For years, I’ve always admired Hasselblad, its systems, and its impressive lineup of lenses. Over time, I’ve experimented with everything from the classic 500 series and H-Series to the unique 2000 and 200 series bodies. I’ve used lenses ranging from the common Planar 80mm f/2.8 to iconic options like the Hasselblad 100mm f/2.2 on the H-body. However, none captured my attention quite like the Planar 110mm f/2 lens, which became my absolute favorite in the entire Hasselblad lineup. The way it rendered images—creamy bokeh, balanced sharpness, and those unmistakable Zeiss colors—made it a true masterpiece. It was the perfect blend of technical brilliance and artistic charm, and it was the lens I always reached for, whether shooting portraits or street scenes.

Despite how much I loved the 110mm f/2 and enjoyed each Hasselblad system, there was always one odd drawback: the square aspect ratio. I often found myself craving vertical framing, something that the 6×6 format couldn’t naturally offer. Although the H-Series with its 645 film backs helped, it still didn’t completely satisfy my desire for a frame smaller than 6×6. I found myself constantly cropping images to create a pseudo-vertical look, but it never felt quite right. This yearning for a more natural vertical format eventually pushed me toward exploring other systems, specifically 6×7 cameras, which perfectly fit the aspect ratio I wanted.

This led me to invest in a Pentax 67ii. The Pentax 67 has always been celebrated for its flexibility and fantastic lenses, but the thought of investing in another set of gear was daunting, especially after accumulating so much Hasselblad equipment over the years. After much deliberation, I made a bold choice: I sold all my Hasselblad gear, including my beloved 110mm f/2, and made the leap to Pentax. The thought of giving up the 110mm f/2 lens was agonizing; its magic was irreplaceable, and while Pentax offered the 105mm f/2.4—another legendary lens—I didn’t want to become just another photographer praising that glass. I craved something different. So, I set myself a challenge: to adapt the Hasselblad Planar 110mm f/2 lens to a Pentax 67 mount, combining the best of both worlds.

Is the conversion possible? Yes, but it wasn’t an easy road. The main obstacle was the difference in flange focal distance between Hasselblad and Pentax, requiring risky modifications to the lens’s rear housing to achieve infinity focus. Determined, I sold my Planar 110mm lenses (both F and FE variants) and my Hasselblad H 100mm to finance the hunt for a non-functional Planar 110mm to experiment on, since the Pentax 67 doesn’t need electronics for operation.

After some searching, I discovered a converted Planar 110mm f/2 on eBay that had been modified to a PL mount, likely for filmmaking. I negotiated with the seller, who was unfamiliar with the lens’s conversion history, and managed to secure it for under $500—a rare find. When it arrived, the lens was in pristine condition, but converting it to a Pentax mount was still a daunting task. The lens had been stripped of electronics, leaving just the optics and some mechanical components. I initially tried various adapters, tinkering with the mount, but the flange distance remained a persistent issue.

I then found a custom engineer specializing in camera parts and lens modifications. After reaching out, he agreed to take on the project, though with no guarantees of success. I shipped the lens to him, and after meticulous work, he managed to shave down the lens while preserving the aperture blades, allowing it to function beyond wide-open shooting. Finally, I had my dream combination: the unique rendering of the Planar 110mm f/2 on the Pentax 67ii, bringing the best of Zeiss’s legendary look to the expansive 6×7 frame. It was a perfect union of my favorite lens with a format that truly matched my creative vision.