These are the best Hasselblad wide-angle options, chosen for how they deliver rectilinear discipline, corner-to-corner sharpness, and neutral color across the modern X system and the classic H and V platforms. Wide work is about geometry and glow: optics that keep lines honest for architecture and interiors, coatings that hold contrast against low sun and city lights, and mechanics (plus leaf shutters on H/V) that make slow, tripod-based shooting and daylight flash feel effortless. On X bodies, start with the XCD 21mm f/4—the flagship ultra-wide with clean corners and beautiful tonality for seascapes, skylines, and tight interiors—then add the featherweight XCD 28mm f/4 P for travel-friendly rectilinear coverage and the XCD 30mm f/3.5 for a classic reportage-wide rendering with excellent micro-contrast; the XCD 35–75mm f/3.5–4.5 zoom quietly doubles as a wide tool at its short end with prime-like sharpness when you want flexibility. If you need movements or specialty coverage, adapt large–image circle primes like Laowa’s Zero-D Shift (15mm/20mm) to X for smooth, marked shift on façades, or step up to a compact tech-camera (Cambo Actus in X mount) with modern Rodenstock/Schneider wides for extreme rise/fall and stitching headroom. H-system shooters get native leaf-shutter wides that sing on location: the HCD 28mm f/4 for modern interiors and exteriors, the HC 35mm f/3.5 for classic documentary perspective with crisp edges, and the HCD 24mm for ultra-wide coverage on bodies/sensors that support it; all pair beautifully with a leveling base and graduated filters for sunrise sets. On the V side (or adapted to X via XV), the Carl Zeiss Biogon 38mm f/4.5 on the SWC remains the legendary medium-format wide—razor geometry, fluid contrast, and that unmistakable MF look—while Distagon 40mm f/4 CF/CFi/CFE and Distagon 50mm f/4 FLE give interchangeable-lens convenience with well-controlled distortion and long, silky focus throws; step down a bit and the 60mm Distagon becomes a superb environmental “wide-normal” for people in place. Practical priorities across systems are consistent: rectilinear rendering or easy-to-profile distortion for fast post, low lateral CA so window frames and rooflines stay neutral, flare resistance for sun-in-frame landscapes, and tactile, repeatable focus that makes hyperfocal and infinity work predictable; leaf shutters on H/V (and adapted H on X) keep high-speed sync simple for fill under harsh skies, while the X2D’s IBIS steadies careful compositions at slower speeds with unstabilized glass. Workflow multiplies results—level the camera before minor perspective tweaks in post, shoot around f/5.6–f/8 for peak acuity (avoid choking into diffraction), use a slim CPL judiciously to manage water/stone glare (watch uneven skies at very wide angles), carry a 3–6 stop ND for motion-blur water and clouds, and consider soft GNDs or exposure bracketing for bright windows and horizons; for stitched panos, lock exposure/white balance and rotate around the entrance pupil or shift instead of panning to reduce parallax. The simple kit recipe is clear—on X, anchor with XCD 21 for true ultra-wide, add the 28P for travel and the 30 for reportage, and keep the 35–75 when you need range; on H, choose HCD 28 or HC 35 for robust leaf-shutter wides that sync in daylight; on V, run the SWC 38 Biogon for the purest geometry and a 40/50 FLE when you want versatility—and layer in a Zero-D Shift or a tech-camera when perspective control is the brief. Whether you’re straightening glass-and-steel skylines, carving clean lines through historic interiors, compressing sunset haze over coastal headlands, or filming fluid room-scale walkthroughs, the best Hasselblad wide-angle lenses deliver the geometry, contrast, and calm handling that make big spaces read elegant and intentional straight out of camera.