capable of producing a clear ground glass image - single lensed to insure accurate composition and to eliminate problems of parallax;
  • an accurate shutter with an adequate range of slow speeds and high speeds, fast enough to stop any action;
  • easily interchangeable lenses, firmly mounted, that enable special effects or dealing with special situations;
  • internally synchronized systems for flash and speedlight photography;
  • AND more than anything, the ability to shift rapidly from one film or emulsion to another.

only the versatile HASSELBLAD has all these features... plus many more!

the best size negative

Without question, the most popular film size in use today is roll film in the 2 1/4 x 2 1/4 size... Every national magazine, every topnotch photographer, has demonstrated the technical excellence of pictures (even from only a small portion of the negative!) produced by film of this size... And getting 12 shots on a single low-cost roll offers real economy!

what you see... you get!

With the single lens reflex, the image you see on the ground glass is exactly the same as that placed on the film... There is no displacement or distortion to correct, no need to guard against cutting off feet or heads... And you can see it!

The grainless ground glass gives the superb definition that makes fine focusing easier... In addition, beneath it there is the wonderful Kodak Ektalite field lens... This amazing light gathering element increases the image brightness by 250% and the corners by more than 1000%!... You'll never need to rock your head from side to side in order to see the corners when composing your pictures... It's all right in front of you.

More light comes in to aid your picture-taking because the lens is the Kodak Ektar f/2.8 which gives 57% more light than the f/3.5 lenses that are standard for cameras of this size... All this means better pictures and, of course, greater versatility since you can work in less light.

As an additional aid in focusing, there is a magnifier built into the easily removable focusing hood... And, as an exceptional additional feature, a pre-selector on the diaphragm enables you to focus at full opening, then with the flick of a finger, stop down to any predetermined aperture!

speed, durability... and control!

In the Hasselblad shutter, you'll have the finest precision mechanism ever installed in a camera... Fashioned of finest climate-proof Swedish stainless steel, it offers you 12 of the most needed shutter speeds... From "Bulb", for longest exposures, it ranges to the incredible speed of 1/1600 second, fast enough to stop any action.

Any of the speeds may be quickly selected by a simple dialing of the control wheel... A single winding of the same wheel not only cocks the shutter and advances the film, but counts the film frames exposed and gives an easily seen signal that you are ready to shoot! In every possible way, your Hasselblad has been expertly engineered to give you flexible ease in actual use... There are no gadgets just for gadget's sake.

built in flash or strobe

Systems for flash bulbs or the newer speedlights we've all come to call "strobe", with clearly identified separate connections, are an integral part of the shutter mechanism.

Because they are, they are positively synchronized to shutter action and you are always sure of accurate timing.

interchangeable roll film magazines

Hasselblad's great contribution - rapid shift from black and white to color film... or to any other film emulsion best for the picture you want to get the way you want to get it... And extra magazines are available as accessories.

If the magazine slide is out, you cannot detach the magazine itself and thus fog the film... If the slide is in, you cannot fire the shutter, thus missing a wanted picture.

No chance of error - no waste!

Even the feeding of the film through the magazine is expertly designed... Reverse loading, against the curl of the film, guarantees a flatter film plane (and sharper pictures!) than any other camera using roll film.

There is no other camera with so many fool-proof protective devices!

carry only one camera... the HASSELBLAD

Now you have the whole story - the reason why top photographers all over the world are turning to this wonderful, flexible instrument capable of meeting every photographic need.

Its finely engineered mechanical features, built with skills usually devoted to the manufacture of finest of watches or delicate technical equipment, have established new high standards for fine cameras.

Because it eliminates the need for that "other" camera, it is in the end far less expensive... You'll never again need two sets of everything - filters, film holders, flash equipment, and so on.

If you want just one camera (and that's just what most people do want), the one you want is the HASSELBLAD.

From the editor

The dimensions are indicated with the roll film magazine. The weight is indicated with the standard lens.

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Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.