HC Lenses
For the following products:

3053486 3053490

Hasselblad A/S Hejrevej 30, DK - 2400 Copenhagen, Denmark
Victor Hasselblad AB Box 220, SE - Gteborg, Sweden
5013051-EMGB vCopyright 2008 Victor Hasselblad AB / Hasselblad A/S
All aspects of Hasselblad HC lenses, optics and related user software are continuously refined to maintain the worldwide leading position in modern medium format imaging. So, congratulations on your new lens purchase. The following will explain why you have just made a decision you will not regret.
Your new Hasselblad HC lens represents the outstanding result of over fifty years of continuous refinements and improvements. The entire HC lens line, including all lenses, optics and related user software, has been designed to maintain Hasselblads leading global position in modern medium format imaging. This booklet will explain some of the factors that make your purchase decision one you will not regret. Naturally, it is the quality of the images that you take with your new lens that will provide the final proof! HC lenses Hasselblad has produced the best medium format cameras in the world for over fifty years now. We have been able to reach and maintain this high standard thanks to the meticulous attention to detail we apply to each and every Hasselblad product. Attention that is focused on ensuring the highest possible quality. And when we say attention to detail, we mean to all details, from start to finish, covering all aspects of design and production. Just as with all previous Hasselblad products, when designing the HC lenses, we have utilized the knowledge we have gained over the years by working with the worlds top lens manufacturers, such as Carl Zeiss, Fuji, Kodak, Rodenstock and Schneider. The result is the best lens line available to photographers today. All HC lenses are engineered to ensure optimal performance and image quality, whether shooting film or digital. Hasselblad closely monitors production quality to ensure that our extremely high specifications are met. HC lenses have very accurate electronic shutter mechanisms that deliver sync flash at all speeds and a multi-coating treatment that results in efficient stray light elimination. An integral focus drive motor, instant access to manual focus without switching between manual and autofocus, and other functions add to the list of features. In order to ensure their reliability and durability year after year, Hasselblad lenses use metal, not plastic, wherever possible. In short, they are professional level lenses designed for professional level photographers. In the long run, however, these are merely technical details. The true test of any lens is image quality. To objectively define image quality demands that we carry out certain types of measurement. This also means that when comparing lenses, regardless of make, that we must use the same types of measurement, otherwise any comparisons are meaningless. As the saying goes, you cant compare apples with oranges.
Photo: Chris Simpson / Hasselblad Master
So, in order to simplify matters, we use objective measurements, such as MTF curves, for example. We still, however, must take into account certain subjective aspects, such as the quality of the blurred or out-of-focus areas of the image the bokeh for example. Subjective aspects are a matter of personal taste, but objective measurements are not. This booklet, therefore, discusses how we at Hasselblad view these scientific measurements and the other related aspects that combine to produce the legendary Hasselblad image quality.

The advantage of a larger sensor When using film, there was a great quality advantage in using a larger format as it required less magnification than smaller formats to reproduce any given size image. Simply put, film grain was enlarged less and was therefore less visible in the final image. This advantage is still relevant for digital capture, and for exactly the same reasons. It makes sense, then, that modern professional format lens design is based on the same requirements. It also means that the same advantages of larger format lens design remain. To take just one example, since larger format lenses use smaller apertures to produce the same depth of field as compared to smaller formats, you can get optimum quality at such settings much more often. Basically, a larger format enables easier design of extremely high quality lenses. If you choose, however, to disregard all the practical and mechanical advantages and aspects of Hasselblad lenses, then the proof comes down to the technical data. To compare the technical aspects of larger format lenses with 35mm lenses demands a common measurement system. Thankfully, such a system, Modulation Transfer Function curves (MTF for short), does exist, but in order to be accurate, lenses must be measured according to firmly established laws of physics that take into account the reality of a given situation. Unfortunately, this isnt always the way such measurements are carried out and until there is a universal agreement regarding standards and praxis, simple MTF comparisons can be, at best, confusing and, at worst, extremely misleading. What is an MTF curve? Simply put it is a graph that shows how sharp the lens is at various points across the image in relation to the level of detail in the subject. A simple MTF curve looks like this:

MTF [%] 20 30

To expand on this idea, three different evaluations are made that represent three levels of detail that could be present in any given subject. Standard practice (often emulated digitally nowadays) has been to use sets of black and white lines that produce patterns at specific lines per millimeter (lp/mm) measured at the image plane:

Example with 10 lp/mm

The smaller format needs higher magnification to produce a given image size compared to the larger format.
If you compare HC lenses with 35mm lenses with the above in formation in mind, you get the following MTF diagrams. Note that they are based on actual measured data.
Canon 16-35/2.8 @ 20 mm and f/2.8
How do you read MTF diagrams? From the final diagram above you can see how at 10 lp/mm the orientation of patterns in the image is not too significant for good perception of sharpness whereas for finer details at 40 lp/mm, the orientation of patterns in an image plays a larger part. You can also see that at a specific point on the 40 lp/mm curves a tangential orientated pattern would actually produce a slightly sharper result than sagittal patterns. Simply put, if there was a perfect lens, then all six curves would be high and flat and across the graph. Being able to read and understand the basics of MTF diagrams will help you compare different lenses and of course aid you in predicting the optimum settings for specific situations.

HCD 28/4 @ f/4

15/30/60 lp/mm Canon 50/1,4 @ f/2
10/20/40 lp/mm HC 80/2.8 @ f/2.8

15/30/60 lp/mm

10/20/40 lp/mm
In addition, a 39Mpixel H3D-II will sample an image with finer pitch than a 21 Mpix 35 DSLR as there are many more pixels. This means that the image reaching the H3D sensor, which is already of a higher quality because of the lenses, is sampled with higher resolution and so provides a far superior image quality. Comparing lenses, therefore, can involve a number of important factors; correctly produced and interpreted MTF diagrams being just one part.
Conclusion As mentioned before, there are subjective considerations to add the final equation. Personal taste is impossible to quantify (how sharp should a portrait lens be?) so its also down to each photographer to base their valuations on a balanced mix of scientifically correct data, practicalities that match specific requirements and aesthetic considerations.
Browse through this folder and you will certainly find another lens that would prove very useful. Your Hasselblad dealer will be glad to demonstrate it for you and perhaps arrange a test run. They are all extremely good; so expect tremendous results!
We wish you happy shooting with your new Hasselblad HC lens!
In this illustration an MTF chart is laid over an image to help demonstrate the relationship between curves and what they represent in practice. In this case you should expect exceptional sharpness in the center, as indicated by the very high position of the curves on the chart. Towards the edge of the frame, and at another aperture setting, the curves are lower down on the chart, indicating a slight decrease in sharpness compared to the center. Nevertheless, the sharpness remains extremely good. It should be emphasised, though, that this difference is only noticeable under great magnification and in most practical situations is very difficult to perceive.

General Information

Rapid and accurate automatic focusing capability Central electronic shutter Instant manual focus override with natural friction Instant automatic-focus return capability Non-rotation of filter or accessory when focusing Non-rotation of lens barrel in automatic focusing mode Flash sync at shutter speeds from 32s to 1/800s Reversed lens shade serves as transportation protection Automatic detection of extension rings and converters
Photo: Chase Jarvis / Hasselblad Master
All HC lenses have been specially formulated for the H system to produce the extremely high performance expected from Hasselblad to meet the demands from conventional and digital photography alike. In addition to extreme sharpness, the design also incorporates a soft, pleasant looking bok (the visual quality of the out-of-focus areas of the image). All lenses feature an electronically controlled central shutter designed to extremely fine tolerances for supreme accuracy that also provides flash synchronization with all speeds from 32s to 1/800s. All lenses have a very rapid automatic focus capability with instant manual override. To ensure reliable and fast autofocus in low contrast and low light conditions, a focusing-assist light (on the grip) is automatically activated. Aperture and shutter control is set via the control wheels on the camera grip. As a general rule, lens shades should always be fitted to achieve optimum performance. Protective filters (UV / Sky) should also be considered at least when working outdoors in harsh conditions.

A. B. C. D. E.

Lens shade index Manual focus ring Focusing distance scales Depth-of-field scales Lens index

Attaching a lens 2, 3

Remove the front protective cover on the camera body by depressing the lens release button and keeping it depressed while turning the cover counter-clockwise. Remove the rear lens cap by unscrewing it in a counter-clockwise direction. Align the index on the lens with the index on the camera body and rotate the lens clockwise (bayonet fitting) until it clicks into place.

Removing a lens

Depress the lens release button and keep it depressed while rotating the lens counter-clockwise until it stops and lift it out. Replace protective caps on the lens immediately and on the camera body if necessary. If you try to rotate the lens before you press the lens release button, it might lock. In this case, rotate the lens clockwise a little first and then re-attempt removal with the correct procedure: button first, then lens.

Front lens cap

Depth-of-field calculation
Front lens caps are released for removal and attachment by inserting a thumb and index finger into the recesses and pinching in the direction of the arrows.

Filters

Filters have a screw thread fitting (67 / 77 / 95 mm, according to lens) and are screwed clockwise into place. As there is no rotation of the front section of the lens when focus is changed, filters do not rotate either. This is particularly useful when using polarizing or graduated filters where the orientation is normally critical.

There are two distance scales (in feet and metres) visible through the focus distance window on the upper part of the lens barrel. There is also a central lens index mark and a depth-of-field scale. The focusing distance is read off the chosen scale from the central lens index. Depth-of-field can be calculated as follows: 1. Focus the lens as required. 2. Make an exposure reading (auto or manual) and note the aperture setting. 3. Find the markings on either side of the central index that correspond to the chosen aperture. 4. From these two markings, read off on the required lens distance scale the two corresponding distances. 5. The depth-of-field (at that particular aperture and focus setting) will be the area included between these two distances. In the example given here, the focusing distance is set at nearly 3 metres. At an aperture of f/22, the depth-of-field would therefore extend from just over 2 m to approximately 4.5 m.

Lens shades

All lenses are supplied with lens shades that additionally provide extra protection for transport and storage when mounted in reverse. Lens shades have a bayonet fitting and are turned clockwise into place after ensuring the index on the lens shade aligns with the index on the front of the lens. When mounted in reverse, they are attached by matching the indexes and turning counter-clockwise.
Shutter and aperture control
Both the shutter and aperture are electronically controlled and are adjusted by the control wheels on the grip. There are no separate manual setting rings on the lenses or camera body. The chosen settings are displayed both on the grip LCD and in the viewfinder LCD. See the Exposure Control chapter for a complete explanation.
Stop down / depth-of-field 8
A visual depth-of-field preview can be made by depressing the STOP DOWN button while viewing the image on the viewfinder screen.

Infrared focus settings

appear together. If the focus cannot be established, then both arrowheads flash. Automatic focus setting Focus is correct when both arrowheads are visible together. Focus is incorrect if only one arrowhead is visible. If the focus cannot be established, then both arrowheads flash.
As infrared rays form an image at a different plane to that formed by visible light, the normal focus settings do not apply. Proceed as follows in manual focus mode: 1. Focus the lens in the conventional manner until satisfied. 2. Note the distance setting against the central lens index. 3. Re-align this distance setting against the infrared mark (coloured red) instead of the central lens index.

COMPATIBILITY The HCD 4/28 mm is designed for use on the Hasselblad H3D and the H2F camera. The HCD 4/28 mm lens is designed solely for digital use. This means that the lens is designed for a format of 37x49 mm and does not cover the film format (41.5x56mm). The function is therefor disabled when using a film magazine. The HCD 4/28 mm lens is not compatible with the converter 1.7x. LENS DESIGN 12 elements in 9 groups
FOCUS TYPE Rear focusing ENTRANCE PUPIL POSITION 134 mm in front of the sensor plane (at infinite focus setting) The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene.

HASSELBLAD HC 3.5/35

Product number: 3023035
MTF Modulation Transfer as a function of image height at infinite focus setting.

MTF (%) 0 100

GENERAL LENS data: Focal length Aperture range Angle of view diag/hor/vert Length/diameter Weight Filter diameter Close focus range data: Minimum distance object to film Maximum image scale Corresponding area of coverage Corresponding exposure reduction
35.8 mm 3.5 - 32 89/78/mm/100 mm 975 g 95 mm
Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm
0.50 m 1:9.x 40 cm 0 f-stop

MTF (%)

Image height (mm)
COMPATIBILITY The HC3,5/35 mm lens is not compatible with the converter 1.7x. LENS DESIGN
RELATIVE ILLUMINATION Infinity setting

Relative illumination

1.0 0.8 0.6 0.4 0.2 0
11 elements in 10 groups FOCUS TYPE Rear focusing ENTRANCE PUPIL POSITION 152 mm in front of the film plane (at infinite focus setting)

f/8 f/4

The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene. MTF Modulation Transfer as a function of image height at infinite focus setting. Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm

f/3.5 f/8

DISTORTION Infinity setting

Distortion (%)

HASSELBLAD HC 3.5/50

GENERAL LENS data:

Product number: 3023050
Focal length Aperture range Angle of view diag/hor/vert Length/diameter Weight Filter diameter Close focus range data: Minimum distance object to film Maximum image scale Corresponding area of coverage
50.3 mm 3.5 - 32 70/59/mm/85 mm 975 g 77 mm
0.6 m 1:8.x 37 cm 0 f-stop
Corresponding exposure reduction LENS DESIGN 10 elements in 9 groups FOCUS TYPE Rear focusing ENTRANCE PUPIL POSITION 137 mm in front of the film plane (at infinite focus setting)
The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene.
MTF Modulation Transfer as a function of image height at infinite focus setting. Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm

HASSELBLAD HC 3.5/50a

HASSELBLAD HC 2.8/80

Product number: 3023080

Focal length Aperture range Angle of view diag/hor/vert Length/diameter Weight Filter diameter
82.3 mm 2.8 - 32 46/38/mm/84 mm 475 g 67 mm
Close focus range data: Minimum distance object to film Maximum image scale Corresponding area of coverage DISTORTION Infinity setting Corresponding exposure reduction LENS DESIGN 6 elements in 6 groups FOCUS TYPE Full focusing ENTRANCE PUPIL POSITION 79 mm in front of the film plane (at infinite focus setting) The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene. MTF Modulation Transfer as a function of image height at infinite focus setting. Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm 0.70 m 1:6.x 27 cm 0.3 f-stop

HASSELBLAD HC 2.2/100

Product number: 3023100
Focal length Aperture range Angle of view diag/hor/vert Length/diameter Weight Filter diameter Close focus range data: Minimum distance object to film Maximum image scale Corresponding area of coverage Corresponding exposure reduction
100.0 mm 2.2 - 32 38/31/24 80.5 mm/87.5 mm 780 g 77 mm
0.90 m 1:7.x 29 cm 0.4 f-stop
LENS DESIGN 6 elements in 5 groups FOCUS TYPE Full focusing ENTRANCE PUPIL POSITION 68 mm in front of the film plane (at infinite focus setting) The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene.
HASSELBLAD HC Macro 4/120
GENERAL LENS data: Focal length Aperture range Angle of view diag/hor/vert Length/diameter Weight Filter diameter Close focus range data:
Product number: 3023120 118.7 mm 4 - 45 33/26/mm/96 mm 1410 g 67 mm 0.39 m 1:x 41.5 mm 1.3 f-stop
Minimum distance object to film Maximum image scale Corresponding area of coverage Corresponding exposure reduction DISTORTION Infinity setting

COMPATIBILITY When the HC Macro 120 is used together with the H1,7X converter, the autofocus function of the camera is disabled. LENS DESIGN 9 elements in 9 groups
FOCUS TYPE Front focusing ENTRANCE PUPIL POSITION 148 mm in front of the film plane (at infinite focus setting) The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene. MTF @ infinity setting Modulation Transfer as a function of image height at infinite focus setting. Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm
HASSELBLAD HASSELBLAD HC 4/120 HC Macro 4/120

HASSELBLAD HC 3.2/150N

Product number: 3023150
150.2 mm 3.2 - 45 26/21/mm/86 mm 970 g 77 mm

Close focus range data:

In addition to the metres/feet scale, thethe 120 mm lens addition to the metres/feet scale, 120 mm lens
Minimum distance object to film Maximum image scale Corresponding area of coverage Corresponding exposure reduction LENS DESIGN 9 elements in 8 groups FOCUS TYPE Internal focusing ENTRANCE PUPIL POSITION 68 mm in front of the film plane (at infinite focus setting)
1.30 m 1:6.x 28 cm 0 f-stop
also displays magnification ratio scale (A). In the illustramagnification ratio scale (A). In the illustration, the scale shows a focusing distance of 1.27 feet tion, the scale shows a focusing distance of 1.27 feet / 0.39 metres which in in turn produces a (lifesize) 0.39 metres which turn produces a 1:1 1:1 (lifesize) magnification. With the 120mm lens mounted on the magnification. With theaddition screens will appearthe camera, LCD when camera, 120mm lens mounted on on the grip addition screens will appear on signify a focuswhen setting. Three autofocus is chosen to the grip LCD limit autofocus is chosen to signify a focus limit setting. and Near scan are available Full scan, Infinity scan Three are available Fullby the Infinity scanwheel. This time-saving funcaccessed scan, rear control and Near scan accessed

FuLL SCAN = 0.39 m

by the a form of presetting that restricts the scanning range tion is rear control wheel. This time-saving function is a form of presetting thatsearching across the whole focus of the lens to prevent it restricts the scanning range of the lens to prevent it searching across the whole focus scale. scale. make a rough assesment of the approximate Simply Simply make a rough assesmentthe most approximate focusing distance and then choose of the suitable of focusing distanceThe lens will then be able to find the of the three ranges. and then choose the most suitable the three ranges. The lens will then be able to find the critical focus much faster. critical focus much faster.

A OK OK

However, by the nature of the necessary complex con- conHowever, by the nature of the necessary complex struction and weight, they can be subject to damage if hanstruction and weight, they can be subject to damage if handled in an unsuitable manner. dled in an unsuitable manner. When using the lens shade, it becomes natural to place place When using the lens shade, it becomes natural to the lens/camera combination down on a a surface in the corthe lens/camera combination down on surface in the
correct manner, that is, in a horizontal orientation. Simirect manner, that is, in a horizontal orientation. Similarly, larly, the lens on its own can placed vertically but still the lens on its own can placed vertically but still in a safe in a safe orientation as in illustration (A). This virtually orientation as in illustration (A). This virtually avoids all risk avoids all risk of damage. of damage. However, placing the lens or lens/camera combination However, placing the lens or lens/camera combination down in a vertical orientation on a surface as in illusdown (B) vertical orientation on a front of the lens tration in a that is, resting on the surface as in illustration
(B) that is, resting times. should be avoided at allon the front of the lens should be avoided at all times.
Internal focusing 35 mm Entrance Pupil Position 35 mm setting: 187 mm 50 mm setting: 178 mm 90 mm setting: 193 mm In front of the image plane (at infinite focus setting) 50 mm The entrance pupil position is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene. 90 mm

MTF (%) 100

Relative Illumination Infinity setting
1.0 0.8 Relative illumination 0.8

1.0 0.8

Sagittal slit orientation drawn with continuous line and tangential with dashed. White light. Spatial frequencies 10, 20 and 40 lp/mm 35 mm

20 Image height (mm)

f/8 f/Image height (mm) 30
f/8 f/4.Image height (mm) 30
f/8 f/5.Image height (mm) 30

100 100

Distortion Infinity setting
-Image height (mm) 30 -Image height (mm) 30 -Image height (mm) 30
MTF (%) 20 Image height (mm) 30

Related Accessories

HASSELBLAD H 1.7X Converter
GENERAL LENS data: Focal length conversion factor Aperture reduction Length/diameter Weight

Product number: 3023717

1.7x -1.5 stops 56 mm/85 mm 465 g
COMPATIBILITY The converter 1.7x can be combined with all HC lenses except for the following: HC 3,5/35 mm HC 3,5-4,5/50-110 mm When the H1,7X converter is used together with the HC Macro 120 mm or the HC300 mm lens, the autofocus function of the camera is disabled.
LENS DESIGN 6 lenses in 4 groups
HASSELBLAD H 13mm H 26mm H 52mm
Product number: 3053513 Product number: 3053526 Product number: 3053552
These fully-automatic extension tubes provide a practical and economical solution for close-up requirements. Can be used together in any combination and together with a converter. Complete data for all lens / extension tube combinations regarding magnification, exposure reduction, area of coverage etc. available.

Shift is the moving of a lens, up and down or to the sides, from its central position while retaining its perpendicular orientation to the film plane. Simply put, the adapter expands the diameter of the projected image circle at the film plane. This allows for much greater freedom in placing the image area within the now much broader circle before vignetting takes effect. And most importantly, all this happens without moving the orientation of the camera in relation to the subject. So if verticals, for example, are acceptable in the viewfinder, they will remain so whatever the amount of shift to include the hidden parts of the image. Simple but ingenious. Tilt differs from shift in that the normal perpendicular orientation of the lens to the film plane is changed resulting in a change in the plane of focus. This means that at any given aperture/focus setting, the depth of field in the subject will not remain as simply the space between two measured points from the camera as is normally the case, but increased or decreased. This amount is user controlled. Once again, simple but ingenious. By combining these two laws of physics, the doors of creative solutions are thrown wide open. The list of situations that could advantageously exploit tilt and shift is probably longer than it might first appear to be. For some professional photographers it could rapidly become an essential item for all work. But the story doesnt end there. Large-format users have been using tilt and shift for many years, partly because they could, but partly because they had to. Some photographic solutions unfortunately, have also created problems, lens edge performance,
for example, being one of them. The dilemma that arose forced photo raphers to find a compromise, between the illness and g the cure. Hasselblad has now eradicated this dilemma. With the introduction of automatic chromatic aberration correction computation (DAC), significant improvements strike the viewer immediately. All calculations and adjustments take place in the background monitored and governed by sensors in the adapter. The sharpness at the edge of the frame, despite the fact that the lens is pushed to its limits, remains stunning. On the creative front, it has long been standard practice for photo raphers to break the rules in order to produce images g that show something just a little different. Large-format users were well-acquainted with the imaginative possibilities that arose from making the wrong camera or lens movements. And now Hasselblad users can enjoy this stimulating freedom as well. Fascinating and captivaing images are easily conjured t up and controlled with just a few slight movements. The combination of large sensors and razor sharp lenses and now tilt and shift possibilities Hasselblad has brought some of the creative aspect of former large-format world to the digital medium format. Take a look at this revolutionary accessory at your nearest H asselblad dealer. Try it yourself out to see how this new product could rapidly become an essential part of your photography toolkit. The powerful combination of tilt, shift and DAC can bring new perspectives to your photographic vision and provide a marked change in both the technical and creative aspects of your work.

GENERAL LENS data: Focal length conversion factor Aperture reduction Width/Height/Depth Weight LENS DESIGN 6 elements in 5 groups ENTRANCE PUPIL POSITION W. HCD 28mm: 175 mm W. HC 35mm: W. HC 50 mm: W. HC 80mm: W. HC 100mm: 192 mm 177 mm 119 mm 109 mm
1.5x -1.3 stops 140 mm / 146 mm / 77 mm 750 g
In front of the image plane (at infinity focus setting) The entrance pupil position

Front view

is the correct position of the axis of rotation when making a panorama image by combining individual images of a scene.

Rear view

HC 100

CLOSE FOCUS RANGE DATA

HCD 4/28 mm HC 3,5/35 mm HC 3,5/50 mm HC 2,8/80 mm
Compatible lenses and extension tubes
Maximum image scale 1:4.7 1:6.2 1:5.7 1:4.2 1:4.6 Coverage 23 cm 17 cm 30 cm 23 cm 28 cm 21 cm 21 cm 15 cm 22 cm 17 cm Exp.reduction 0 EV 0 EV 0 EV 0.3 EV 0.5 EV
Minimum distance 0.39 m 0.54 m 0.64 m 0.74 m 0.94 m
HCD28, HC35, HC50, HC80 and HC100 Extension tube 13mm, 26mm and 52mm

HC 2,2/100 mm

COMPATIBILITY The HTS 1.5 adapter is compatible with all H System cameras. Support for digital image corrections only with Hasselblad CF card based digital capture products. The HTS 1.5 adapter is optimally designed for the following lenses:
Equivalent lens with the HTS 1.5 6,3/45 mm 5,6/55 mm 5,6/75 mm 4,5/128 mm 3,5/155 mm
Angle of view diag/hor/vert 71/59/45 59/49/37 44/35/27 27/22/16 23/18/14
The HC150, HC210 and the HC300 will fit onto the adapter but handling and performance can be compromized. The HTS 1.5 is not compatible with:
The H1,7X converter The CF lens adapter HC 50-110 mm

HCD 35-90 mm HC 120 mm

Autofocus / focus confirmation (disabled)
HC35 + HTS 1.5 at f/16, 5 degrees tilt
MTF PERFORMANCE 10, 20 and 40 lp/mm The diagram shows lens perfomance over the full enlarged image circle. HCD 28mm Vertical dashed line @ infinity show the basic sensor format (36.48 mm). Dashed lines in the diagrams shows the tangetial performance.

HC 35mm @ infinity

f/6.80 MTF (%) Image position (mm) 10
Movements The lens can be shifted 18 mm, either upwards or downwards, and it can be tilted 10 degrees up or down. Tilt and shift can be combined according to the diagram.

Image position (mm)

f/5.80 MTF (%) MTF (%) Image position (mm)
f/4.80 MTF (%) MTF (%) Image position (mm)

f/Image position (mm)

HTS settings are presented on camera grip LCD and are also embedded in the image file.

HC 50mm @ infinity

Maximum tilt The graph shows the maximum amount of tilt that can as a function of the amount of shift used. Format 3648mm.

This information is subject to change without notice. Victor Hasselblad AB & Hasselblad A/S shall not be liable for technical or editorial errors or omissions contained in this information. Copyright 2009

User Manual

H3D ll

C O N T E N T S

Introduction 4
CF adapter Specif ic-lens information 29 29
1 General over view of body and view finder control and display
Grip display View f inder display Audio feedback
5 General over view of digital 8

capture unit

The control panel Over view of menu struc ture
Over view of menu system and navigation 34

2 Camera Body

Carr ying strap Rechargeable bat ter y Bat ter y charger Charging the bat ter y Rechargeable bat ter y grip general Reser ve lithium-bat ter y grip Bat ter y life View f inder screen Accessor y connec tion PC-connec tor Base plate
6 Initial General Settings and Preparation
Set ting the menu language Storage and shooting Image storage modes / shooting Selec ting the current medium Using compac t f lash memor y cards Working with an ImageBank-II Tethered to a computer
Rechargeable bat ter y grip precautions 21
Bat ter y status (rechargeable bat ter y only) 22
7 Storage working with media and batches
Organizing work with batches Navigating media and batches Creating new batches Using Instant Approval Architec ture Reading and changing approval status Browsing by approval status Deleting by approval status

3 View finder

Par ts & Components At taching and removing the view f inder Eyepiece adjustment Eye cup Integral f lash unit
8 Over view of viewing, deleting and copying images 47
Basic image browsing Choosing the current batch Browsing by approval status Zooming in and out Zooming in for more detail Thumbnail views Preview modes Histogram mode Full-details mode Bat ter y-saver mode Full-screen mode Overexposure indicator

4 Lenses

Par ts & Components At taching a lens Removing a lens Lens cap Filter s Lens shades Shut ter and aper ture control Depth-of-f ield calculation Depth-of-f ield / visual preview Infrared focus set tings Focus aid
Not all the images in this manual were taken with a Hasselblad H3D II. They are used for illustrative purposes only and are not intended to represent the image quality produced by a Hasselblad H3D II. Jens Karlsson/Hasselblad , David Jeffery and Mats Bengtsson
Deleting images Transferring images
Single Shot Continuous Autofocus mode Prof iles
9 MENU ISO, White balance, Media, Browse
Menu system over view Navigating the menu system Menu struc ture Items on the main menu Language Set tings check ISO White balance Media Browse

Using prof iles

Making a prof ile Changing a prof ile name

14 Advanced Features

General over view of camera menu Self Timer Bracketing Inter val Set tings Custom Options Image Info Tex t set ting Date & Time System status Drive

10 MENU Storage

Delete Format Copy Batch Default Approval Level

15 Flash

Flash measure

11 MENU Settings

User Inter face Camera About Default Custom Options
16 Multi Shot 17 Optional Accessories 18 Appendix
Glossar y Technical specif ications Care, digital capture unit

125 127

12 Light Metering & Exposure Control
Metering method Exposure method Manual exposure mode Automatic exposure mode ISO / WB AE-L but ton Exposure compensation/Quick Adjust
Equipment care and ser vice

13 General Functions

PowerON PowerStandby PowerOFF Manual focus Manual focus mode
Autofocus override in manual mode Autofocus

Welcome to Hasselblad !

The H3D II represents the forefront of medium format photography. This unrivalled position is based on an accumulation of experience spanning more than fifty years. By using Hasselblad equipment you share the decision made by of some of the worlds best and most famous photographers. Congratulations on a wise choice! The H3D II is a development of the worlds first full-frame, large-sensor, medium-format DSLR camera. The H3D II has been developed around a brand new digital camera engine producing increased lens performance and a new level of image sharpness. By focusing solely on digital camera architecture, Hasselblad is able to offer photographers the full benefits of professional medium-format digital cameras as well as the ease of use of the best 35mm DSLRs. The H3D II delivers outstanding performance, taking full advantage of the virtues of medium format photography. The result is flexibility for the professional photographer, including the freedom to choose between eye-level and waist-level viewfinders, digitally APO corrected lenses, and on-the-fly clas sification of images. Hasselblads Natural Color Solution delivers out-of-the-box image quality only achievable in a true digital camera system.

the Low battery icon appears, the camera automatically enters a temporary When
power-saving mode. This is recognizable by a slower pace for all the actions in a capture sequence. The camera actions also sound differently. This mode is designed so that you can continue working for a while, even though the power remaining in the battery is too low for working in the normal manner. Naturally, you should replace the battery as soon as possible to restore normal action again.
Battery status (rechargeable battery only)
An immediate full-screen information and battery status check appears on the grip display by holding down the illumination/ battery status button. This screen displays: the firmware version the number of captures taken since the last battery recharge / change. a rechargeable-battery status icon that provides a quick visual check as well as a figure estimate in percent. The information regarding the number of captures taken is intended to help you make an estimate of the number of possible remaining captures according to your way of working. For example, if you regularly browse a great deal when shooting or you leave the camera in ON-mode with no standby, you would naturally expect to drain the battery sooner than others who dont. You should soon be able to build up a picture of how you usually work and can therefore estimate that after X number of captures, you normally expect to be able to take Y captures before the battery is exhausted (when working in a similar manner in similar conditions). The percentage information, however, provides another kind of estimate based more on the amount of power left in the battery rather than on your normal way of working. Remember that these are only estimates and that there are a number of factors affecting remaining battery, ambient temperature for example, as well as general practice.

Viewfinder screen

16, 17
The H3D II is fitted with a Spherical Acute-Matte D viewfinder screen for extreme brightness, clarity and even illumination. An optional accessory screen with a grid pattern is also available. To change a viewfinder screen, remove the viewfinder to access the viewfinder screen. To remove the screen, place the tip of a ballpoint pen or similar in the viewfinder screen removal lug and pull upwards. To replace the screen, position the right side of the screen in place so that it sits correctly in the recess. Place the tip of a ballpoint pen or similar in the viewfinder screen replacement indentation and press downwards until the screen snaps into position. Try to avoid touching either surface of the screen with bare fingers.

Depth-of-field calculation
There are two distance scales (in feet and metres) visible through the focus distance window on the upper part of the lens barrel. There is also a central lens index mark and a depth-of-field scale. The focusing distance is read off the chosen scale from the central lens index. Depth-of-field can be calculated as follows: 1. Focus the lens as required. 2. Make an exposure reading (auto or manual) and note the aperture setting. 3. Find the markings on either side of the central index that correspond to the chosen aperture. 4. From these two markings, read off on the required lens distance scale the two corresponding distances. 5. The depth-of-field (at that particular aperture and focus setting) will be the area included between these two distances. In the example given here, the focusing distance is set at nearly 3 metres. At an aperture of f/22, the depth-of-field would therefore extend from just over 2 m to approximately 4.5 m. Note that depth of field is not an absolute. Perception of it depends on several factors and so it should be seen only as a rough guide.
Stop down / depth-of-field
A visual depth-of-field preview can be made by depressing the STOP DOWN button while viewing the image on the viewfinder screen.

Infrared focus settings

Lens focus setting too far beyond the distance of the subject framed by the central section in the viewfinder
As infrared rays form an image at a different plane to that formed by visible light, the normal focus settings do not apply. Proceed as follows in manual focus mode: 1. Focus the lens in the conventional manner until satisfied. 2. Note the distance setting against the central lens index. 3. Re-align this distance setting against the infrared mark (coloured red) instead of the central lens index. Alternatively if you have already calculated the required distance, you can make a manual distance setting by using the distance scales together with the infrared mark instead of the central lens index.
Focus setting too close for the distance of the subject framed by the central section in the viewfinder

Focus aid

10, 11, 12
As well as the conventional view on the focusing screen to ensure a sharp image, the H3D II also features LED focus aid capability appearing as two arrowheads to the right of the viewfinder display (except for lenses with a maximum aperture of f/6.7 or smaller). The arrowheads provide confirmation of a precision focus setting and are a useful aid when making a setting with eyesight alone. Manual focus setting When the left arrowhead alone appears it means the focus setting is too far beyond the chosen distance (the area framed within the central zone in the viewfinder) and when the right arrowhead alone appears it means the focus setting is too close. Focus is correct when both arrowheads appear together. If the focus cannot be established, then both arrowheads flash.

Using compact flash memory cards
When shooting to a compact-flash card, the H3D II is completely self-contained. No additional wires or connectors need to be attached. The H3D II is shipped with a 2GB (or larger) compact-flash card, which is able to hold over 40 shots. Lossless compression is applied to the images, so the actual size of each capture can vary, thereby affecting the total number of shots you can fit on the card.

Inserting a card

2 A B 1. Open the CF card slot cover on the digital capture unit. 2. Behind the cover, you can see a slot for the card (A), possibly with a card already inside, and a release button (B) below the slot. (If a card is already installed, then remove it as described in Removing a Card, below). 3. Hold the compact-flash card so that the connector holes face into the slot in the digital capture unit, with the brand label facing in the same direction as the digital capture unit preview screen, as in the illustration. Gently press the card into the slot. If you encounter resistance, it might be because you are holding the card backwards or upside down. 4. When the card is able to drop very easily nearly all the way into the digital capture unit, then you are doing it right. Once you have achieved this, press the card firmly into place until it sinks another couple of millimeters into the digital capture unit and is held fast. 5. Snap the slot cover shut again.
can reformat a card by pressing the Card format butYou
ton on the camera grip or on the digital capture unit: Menu>Storage>Format.

Removing a card

1. Open the CF card slot cover on the digital capture unit. Behind the cover, you can see the bottom edge of the card in its slot and a release button immediately below the card. 2. Press the release button a little way in to release it into the active position. 3. Press the now extended release button all the way back into the digital capture unit again. Some force is required. As you do this, the card will be pushed out a few millimeters. 4. Grasp the card between your thumb and forefinger and pull it away from the digital capture unit. (Insert a new card as described in Inserting a Card, if required). 5. Snap the slot cover shut again.
Working with an ImageBank-II
There are no practical differences between storage on the internal CF card or on an ImageBank-II. However, when several media are mounted, you must be sure to select the correct destination medium (see also Working with Media and Batches).

Working with a Hasselblad ImageBank-II
The ImageBank-II is an optional add-on for your digital camera system. It is essentially an external FireWire hard disk optimized for digital photography, providing extensive storage space and high-speed data transfer. It is small, light and battery powered. You can easily clip it to your belt, so the solution is nearly as portable as the stand-alone camera.
Older digital backs in the ixpress line used a different external
disk and controller called simply the ImageBank. This older version is not compatible with the H3D II. Only use the Hasselblad ImageBank-II with an H3D II.
To use an ImageBank-II with the H3D II, assemble it and connect the two with a standard FireWire 800 (IEEE 1394b) cable. See the ImageBank-II manual for complete details. To remove the ImageBank-II, simply disconnect the FireWire cable when all disk activity (indicated by the LED) has stopped. The digital capture unit will then revert to saving and browsing images on the internal flash card (if available).

Tethered to a computer

When tethered to a computer, you can control many camera functions using Phocus software. Even if you never shoot while connected, you will probably connect the camera to your computer each time you want to download your images, though you might instead use a compact-flash card reader and/or connect your ImageBank-II directly.

Connecting to a computer

To connect to a computer, simply attach a FireWire cable from the FireWire port on your computer to the port on the side of the digital capture unit. The port is protected behind a hinged cover.
Shooting with Phocus running
When you are connected to a computer, the following rules apply: The destination medium and location are controlled from Phocus. All exposure settings, including ISO, aperture and exposure time, are controlled from Phocus if you choose to expose from Phocus. The screen and menu system on the digital capture unit are disabled. The digital capture unit will take power from the FireWire cable if it is available (not all computers supply power here, notably laptops). This will help conserve the battery power of the H3D II. However, you must still have a charged battery connected as the camera body requires this battery in order to operate. When initiating a shot from Phocus, the computer sends a signal to the digital capture unit, which triggers the shutter and strobe/flash (if any). The digital capture unit then sends the image back over the FireWire connection to the computer, where it is displayed on the computer screen and saved as a 16-bit 3F file in the currently selected folder of the computer hard disk.

Battery-Saver Mode

In this mode, the digital capture unit is fully responsive, so you can take pictures but the screen is not lit up, thereby saving battery power. You can enter the menu system while shooting in this mode (which activates the screen until you exit the menu system again) but the approval, zoom and navigator buttons have no effect.
can also save battery power by turning down the brightness and/or contrast of the You
display using the entries of the MAIN MENU > SETTINGS > USER INTERFACE > DISPLAY menu. See Making Display Settings for details.
ways to save battery power include setting a display time-out and/or a powerOther
down time-out (each of these is disabled by default). Use MAIN MENU > SETTINGS > USER INTERFACE > Power Down to set a power-down time out. Use MAIN MENU > SETTINGS > USER INTERFACE > DISPLAY > Timeout to set a display time-out. See also Entries of the USER INTERFACE Menu and Making Display Settings for details about these settings.

Full-Screen Mode

In full-screen mode, you can browse your images at standard preview resolution without any distracting data surrounding them. Because the current approval setting is not shown in full-screen mode, the approval button has no effect. This will prevent you from accidentally assigning the wrong status without knowing it.

Overexposure indicator

Though the histogram shows you when some of your pixels are overexposed, it does not tell you which ones. In a shot with many bright areas, it can be hard to know whether the key parts of your image are just bright or completely overexposed. To help you find them, the digital capture unit can provide an overexposure indicator, which shows precisely which areas of your shot are overexposed (i.e., pixels that are at maximum brightness, thereby eliminating details). When enabled, the overexposure indicator flashes the overexposed pixels from black to white. To enable or disable the overexposure indicator, choose MAIN MENU > SETTINGS > USER INTERFACE > Mark Overexp. Please see Entries of the USER INTERFACE Menu for a detailed procedure. SHORTCUT Press and hold until the indicator is working as you would like (enabled or disabled).

Deleting images general

The H3D II enables you to delete images using any of the following techniques: Delete the currently selected image only. Delete all images from the current batch Delete all images from the current medium Delete all red-status images from the current batch Delete all red-status images from the current medium Delete all red- or yellow-status images from the current batch Delete all red- or yellow-status images from the current medium

Menu structure

ISO ratings depend on model

Items on the main menu

Language
As a practical example, a MAIN MENU > SETTINGS > USER INTERFACE > Language item instruction would involve the following procedure: 1. Making sure you feel confident to return to your choice of language by navigating in another, press the menu (MENU) button to open the menu. 2. Use and to select the SETTINGS sub-menu. 3. Press to open the SETTINGS menu. 4. Press to select the USER INTERFACE sub-menu. 5. Press either the zoom ( or + ) button to choose a new language (in this case Spanish). 6. Press the MENU/EXIT button again to close the menu. Note also that the menu and approval buttons are situated just outside the bottom-left and bottom-right corners of the screen. As you work through the various menu entries, the screen shows a label for each of these buttons. In the text, we therefore give the generic name for the button and the screen name. For example we will refer to: the menu (MENU) button, the menu (EXIT) button, or the approval (OK) button.

Settings check

ISO, White Balance, Media and Browse settings should be checked before each session. They are therefore placed at the top level of the menu for quick and easy access. They are also shown on-screen in most preview modes, so you can easily keep an eye on them as your work.
The ISO setting can be made using the ISO/WB button on the grip or on the digital capture unit. The natural sensitivity of the CCD is ISO 50 for H3DII 39/50 models and 100 ISO for H3DII 31 models, so you will get best results with this setting if the light conditions allow.

ISO/WB

To set the ISO on the grip:
The ISO/WB button provides immediate access to ISO settings. The front control wheel is used to make the desired changes. The settings are automatically and simultaneously transferred from the camera to the digital capture unit. Please note that the changes are only displayed on the digital capture unit unit when the settings have been saved. 1) Press the ISO/WB button on the grip. 2) To make an ISO setting, turn the front control wheel to choose between: 50, 100, 200 and 400 (39 and 50 Mpix models) 50, 100, 200, 400 and 800 (31 Mpix models) 3) Press SAVE (ISO/WB button) to save the setting.

DEFAULT APPR. LEVEL

1 The Instant Approval Architecture system helps you to evaluate and mark each image based on how well it has come out. By default, the system assigns an initial approval status for each new shot based on an analysis of the distribution of exposure levels. In the factory configuration, the status of each new shot is assigned as follows: Green (approved): The new shot seems to have been exposed correctly. Yellow / Amber (unclassified): The new shot seems to have been over- or under-exposed. However, you might choose instead to override this system and have all new shots assigned either as green or yellow, regardless of the exposure analysis results. A typical strategy could be to assign all shots to yellow and then review all of the shots later and promote only the best ones to green status. At the same time you might demote the most doubtful shots to red status. See also Using Instant Approval Architecture for complete details about working with the approval system. To change the default status assigned to each new image: 1. Press the MENU button. 2. Press to navigate down and select the Storage level. Press and then to navigate down and select Default Appr. level. Press to open the Default Appr. level dialog. 3. Use the the + or button to step through the available settings until the default status you wish to use (auto, green or yellow) is shown. 4. Either move on to another setting by using the navigator button or press the menu (EXIT) button to exit the menu system and keep your setting.

Menu: Settings

There are a number of settings grouped under the general Settings heading which are: User Interface Camera About Default Custom Options
Navigating the USER INTERFACE settings
MAIN MENU > SETTINGS > User Interface
By altering the User Interface settings, you can control the way the digital capture unit interacts to suit you and your preferred way of working. It also includes date and time settings.
USER INTERFACE menu items
The user interface menu includes both items and sub-menus as follows: Language: The menu system can be displayed in any of seven languages. This menu item enables you to select your preferred language for the menus. Power Down: To help preserve the charge of the battery, you can set the digital capture unit to power down after a specified period of inactivity. The effect is exactly the same as though you had pressed the off button on the camera. Once it has powered down, you must turn the H3D II on before you can continue working. Set this to Never to disable this feature (this is the default setting). Set to a value between 3 and 99 minutes to establish a time-out. Mark Overexp.: This feature helps draw your attention to areas of your images that are overexposed. When this feature is enabled, the single-image preview display will highlight each overexposed pixel by flashing it white and black. Set this item to On to enable the feature; set to Off to disable it. Sound: The H3D II uses audio feedback to help let you know if each new image is exposed correctly. This is described in Standard Instant Approval Workflow. This menu item has Volume (choose between High, Low and Off), Key Click (choose between On and Off) and Exposure Warning (choose between On and Off). Date & Time: The H3D II has an internal clock that keeps track of the date and time. This information is used to mark each shot with the date and time at which it was taken. It is also used to label batches with the date on which each batch was created. (See note under General overview of digital capture unit about keeping the internal battery charged to maintain Date and Time settings). Display: This feature also sets the level of Contrast (on a scale of 1-10) on the display. Usually, you should leave this set to the default level of 5; however in some viewing environments and/or with some types of images you may wish to increase or decrease this value. A value of 10 provides maximum contrast; a value of 0 provides no contrast (a black screen). You can also help save battery power by using a low value here. This feature also sets the Brightness (on a scale of 1-10) on the display. This sets the brightness shown on the screen. Usually, you should leave this set to the default level of 5, however in some viewing environments and/or with some types of images you may wish to increase or decrease this value. A value of 10 provides maximum brightness; a value of 0 provides minimal brightness. You can also help save battery power by using a low value here.

Light metering and exposure control
Two primary factors have to be considered when making exposure control choice, namely, metering method and exposure method: Metering method determines in which manner the light measurement is made and how much of the image is taken into account( Centre Weighted, CentreSpot and Spot). Exposure method involves the parameters and deciding factors about how the light measurement is translated into aperture and shutter speeds. Here the choice is about the camera controls and their effect on the result or suitability for the subject. Included in this choice is the type of automation too (Manual for 100% user control, Aperture priority, Program, etc for automated control). Some methods and modes are much more suited to various situations and applications than others, while some depend to a greater degree on personal preference and ways of working. A discussion of the points to consider in this context is beyond the scope of this manual. If you are not sure about choice, please check in other general photographic literature for a fuller explanation. Also check our website occasionally www.hasselblad.com for articles and discussions concerning such matters. Remember that all exposure configurations are only applicable to the ISO setting in use! Since the light measuring system is TTL, filter factors, lens extension / extension ring factors, etc, are automatically taken into account for average purposes. However, some combinations of methods and equipment can cause slight discrepancies for various reasons and therefore for critical work you should make alternative captures to suit personal preference.
Exposures are displayed on the grip display to within 1, 1/2 and 1/3 EV tolerances
(dependent on setting). This means that half-stops are shown in a form that can differ from more traditional displays. For example, the position between f/ 8 and f/11 is displayed as f9.5 and likewise the position between 1/30s and 1/60s is displayed as 45. Therefore a display showing f 9.simply means f/9.5 at 1/45 second. The appearance of an s after the shutter speed signifies whole seconds so, for example, 32s on the display signifies an exposure time of 32 seconds, not 1/30.

Metering method

Centre Weighted (23 x 20 mm) 25%
There are three metering methods available. All three are reflective methods (measuring the light reflected off various selected parts of the subject according to method) and are through the lens (TTL). These have the following designations (with their respective display symbols): Centre Weighted CentreSpot Spot
CentreSpot (23 x 20 mm) 25%

ISO / WB Save

MANUAL EXPOSURE M

1, 2, 3, 4

Manual mode will provide total user control of the shutter and aperture settings. To set the Manual mode, proceed as follows with the camera in active mode: 1) Press the EXP button on the viewfinder. 2) Turn the front control wheel (either direction 2a) until you reach M (Manual) 2b. 3) Press Save (ISO / WB button) to retain the setting. In this mode the shutter speed and aperture settings are manually chosen by turning the front and rear control wheels. The standard exposure setting is obtained when the pointer over the exposure scale is positioned above the central index (in the viewfinder display). Any deviation from this standard setting is displayed by: the pointer appearing elsewhere than above the central index and by figures above the scale representing the amount of adjustment in EVs.
A + 0.7 above the scale in the display, as in illustration 4 for example, would indicate a 0.7 EV overexposure setting. Conversely, a -2 , for example, would indicate a 2EV underexposure setting. Note that the appearance of a +/- symbol on the grip and viewfinder displays in manual mode means that a change has been made to the exposure compensation setting. See later section on Exposure compensation. The actual aperture settings and shutter speeds are indicated to the right of the exposure scale in the conventional manner. (Note: fullstops, half-stops and third-stops are also displayed, according to setting (see increment setting). For example, a setting between f/8 and f/11 will appear as f/9,5 if half-stop is chosen).
AUTOMATIC EXPOSURE A, S, P, Pv
Automatic exposure provides a choice of two ways of controlling shutter speed and aperture settings semi-automatically and two ways fully automatically: Aperture priority: A - The aperture is manually chosen by you by turning the front control wheel, and the shutter speed is automatically chosen by the camera. Shutter priority: S - The shutter speed is manually chosen by you by turning the front control wheel, and the aperture is automatically chosen by the camera. Programmed: P - In this mode, an aperture / shutter combination is chosen by the camera according to the EV measured (metering method remains as your choice), though only within pre-set appropriate limitations to suit various requirements and applications. Programmed variable: Pv - This mode is very similar to Programmed, except with the additional parameters of lens focal length being automatically taken into account. For example, long shutter speeds will automatically be avoided with a long focal length lens. To set one of the modes, proceed as follows with the camera in active mode: 1) Press the EXP button on the viewfinder. 2) Turn the front control wheel (either direction) until you reach the required setting. 3) Press Save (ISO / WB button) to retain the setting. In Automatic mode the front control wheel selects alternative aperture /shutter combinations while maintaining the same EV and the rear control wheel alters the amount of exposure compensation. The compensation appears as a +/- symbol on the grip display and viewfinder display. Variations (chosen by using the front control wheel) from the specific combination selected by the P or Pv mode are signified by a double arrow symbol appearing between the aperture and speed settings on the grip display. These new variations, however, still provide the correct exposure.

Profiles

The profiles feature allows rapid access to pre-determined combinations of settings that increase the speed and security of workflow. One example might be in a social situation where there might be a need for formal outdoor portraiture followed by informal indoor handheld flash-assisted wide-angle shots, both situations requiring very different settings in a stressful environment. By predetermining the relevant settings required beforehand for each situation, they can be saved collectively as a profile. By calling up the profile, you can then be assured that all the settings are correct at the press of one button. For example, you might choose autofocus single, bracketing, programmed exposure, etc for outdoors. Once set, you would click on the red PROFILES button, select a profile name and press SAVE. A new name can be entered for the new profile - Outdoors, for instance - and saved again. New settings are made for the indoor shots changing to flash, Pv setting, etc and the procedure repeated. By simply accessing Outdoors or Indoors in the profile list, all the relevant settings will be instantly and correctly implemented to match the situation. There are four profiles: Standard, Full auto, Studio and Fill flash. All except Standard can be changed and renamed. The pre-set profiles feature the following: Standard: normal flash sync, autofocus (single), single drive, autoexposure (aperture priority), average metering, user button -None Full auto: normal flash sync, autofocus (single), single drive, programmed exposure, centre weighted metering, user button -None Studio: normal flash sync, manual focus, single drive, manual exposure, spot metering. user button - AF drive Fill flash: normal flash sync (adjusted output -1.7EV), autofocus (single), single drive, autoexposure, average metering. All user profiles can be restored to default values again simply by removing the battery and holding down the MENU and ISO/WB buttons together and while keeping them depressed, replace the battery. There will be an audible signal that denotes the restoration.

ONOFF PROFILES/ESC

settings are stored when a profile is created. This includes All
the ISO, white balance, color temperature and color tint settings that were current at the time the profile was created. These profile settings will override the settings in use at the time the profile button was pressed. In other words, remember to check for unintentional ISO, white balance or color temperature changes when using profiles. (Color tint is not a user setting but is stored after a manual white balance has been made).

1/3 EV 1/2 EV 1 EV

2 Bracketing
The bracketing facility provides an automatic series of captures; one at the standard exposure setting (Manual or Auto) and the others with pre-determined deviations in EV from the standard exposure. This is particularly useful for images containing a very wide tonal range, for example. Firstly you make an assessment concerning the number of extra frames required, the order in which they should be taken, and by how much EV deviations there should be and the setting made accordingly. The first metered exposure (Manual or Auto) is the EV that determines the calculations for the bracketing sequence. Note the difference in operation between Single and Continuous drive settings: In Single you must press the shutter release button separately for every separate capture until the sequence is finished. In Continuous you can either maintain the pressure on the button to take all frames without stopping or you can release the pressure on the button and press again to continue to the end of the sequence without losing any frames within the set sequence.

Bracketing setting

The Bracketing function is set in the following manner: 1) Press the MENU button. 2) Turn the front control wheel until Bracketing appears 3) Press Enter (ISO/WB) button on the grip 4) Turn the front control wheel to access the options, that are: Number of Captures (the number of captures required in the sequence) Sequence (the sequential order of the over- or under- exposures) Step (the amount of EV variation from the standard exposure setting) (A drop shadow will be displayed beneath the selected symbol, for example ) 5) In turn the rear wheel to choose the number of frames required: 2, 3, 5, 7 or 9.

6) In

turn the rear wheel to choose one of four sequences: A: Standard, Over, Under B: Standard, Under, Over C: Over, Standard, Under D: Under, Standard, Over
Number of captures highlighted. 3 captures chosen as option.
Sequence highlighted. Standard, over, under chosen as option.

Save DRIVE

Lens exposure lock Yes No
Allows you to release the auxilliary shutter in camera body without a lens attached. Yes blocks the release of auxilliary shutter in camera body if there is no lens attached. Generates message on grip display if attempted. No allows a release of auxilliary shutter in camera body without a lens attached.
Out of range exposure lock No Yes
Allows you to release the camera when either the aperture or shutter speed setting is beyond the working range (indicated on the displays by ). Yes blocks the shutter if beyond the working range. No allows the shutter to be released (1/800s or 32s) if beyond the working range.

True exposure On Off

Determines whether the exposure is automatically adjusted to create a true exposure setting. (See Appendix, Glossary of Terms for full explanation). On allows the adjustment. Off retains the normal setting.
flash/strobe as the main light If using
source and 1/800s shutter speed, remember to turn off the True Exposure option.
Yes No Allows rear control wheel to make a rapid EV adjustment (or EV compensation) in auto-exposure mode.
Yes turns the setting on. By turning the rear control wheel, the adjustment is made and appears on both displays as a symbol between the shutter speed and aperture values. The amount of deviation also appears above the scale to the left of the aperture value on the viewfinder display. No turns the function off completely.
AE lock / Quick adjust Exp reset Saved
Control lock All controls Wheels Off
Allows either the AE-Lock or Quick adjust mode to remain active after a capture or immediately return to standard setting. Exp Reset clears the settings and produces an automatic return to standard setting after a capture. Saved retains the AE-Lock or Quick adjust settings after a capture.
Sets the amount of locking used when the Control Lock button is pressed. All controls locks control wheels and buttons. Wheels locks only control wheels. They remain operable in any setting mode, however. Off disables lock function.

Show EV Yes No

Allows the display of EV settings on the grip display. Yes enables the display. No disables the display.