What I miss most from the film era of photography is the uniqueness of different camera systems: brands’ idiosyncrasies, distinct ergonomics and accessories for various medium format outfits, and the overall modularity of what a camera can be. The Hasselblad 907X & CFV 100C is inspired by this sentiment, with its removable digital back design and an extremely simple camera body that purely serves as an interface between the back and the lenses.
Compared to virtually any other digital camera available today, the 907X-based system is one of the most unique in terms of modularity. It’s a very simple and elegant solution for pairing a set of high-quality lenses to a high-resolution sensor, offering very little in terms of additional shooting features beyond what the digital back is capable of and what the lenses are designed to do. Another benefit of this combination is the especially small size of the resulting kit, relative to other medium format setups.
Previously, I reviewed the Hasselblad CFV 100C digital back attached to a 503CX film camera body with V-series lenses. This pairing highlighted the most unique and intriguing way to work with Hasselblad’s 100MP sensor—with all vintage gear. In this review, though, I took the same digital back for a second spin but paired it with the included 907X body and Hasselblad’s current lineup of autofocus X-series lenses.
The most surprising and immediate takeaway is how different it is to work with this digital back with different camera platforms. The 503CX and larger lenses command a slowness that’s associated with shooting film while the nimbleness and autofocus design of the new X system and 907X feels much more contemporary, even if the resulting images aren’t tremendously different.
On the other end of the camera design spectrum, the 907X & CFV 100C contrasts an all-in-one solution, like the X2D 100C or X2D II 100C—Hasselblad’s other system to use the 100MP medium format sensor and autofocus XCD lenses. The X2D system, however, is much more “modern day mirrorless camera” than the 907X. The X2D has an electronic viewfinder, right-hand grip, and IBIS; the 907X & CFV 100C combination is just a small cube with no distinct grip, a single control dial that surrounds the shutter release button, and only a tilting LCD screen for viewing.
The small overall size of the 907X and back is effectively a workaround to not having a grip, and its shape forces you to cradle the camera rather than actually grip it. This is a similarity to the 500-series film cameras, but, since the 907X and CFV design is shorter in length, it can be a bit tough to steady if you have one of the longer, heavier lenses attached. Hasselblad’s preferred workaround to this problem would be the 907X Control Grip, but this changes the silhouette of the camera and isn’t quite the same shooting experience. Another alternative is to shoot with a tripod, which would probably be best since the CFV 100C doesn’t have IBIS—I still preferred to shoot handheld and just prioritized working with Hasselblad’s prime lenses, like the XCD 90mm f/2.5 V or the XCD 75mm f/3.4 P.
The other key distinction to working with the 907X & CFV 100C is viewing and composing. When the back is paired with a 500-series camera body (an SLR) you still have the option to use optical viewfinders, like the classic waist-level finder or a prism. When you use the 907X, you’re reliant on working with the digital back’s 3.2” 2.36m-dot tilting touchscreen LCD. This is a bit of a catch-22; the rear LCD is objectively nice, but it’s an exposed screen that needs to be tilted upward to be used comfortably, making it highly susceptible to reflections. Unlike a 500-series camera that has a shade around the finder, the CFV 100C requires you to shield the screen with your hand when working in bright conditions.
An issue I still have with this system, or the digital back in general, is the difficulty of shooting in the vertical orientation. It’s something I talked about when reviewing the back with the 503CX, however it is a bit more manageable compared to that situation since the overall camera body is a bit smaller and lighter, making it easier to hold on its side. Still, compared to the X2D, the CFV 100C is just not the best option for photographers looking to shoot vertically when working handheld.
When shooting horizontally, and working from a waist-level position, the camera is easy to hold—the shutter release lines up with your right index finger and cradling even the heaviest lenses isn’t too difficult. A consequence of this shooting position is that many, if not most, shots are made looking upward. This is the case for any camera when shooting at waist level, but it felt a bit more heavy-handed with the 907X & CFV 100C since it’s the main method for handling the camera. It’s a signature of this camera and a refreshing differentiator from seeing most photos made from a standing eye-level perspective.
A positive consequence of the unique design of this camera system is the compact and lightweight design. The 907X body with the CFV 100C back attached measures 4 x 3.6 x 3.3” and weighs 1.4 lb without the battery or memory. For comparison, the X2D II 100C measures 5.8 x 4.2 x 3” and weighs 1.6 lb without the battery or memory. The 907X system is nearly 2” narrower, 0.5” shorter, and only 0.3” thicker while also weighing almost 4 oz lighter. It’s an appreciably smaller system and the more square/rectangular profile fits neatly in a bag.
The size and weight benefits of the 907X & CFV 100C are among the most appealing traits of this camera system and are the main reasons I enjoyed shooting with it so much. Despite my criticisms of certain handling elements, the small size and easy packability make it a camera I was willing to carry at all times during the review. Unlike the X2D or even most full-frame mirrorless systems, the more streamlined design of this modular system makes for a camera that is easy to always have in your everyday bag; it doesn’t necessitate a specialized camera bag.
The other (obvious) reason the camera is so fun to use is due to its image quality. Covered in my first review with the digital back, I truly enjoy shooting with this 100MP 44 x 33mm 43.8 x 32.9mm sensor. It’s surprisingly forgiving for how great the resolution is. And, compared to the 503CX, the CFV 100C is more enjoyable to shoot with on the 907X thanks to the ability to work with the reliable autofocus of the XCD lenses.
Compared to the X2D platform, it’s a bit trickier to compare the 907X & CFV 100C in a meaningful way. The X2D is certainly the winner on paper—it has an EVF, it has IBIS, it has more physical controls and a status LCD, and the newer X2D II even has AF-C. The 907X & CFV has a smaller, lighter, and more modular design that fosters a unique way of shooting. I love the character of this camera, but I’d be hard-pressed to use it as my main camera. The X2D, on the other hand, could easily serve as my main camera for a variety of kinds of shooting.
I love the concept of the 907X & CFV 100C. I love the versatility of the digital back and its ability to work with the 907X, with 500-series cameras, and with view cameras via an interface adapter. It’s a modern version of what early medium format digital photography was, but so much better. Using the popular analogy of cameras as cars, the 907X & CFV 100C is the impractical sports car that’s meant to be enviable, fun, and inspiring.
