Hasselblad CF22MS, CF39MS User Manual

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User Manual

Language version: English

Manual version: 1

Francis Hills Fashion

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C O N T E N T S

PLEASE NOTE !

The menu on the digital back can be

set to seven dierent languages:

Inset photo on user ma nual CD and user manual cover/user manua l: © Francis Hills/ww w.gjamstudios.com

Int ro du ct io n 3

1 Gen er al o ve rv iew 6

P ar ts , c om po ne nt s a nd c on t ro l pa ne l 8

I ni ti al s e tu p 10

S ho ot in g a nd s to ra g e mo de s 11

2 Ini ti al Gene ral Se tt in gs 14

O ve rv i ew o f me nu s t ru c tu re 15

S et ti n g th e me nu l a ng ua ge 17

3 Sto rage o verv ie w –

workin g wit h media and batches 18

B at ch es 18

N av ig at in g m ed ia a nd ba tc he s 18

C re at in g n ew b at ch e s 20

U si ng I ns t an t Ap pr o va l Ar ch i te ct ur e 21

R ea di ng a n d ch an gi n g ap pr ov a l st at us 22

B ro ws in g by ap pr ov al st at us 2 2

D el et in g b y ap pr ov a l st at us 2 3

4 Ove rv iew of vie wi ng , de le ti ng

and cop yi ng i ma ge s 24

B as ic i ma g e br ow si n g 24

C ho os in g t he c ur r en t ba tc h 2 4

B ro ws in g by ap pr ov al st at us 2 4

Z oo mi ng i n a nd o ut 24

Z oo mi ng i n f or m or e d et ai l 2 5

T hu mb na il vi ew s 2 5

P re vi ew m o de s 26

H is to gr a m 27

U nd er ex p os ur e 27

Ev e n ex po su r e 27

O ve re xp o su re 27

Fu l l- de t ai ls 27

B at te r y sa ve r mo d e 28

Fu l l- sc r ee n mo de 28

O ve re xp o su re i nd i ca to r 2 8

D el et in g i ma ge s 29

Tr an s fe rr i ng i ma ge s 29

5 MEN U— ISO , Wh it e ba la nc e,

Med ia , Brow se 30

M en u sy s te m ov er v ie w 30

N av ig at in g t he m en u s ys te m 30

L an gu ag e 3 2

IS O 32

W hi te b al an c e 3 3

M ed ia 33

B ro ws e 3 4

6 MEN U— St or age 35

D el et e 36

F or ma t 4 0

C op y 41

B at ch 42

D ef au lt A p pr ov al L ev e l 43

7 MEN U— Se tt in gs 44

U se r In te r fa ce 45

C am er a 47

C ap tu re s e qu en ce 49

C on ne ct i vi ty 50

S et ti n g ex po su r e ti me /s e qu en ce 53

M is ce ll an e ou s 55

A bo ut 5 6

D ef au lt 57

8 Mul ti sh ot 5 8

G en er al 58

9 Fl as h/St ro be 59

G en er al 59

T TL 59

10 Cle an in g 6 0

11 E quip me nt c are, s er vi ce,

gua ra ntee , te ch nica l sp ec . 6 2

G en er al 62

Te ch n ic al s pe c if i ca ti on s 63

Not all the imag es in this manual were taken with a Hass elblad CF. They are used for illustrat ive purposes only and are no t intended to represent the imag e quality produced by a Hasse lblad CF. © Jens Karlsson/Hasselbla d and David Jeery.

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Welcome to Hasselblad!

The Hasselblad CF line of digital backs oers 22 and 39 Mpix digital capture at a professional level for unbeatable results. Together with the option of an i-Adapter, Hasselblad’s interchangeable camera interface, this capability extends beyond medium format into the world of large format too. In addition, the option of true color multi-shot capture provides the possibility of moiré free captures in world class exhibiting stunning quality. The CF line matches the functionality of the Hasselblad H2 camera perfectly, giving you access to the H System’s range of high performance, central shutter-based lenses, and extended digital features such as Digital APO Correction technology and Instant Approval Architecture.

In short, the Hasselblad CF line brings unprecedented exibility to the professional photographer, and enables you to take full advantage of all that leading edge digital photography can oer.

22 or 39 million pixels

The CF line uses a 22 or 39 megapixel sensor that is more than twice the physical size of today’s 35mm sensors. This sensor holds more and larger pixels, which guarantees superior image quality and provides moiré free color rendering without gradation break-ups in even the nest lit surfaces. Images shot with a CF digital back have unsurpassed clarity and sharpness. The 39 Mpix sensor produces the largest digital les currently available for professional photography, making them ideal for the most demanding, high resolution printing applications and give the photographer increased exibility and creative control when cropping or enlarging. The nest image capture quality is possible when used on an H System camera as Hasselblad’s unique Digital APO Correction lens optimization techniques are accessible. In addition, Hasselblad’s Natural Color Solution optimizes color reproduction.

In a studio environment, the CF line enables you to increase the color resolution of your captures by means of a unique multiple-exposure technique controlled by the optional Multi-Shot Module (patent pending). The result is unsurpassed color resolution and absolutely moiré free images. The Hasselblad CF can be upgraded with the 4*Res module at any time. The Hasselblad CFMS comes with the Multi-Shot Module already built in.

Today’s photographers demand higher resolution, less noise, and improved composition, all of which the CF digital backs provide. Every feature and aspect of their performance represents the superior quality and design that go into each Hasselblad product.

H2 platform for Digital APO Correction

In conjunction with an H2, CF backs capture an extended set of metadata and then perform an automated correction for color aberration eects with every shot. This means that your digital captures are automatically optimized to provide the nest detail that a given lens can resolve. We have named this feature “Digital APO Correction” (DAC), signifying the digital, APO chromatic correction of the images that takes place. Implementation of this feature includes detailed mapping of each H system lens model, ensuring that each image represents the best that your equipment can produce. We are condent that the image quality you achieve as a result of the DAC functionality will make you - and your customers - look twice.

Unique Hasselblad Natural Color Solution

In the past, color management solutions have imposed limitations on professional digital photographers, because of the need to choose a specic color prole to suit a specic job in order to capture various skin tones, metals, fabrics, owers, etc. Hasselblad has helped solve this dilemma, with the development of a new, powerful color prole to be used with its FlexColor imaging software. Working with the new Hasselblad Natural Color Solution enables you to produce outstanding and reliable out-of-the-box colors, with dicult colors reproduced easily and eectively.

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We have developed a new Hasselblad raw le format called 3F RAW (3FR) to help implement our new unique color system. The new 3FR le format is designed to ensure that images captured on Hasselblad digital products are quickly, eectively and safely stored on the available media (CF card, Imagebank, etc). The le format includes lossless image compression, which reduces the required storage space by 33%. Combined with the architecture of the Hasselblad backs, this allows you to capture up to 35 shots per minute.

The 3FR le denes the colors in the Hasselblad RBG color space with its out-of-the-box quality, and used in FlexColor it removes both the need for experimenting with dierent color proles to obtain optimal colors and the need for selective color corrections.

DNG File Format

3FR les can be converted directly into Adobe’s raw image format DNG (‘Digital NeGative’), bringing this new technology standard to the professional photographer for the rst time. The DNG le format enables raw, compressed image les to be opened directly in Adobe Photoshop. This enables photographers to operate quickly and eciently, reducing the ‘downtime’ taken to process image data and enabling nal images to reach the customer more quickly. Hasselblad image les carry a full set of metadata, including capture conditions, keywords and copyright, facilitating work with image asset management solutions. For specialist commercial photographers, the full productivity and creative freedom oered by Hasselblad’s FlexColor workow software is also available when importing the DNG le.

Capable of working with multiple cameras

Hasselblad CF digital backs can be attached to most of the professional medium-format SLR and large-format view cameras on the market with a simple 4-screw attached adapter plate, enabling you to bring digital capture to your favorite cameras and lenses with one convenient digital back.

Instant Approval Architecture

Limitless digital image capture loses some of its potential if the photographer cannot quickly review and select the best images to present to the client. Building on the success of its Audio Exposure Feedback technology, Hasselblad has created Instant Approval Architecture (IAA), an enhanced set of feedback tools, designed to liberate the photographer to focus on the shoot rather than the selection process. IAA triggers audible and visible signals for each image captured, telling the photographer immediately whether the image has a red, amber or green light status. The information is recorded both in the le and in the le name, providing a quick and easy way to classify and select images, in the eld or in the lab. CF backs are fully integrated with Hasselblad’s Instant Approval Architecture, bringing automated image classication into your digital workow from the split second of capture. IAA is a Hasselblad trademark and Hasselblad has a patent pending on the invention. A larger, enhanced OLED display in the new Hasselblad products provides a realistic, high quality and perfect contrast image view, even in bright sunlight, to allow instant on-site image approval.

FlexColor workow for professional photographers

FlexColor oers an image processing workow with the highest degree of control for the studio photographer. In tethered operation, tools like live video and overlay masking help bring productivity to advanced set composition. The newest FlexColor version allows the photographer to manipulate color temperature and compare image details across multiple images for precise image selection. FlexColor works on the basis of the raw 3FR les generated by the CF backs. FlexColor runs natively on both Macintosh and Windows computers and is licensed to allow you to provide free copies for all your co-workers and production partners.

Three modes of operation and storage

Optimum portability and image storage are critical for the professional photographer. CF backs enable you to choose between portable CF card storage, the exible Firewire drive, or tethered operation with extended, special capture controls. With these three operating and storage options, the photographer is able to select a mode to suit the nature of the work at hand, whether in the studio or on location.

‘Instant’ user interface

The CF backs are operated via an easy-to-use user interface, utilizing a series of ‘instant’ one-button-click operations including instant capture, instant browse, instant approval, instant zoom, and instant image info.

All in all, the Hasselblad CF line of digital backs provides the discerning photographer the optimum in freedom for professional level digital capture, so remember —

the supreme Hasselblad potential is there, it’s up to you to exploit it!

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CF-Flash card (2 GB)

Flash sync output cable

Flash sync input cable

FireWire cable

Grey Card Nylon Case

E-wipes

Computer system requirements

Digital les naturally end up on a computer for processing. Image-storage and correction requires a certain minimum standard regarding computer capabilities. Large images will require a high-performance computer with plenty of memory, advanced graphics capabilities and a recent operating system. In most cases, the computer should include a FireWire 800/400 connector, which will enable you to load images directly from the camera or Imagebank. To load images stored on the removable compact-ash card, you could instead use a compact-ash card reader, but FireWire is recommended for maximum exibility.

A CF digital back saves images as 3FR les which are Hasselblad raw digital-camera capture standards. From FlexColor, you can optimize and then export the les to DNG or TIFF or JPEG formats instead if you wish. A CF digital back includes the Hasselblad FlexColor image-capture and editing application and native versions of FlexColor are provided for both Macintosh and Windows platforms. Please see the FlexColor manual for complete system requirements.

Warnings and restrictions

• Keep the digital back (and all computer equipment) away from moisture wherever possible. If your camera becomes wet, disconnect from power and allow it to dry before attempting to operate again.

• Always take great care when you remove the sensor back for cleaning—the exposed CCD sensor is vulnerable to damage.

• Keep all cables connected to or from your camera and computer out of the way where they will not be tripped over.

• Never cover the ventilation openings on a CF digital back when the unit is on.

Before you start

Leave protective covers on as much as possible. A CF digital back, in line with all Hasselblad products, has a robust construction and is capable of withstanding fairly rough treatment but nevertheless is a precision instrument and will serve you longer if treated with respect from the beginning.

Please keep purchase details and the warranty in a safe place.

In addition to the digital back itself, a CF User Manual CD, the FlexColor sofware CD and a FlexColor user manual CD, the items illustrated below are also included. If anything is missing or seems faulty in any way then you should contact your Hasselblad dealer immediately.

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General overview

In very simple terms, a CF digital back holds a light sensitive sensor in place at the lm plane. The electronic signals from the sensor are then processed and stored as a digital le.

As an electronic colour image is made up of three components − red, green and blue which combine to form a so-called RGB image − the sensor’s task is to convert a multi spectrum light image into three digital les (red, green and blue) for combination later on.

A CF digital back uses a CCD (Charged Couple Device) type sensor that has 39 million light sensitive areas on its surface each of which creates a pixel.

Each pixel in the sensor is ltered to create the three separate red, green and blue les. Software then processes these electronic les as a package to produce the various formats − RAW, TIFF, JPEG etc.

The three components of the image le are later recombined on the computer screen to produce the familiar full colour image.

The image le can be temporarily stored either in a CF digital back with a CF card, on a Hasselblad Imagebank or the hard disk on a computer. Processing of these images is carried out in conjunction with the included FlexColor software. See the separate FlexColor manual for further details

•

The Hasselblad CF digital back is designed for use with most professional SLR medium format cameras as well as view cameras on the market. Attachment is made by way of an adapter plate that is screwed to the camera. Please see the Ixpress Adapter Kit user manual for full details.

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A CF digital back is an electronic device and consequently attention to power access is vital. When working untethered it is therefore important to plan either battery loading or battery replacement to ensure continued workow.

Likewise, image storage is limited, particularly when using ash cards and appropriate steps should also be taken when planning a shoot.

External storage is accomplished by FireWire connection to a separate hard disk or a computer.

•

When attaching and removing the back, pay particular attention to the image sensor area. The sensor itself is covered and therefore protected by the glass IR lter but take great care when handling. If you need to clean the lter, see later section for specic details. When storing separated from the camera, always ensure you have replaced the protective cover.

If you scratch or mark the lter in any way, it will show up on every shot. Replacements are expensive so treat the glass surface with at least as much care as you would a lens.

The sensor itself is not accessible for any kind of cleaning or maintenance by a user. Do not attempt any such action as you will almost certainly damage it irreparably.

As is the case with all electronic devices pay extra care when working in damp environments and avoid damp conditions for storage.

The menu can be displayed in one of seven dierent languages:

English, French, German, Italian, Spanish, Japanese or Chinese

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4 5 6 7 8 9 10

Ventilator 1

Ensures the sensor is kept cool.

OLED preview screen 2

Displays preview images and the menu system even in bright light and from acute angles.

Menu / (Menu Exit) button 3

Opens and closes the menu system. Also used for various other tasks (Exit button, for example) as you issue

commands within the menu system indicated by a label beside the button on the preview screen.

Display button 4

Steps through the various view modes for the preview image: standard, histogram overlay, image details, screen o and

full-screen.

ON /OFF button 5

Powers the digital back.

Parts, components & control panel buttons

The control panel has an OLED screen that provides a bright, highcontrast view even in bright surroundings and at fairly acute angles. The panel is the main graphical interface for image checking and settings changes when not connected to a computer.

The buttons are used for browsing images and navigating the menu system. Two of the buttons, located at the bottom-right and -left of the screen, are given an on-screen label that changes according to the current context (e.g., the bottom-right button sets the approval rating when browsing images, but conrms settings when using the menus).

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Ready light indicator 6

Flashes green to indicate that the digital back is performing an operation (such as saving a new capture) and is not available for new commands. Flashes green when the back is ready.

Navigation button 7

A four-way rocker button enabling you to step through

preview images and navigate the menu system. To use it, press the side of the button that corresponds to what you wish to do (e.g., move up, le, right or down).

Zoom-out button / SELECTION (– button) 8

Zoom-out button (to make the view smaller) for the preview

image. You can continue to zoom out to view several small images at once and nally to view and select batches and media. Also acts as a selection button for value setting on the menu.

Zoom-in button / SELECTION (+ button) 9

Zoom-in button (to make the view larger) for the preview

image. Also acts as a selection button when viewing available image batches, media and value setting on the menu.

Instant Approval / (OK) button 10

is button steps through the three approval levels,

thereby assigning an approval status to the image currently displayed (or selected) in the preview screen (part of the Instant Approval Architecture system). e colour coding is based on the trac signal convention of green, amber (yellow) and red.

Also acts as a conrmation button (OK button) for some types of menu operations, such as deleting images; indicated by a label beside the button on the preview screen.

Flash sync IN terminal 11

Used when working with studio / strobe ash units. Allows connection to the unit via the ash sync protector cable to ensure correct synchronisation as well as providing protection for the digital back.

Camera communication port 12

Used with certain camera models only. See adapter user manual for details.

Flash sync OUT terminal 13

Used when working with studio / strobe ash units. Allows connection to the lens sync contact via the ash sync cable to ensure correct synchronisation

FireWire connector 14

Allows the connection to a computer or Imagebank. e digital back requires an 800 connecter whereas the computer can be either an 800 or 400.

Digital back retaining hook slots 15

Accepts digital back/magazine retaining hooks on camera body.

CCD and IR lter 16

is is the light-sensitive element, which is positioned behind a permanently mounted IR lter. Usually, this assembly will either be inside the camera or protected by the cover. Always be very careful not to touch or scratch the surface of the lter when it is exposed and to replace the plastic cover whenever the digital back is not mounted on a camera.

 WARNING: never attempt to remove the glass lter—you will

probably ruin the CCD if you do so.

See ‘Cleaning the CCD’ section for details.

Databus connectors 17

For communicating with a Hasselblad ELD model camera body or with a modied Hasselblad 202/203/205 model camera body.

Digital back support slots 18

Accepts digital back/magazine support hooks on camera body.

CF card slot cover 19

Protects card slot.

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Initial setup

A CF digital back is delivered with a protective cover in place. This must be removed in order to t the i-Adapter and re-attached if the digitalback is to be stored or transported separately as protection for the CCD/lter.

To remove the cover, use the TORX T10 screwdriver supplied to unscrew all four screws (illus A). You can then t the i-Adapter that suits your camera model.

CAUTION

Be very careful not to touch or scratch the CCD/lter surface while it is exposed and

always attach the protective cover for transportation or storage..

Fitting an i-Adapter

Aer removing the protective cover, check that the adapter is facing the correct way (so that it will connect with the camera body) and position it in place on the back (illus B). Depending on model, there may be a data connector to be aligned and inserted into the back too. Take very grerat care when placing the adapter to ensure that no part of it touches the CCD/lter. When correctly positioned, the adapter is held in place by the four TORX T10 screws supplied. Make sure the screws are rmly tightened but not overly tight.

Powering the digital back

As with all digital products, it is essential that you maintain a constant check on battery condition and preferably have a fully-charged reserve battery with you at all times when not tethered to a computer. A CF digital back requires power either from the battery (7.2V Sony InfoLithium L type − NP-F550 for example) or from a computer via a FireWire cable.

To attach a battery:

1. Firstly, ensure the battery is fully charged (see user appropriate manual for battery and charger).

2. Remove the protective plate by sliding it as in illustration C.

3. Position the battery as in the illustration D.

3. Press the battery towards the camera. This automatically depresses the battery retaining catch.

4. Slide the battery into the nal position ensuring the contact prongs on the camera are inserted into the battery. The battery retaining catch will now return to the safety position

To remove a battery:

1. Depress the battery retaining catch (1) and slide the battery over it (2). It can then be freely removed.

FireWire connection:

1. Simply connect the FireWire cable between the FireWire connector on the digital back and the USB port on the computer (illus E).

ON / OFF button

With a fully charged battery tted or when tethered to a computer, press the ON/OFF ( ) button to activate the digital back. An audible signal will be heard and a Hasselblad logo splash screen will appear on the OLED. e back will enter standby mode aer the preset time to save the battery. Press the ON/OFF button again to turn the digital back o. An audible signal will be heard again to conrm this.

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Shooting/image storage modes

A CF digital back can store captured images in three ways:

1. Untethered / Compact ash card mode

In this mode a CF digital back acts independently of other connections. Images are stored on the internal, removable compact-ash card.

• The main advantage with this mode is the freedom of cables and extra equip-

ment.

• The main disadvantages with this mode in the eld are the battery power capacity

and the size of the card’s holding capacity.

Please note that the recommended types of CF cards are Sandisk Extreme-III or Lexar Professional 133x. Other cards will work but oer a reduced capture rate.

2. Semi-tethered / Imagebank mode

is mode enables you to attach the camera to a portable Hasselblad Imagebank via a FireWire cable. e Imagebank features massive storage capacity and high-speed data transfer. It is small, lightweight, battery powered and easily clips to your belt, so the solution is just as portable as the untethered option.

• The main advantage with this mode is the great number of images that can be

stored without a pause.

• The main disadvantage with this mode is the extra equipment and cablage needed

that might restrict mobility in some cases.

3. Tethered / Studio mode

is mode enables you to connect your CF digital back directly to a computer and to operate the system using Hasselblad FlexColor soware and store images on a computer hard-disk.

• The main advantages with this mode are the almost limitless storage capacity and

being able to work on the images (with Hasselblad FlexColor) on a large screen.

• The main disadvantage with this mode is the lack of mobility to any great extent.

Selecting the current medium

A choice has to be made concerning where the captured images will initially be stored. e current storage medium is the location to which new shots are saved and from which you can browse using the navigation button. In many cases, the destination medium is selected automatically, for example:

• When you are connected to a computer, then images are always saved directly to

the computer hard disk.

• When only one medium is connected (e.g., a compact-ash card), then this medium

is automatically selected.

However, if you are working away from your computer and have several media attached (e.g., both a card and an Imagebank, then you may need to select a medium explicitly if you want to browse its contents and store images new to it.

ere are two ways of selecting the current storage medium:

• See “Selecting the Current Storage Medium” for details.

• Use the zoom-out button to zoom all the way up to the top level, which shows all

connected media, and then zoom in on the appropriate medium and batch.

See “Navigating Media and Batches” for more information about selecting media

and batches in this way.

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Using compact ash memory cards

When shooting to a compact-ash card, a CF digital back is completely self-contained. No additional wires or connectors need to be attached.

A CF digital back is shipped with a 1GB compact-ash card, which is able to hold over 45 shots. Lossless compression is applied to the images, so the actual size of each capture can vary, thereby aecting the total number of shots you can t on the card. You can purchase additional, possibly larger-capacity, cards and change them as each card becomes full.

Note that the camera can copy the contents of its compact ash

card to an Imagebank even when no computer is attached. This enables you to backup your shots and then clear space on the card to keep on shooting. See section on “Transferring Images”.

Inserting a card

1. Open the CF card cover to reveal the CF slot.

2. Hold the CF card so that the connector holes face into the slot, with the brand label facing in the same direction as the preview screen. Gently press the card into the slot.

If you encounter resistance, it might be because you are hold

ing the card backwards or upside down.

When the card is completely inserted, swing the cover shut

again.

Removing a card

1. With the CF card cover open, press gently on the card removal button (1a) and then release it. It will now extend out from its original position, as in the illustration (1b).

2. Press rmly on the card removal button (2a) to eject the card for removal (2b).

Working with an Imagebank

ere are no practical dierences between storage on the internal CF card or on an Imagebank. 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

e Imagebank 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 dierent external

disk and controller called simply the “Image Bank”. This older Image Bank is not compatible with a CF digital back. Only use the Hasselblad Imagebank with a CF digital back.

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To use an Imagebank with a CF digital back, simply assemble it as described in its manual and connect the two with a standard FireWire 800 (IEEE 1394b) cable. See the Imagebank manual for complete details.

To remove the Imagebank, simply disconnect the FireWire cable. e back will then revert to saving and browsing images on the internal ash card (if available).

Tethered to a computer

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-ash card reader and/or connect your Imagebank or FireWire disk 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 a CF digital back. e port on a CF digital back is protected behind a sliding cover.

Removing from a computer

To remove the camera from a computer, simply disconnect the FireWire cable when all image loading activity has nished.

Shooting with FlexColor running

When you are connected to a computer, the following rules apply:

• The destination medium and location are controlled from FlexColor.

• The screen and menu system on a CF digital back are disabled.

• A CF digital back will take power from the FireWire cable if it is available (please note that not all computers supply power here, notably PC laptops).

When initiating a shot from FlexColor, the computer sends a signal to a CF digital back, which in turn triggers the shutter and ash/strobe lights (if any). A CF digital back 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-per-colour 3F le in the currently selected folder of the computer hard disk.

3F is a proprietary Hasselblad format for storing raw captures. It contains the complete raw image exactly as it was captured by the camera, plus technical details that enable FlexColor to process and display the image correctly. It furthermore stores a complete history of the FlexColor settings that you have applied to each image and stores metadata such as camera settings, image name, photographer, copyright, etc. When you load images into FlexColor from the camera or external media, the 3FR les are converted into the 3F format. If you prefer not to use FlexColor, then you can export les directly to DNG or other format and use Adobe Photoshop, for example.

Please refer to the FlexColor Soware Reference manual for further instructions about taking pictures using FlexColor.

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General

Using the menu on a CF digital back is very similar to using a menu on a cell phone or similar. When you enter the menu (by pressing the MENU / button) you will be see an initial list:

ISO White Bal. Media Browse

Storage Settings

The rst four items are immediately accessible for changes, indicated by the appearance of a plus and minus sign in the highlight frame meaning the settings can be altered by the Zoom in / Zoom out buttons. Storage and Settings are more detailed and therefore require further navigation.

It is advisable to quickly skim through this section of the manual initially to see build up a picture of the menu structure with its various sections

On the following pages you will see an illustration of the philosophy behind the menu, its structure and how changes in settings are made and stored.

Some of the buttons have a double function while others remain single function. For example, the navigation button always leads you through the menu in the direction that the arrowhead illustrates. The Zoom in/out buttons though, for example, act as image enlargers and reducers as well as conrmation buttons, according to where you are on the menu.

Initial general settings

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Page 15

BROWSE

Sets the approval status (classication) lter for easier and quicker image browsing.

MEDIA

Determines where les will be stored (ash card, Imagebank).

ISO

Sets the light sensitivity of the sensor. Equivalent to ‘lm speed’.

WHITE BALANCE

Set to match the colour temperature of light used.

DELETE

For single or multiple deletion of images.

FORMAT

Used to format compact ash cards and Imagebanks for optimum use.

BATCH

Used to create new storage folders (batches) and name them.

USER INTERFACE

Sets menu language, power down, sound, date & time and several other custom settings.

STORAGE

SETTINGS

DEFAULT APP LEVEL

Assigns a default approval status (classication) to all new images.

COPY

Used for o-loading images from a ash card to an Imagebank.

By using the buttons on the control panel you can navigate down through the various levels in the menu. It provides the source of information about image les and also provides a way of making custom settings so the digital back suit s your way of working.

Below is a simple overview of what is available and where it is situated on the menu.

Overview of menu structure

DEFAULT

Resets all custom settings back to the original factory settings.

MISCELLANEOUS

Sets the way the camera/ digital back appears to a computer. Also displays rmware version.

CAMERA

Sets which type of camera body is being used with the digital back.

Page 16

The menu is structured in a manner similar to cell phones and similar electronic devices.

Various branches within the tree system are accessed by pressing the navigation button until you reach the point where a choice has to be made.

The OK (Approve) button or SELECTION (Zoom-in/Zoomout) buttons are then used to conrm choice.

The need to continue further into the menu is indicated by the arrow symbol beside the menu item.

Press the ‘right’ arrow symbol on the navigation button to access the next part of the menu.

When you reach the final destination of your choice (this might take several moves), PLUS and MINUS symbols appear to the right in the frame round the item.

You then press the Zoom-in /Zoom-out /SELECTION buttons to access a loop list of choices.

In the example on the left, 50 is the ISO value shown. By pressing either button the alternatives appear – 100, 200, 400 and then back to 50 again – both on the list as well as on the upper low to the left (in the case of ISO value).

Pressing the EXIT/MENU button will then confirm the new setting.

In the next example on the left, the name of a new batch is changed by pressing a combination of the Zoom-in /Zoomout /SELECTION buttons as well as the navigation button. You can then confirm your choice with the OK (Approve) button or revert to the previous status by pressing the EXIT/ MENU button.

See later sections for more comprehensive information.

Simple introductory overview of menu access, navigation and settings choice.

After pressing the MENU button, the main menu list appears. The blue frame highlights where you are on the menu. Press on the ‘up’ and ‘down’ symbols on the navigation button to move up and down the list.

You can return to the standard image view by pressing either on the ‘left’ symbol on the navigation button or on the EXIT/MENU button again.

Page 17

1 2

3 4

5 6

Press and hold until the display begins to ﬂash (or stops ﬂashing) its overexposed areas. See ‘Overexposure Indicator’ for full details.

Press and hold until your preferred ﬁlter is indicated. See ‘Using Instant Approval Architecture’ for full details.

Select the target image and then press and hold until the delete dialog opens. See ‘MAIN MENU > Delete’ for full details.

To toggle the overexposure indicator

To set the browse ﬁlter

To delete images

In this manual you will see the following kind of description regarding settings changes (as opposed to general viewing and browsing etc).

e method is the same for all changes, some stages taking a little longer than others and being a little more involved.

e following is an example of a setting change :

Setting the menu language

e menu is available in English, French, German, Italian, Spanish, Japanese and Chinese.

To choose any of the above languages, proceed as follows:

1. Press the

MENU/EXIT ( ) button to open the menu.

2. Press the

NAVIGATOR button ( and ) to select the

SETTINGS sub-menu.

3. Press the

NAVIGATOR button () to open the SETTINGS

menu.

4. Press the

NAVIGATOR button () to select the USER

INTERFACE sub-menu.

5. Press either

ZOOM button ( or ) to choose a new lan-

guage (in this case, Spanish).

6. Press the

MENU/EXIT ( ) button again to close the menu.

Menu Shortcuts !

To help you work faster, the digital back provides shortcuts to some of the most commonly used menu commands that do not otherwise have a dedicated button on the front panel. These are accessible by

pressing and holding one of the front-panel buttons for a second or so. These are mentioned where appropriate elsewhere in this manual, but we summarize them here for your convenience.

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General

With a new CF card (or a newly formatted CF card) inserted or with an Imagebank, a new folder (called a batch) is created automatically aer the rst image has been captured. More batches can be created whenever you choose and named for easier sorting. You should name them straight away though as they can only be changed later on (if required) when they have been transfered.

Organizing your work with batches

Batches help you to organize your shots as you work. ey function just like folders on a computer. Batches have the following properties:

• When you create a new batch, you can assign a name to it.

• When you copy images from a compact-ash card, each batch is saved as a subfolder on the destination disk.

• When deleting multiple images, you are able to restrict your delete command so that it aects just a single batch.

• When browsing images, you will only see images from the current batch.

• You can change between batches by using the navigation controls of the digital back front panel.

• The OLED shows the date on which each batch was created.



Please note that each new image will be saved in the latest created batch only. You cannot select any other batch to save a new image in.

Navigating media and batches

e camera always works with a current medium and a current batch. is is the location at which the camera will save all new shots and the location in which you can browse using the navigator button on the front panel. ere are two ways of selecting the current medium and/or batch:

• Using the zoom and navigator buttons of the front panel. This method enables you to select any existing batch and is therefore useful even when only one type of medium is attached. This method is explained in the procedure below.

• Using the

MAIN MENU > Storage entry of the menu system to choose a medium. This is only relevant when more than one medium is attached (e.g., both a compact ash card and an Imagebank). When you use this function, you will always go to the most recently created batch from the medium you select. Please see Selecting the Current Storage Medium for a complete description of this method.

Storage overview – Working with media and batches

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Medium- type icon (Comp act Flash)

Medium n ame

Number o f green, yellow a nd red shots curren tly stored on the medium

Medium c apacity in bytes and shot s in the batch

Medium- type icon (Fi reWire disk)

Batch na me

Date rt he batch was cr eated

Number o f green, yellow a nd red shot s in the batch

The MEDIA list. In this example a CF card and a

FireWire disk are illustrated and therefore connected.

The blue frame around the CF card symbol tells you that captured images will be saved to the CF card and not the FireWire disk. This is the Current Medium

The BATCH list. The blue frame around a folder tells

you that it is the Current Batch.

You work your way deeper into the menu branching o the selected item (framed in blue) each time you press the button to view media, batch, thumbnail view etc.

Conversely, you work your way back out of the menu each time you press the button.

Media list Batch list 9-Thumbnail view 4-Thumbnail view Normal view Zoomed

Continue to pr ess (+) to zoom fur ther

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1 2

3 4

5 6

7 8

9 10

To select the current medium and view batches using the browse controls:

1. Press the zoom-out (

) button repeatedly until you are all the way at the top zoom level. If you start with the singleimage preview view, then you pass through the following views to get there:

• Single-image preview (as in g 1)

• Four-thumbnail view

• Nine-thumbnail view (as in g 2)

• Batch list (as in g 3)

• Media list (as in g 4)

3. Each medium shows a name, total size and an estimate for how many images will t on it. To the right of the medium name is a set of three coloured numbers in parentheses. These indicate the total number of images of each approval status (green, yellow and red) that currently exist on that medium. For example, if you see a card that shows (18 / 5 / 3), then that card contains a total of 26 images: 18 green (approved), 5 yellow (unclassied) and 3 red (delete).

If more than one medium is listed, then use

 and  to

highlight the medium you wish to use.

4. The currently selected medium shows a blue border.

5. Press the zoom-in (

) button to zoom-in on the currently

highlighted medium.

6. A list of batches on this medium now appears. Each batch appears as a folder icon with a name and the date on which it was created. As with the media list, you can read the number of shots of each approval status that are stored in each batch.

7. As with media, use

 and  to highlight the batch you wish

to view.

8. The currently selected batch shows a blue border.

9. Press the zoom-in (

) button to zoom in on the currently

highlighted batch.

10. The nine-thumbnail view of your selected batch now appears.

Please note the dierence between ‘selecting’ a medium and

‘browsing’ a batch. Each new image will automatically be saved in the latest created batch only on the selected medium. You cannot ‘select’ a batch for storage.

Creating new batches

You can create any number of batches on each medium. To create a new batch, rst make sure you have selected the correct current medium (see Navigating Media and Batches) and then use the MAIN MENU > STORAGE > BATCH entry of the menu system to create the new batch. See Creating Batches for a detailed procedure.

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Page 21

Using Instant Approval Architecture

e Instant Approval Architecture system helps you to classify your images as quickly as you take them. It works by supplying immediate audio feedback, which tells you instantly whether each new picture is exposed correctly or likely to be over- or underexposed. ereaer, the system enables you to assign each image one of three status levels. ough you can use the system any way you like, the intention (based on the ‘trac light’ convention) is that you should assign the levels as follows:

•

GREEN for your best shots.

•

YELLOW ( AMBER ) for images that need closer inspection.

•

RED for images that should probably not be used.

Please note, when the current storage medium is full, red-status images will be

deleted (one at a time) to make room for new shots. You can continue shooting until no red-status images remain; if you then try to take additional new shots you will get a medium-full message.



Please note the two dierent actions of pressing (or quickly clicking) the approve button to change the status and pressing and holding to change the browse lter!

One of the greatest advantages of digital photography compared to lm is that it costs no more to shoot 100 images that it does to shoot one. Photographers therefore tend to take many more pictures when shooting digitally. By assigning approval levels as you work, it can be much easier to sort through and select images when you get back to your computer.

Standard Instant Approval workow

e standard method of working with the Instant Approval Architecture is as follows:

1. Take a shot.

2. The camera analyzes the shot to nd out if it seems to be over- or underex

posed. If it suspects a problem, it does the following:

• Provides audio feedback (if this option has been chosen) by making a warning sound, which immediately alerts you to a possible problem even if you are not looking at the screen. The warning sound is a rapid string of notes going up the musical scale if the image is judged as overexposed or

Current approval stat us (green) and browse -lter setti ng (show all)

Press a nd hold the ap prove butto n to change the s tatus of the cur rently selec ted image

Show all

Show gre en and yellow onl y

Show gre en only

Show yello w only

Show red only

Image Fil e Name

Green i mages star t with “A” Yellow imag es start with “B” Red ima ges star t with “C”

Press t he approve but ton to change t he status of t he curren tly selecte d image

Page 22

conversely a rapid string of notes going down the musical scale if the image is judged as underexposed

• Downgrades the approval status to yellow (if Approval is set to ‘Auto’).

Note that some shots may trigger the warning even though they are exposed accord-

ing to your intentions. You should consider these warnings only as a guideline.

3. If no problem is detected, then the image is saved with green status.

If you set Approval to ‘Auto’, all images will be stored as Green if judged as correct

and Yellow if judged as technically doubtful. No images are ever stored as Red automatically!

4. When you are browsing through your shots, keep an eye on the approval status of

each and consider whether you should promote or demote each shot based on its appearance on the preview screen. You can also apply a browse lter to, for example, browse only red shots when looking for images to delete or to browse only green shots to make sure you have a good version of each shot that you need.

5. When you begin working with the images on your computer, use the approval sta

tus as a guide for organizing your work. For example, you might begin by opening and optimizing the green shots and then go to the yellow shots only if you still need more images and then, nally, check the red shots as a last resort.

Note that the system is very exible so you can use it in any way that you like. For example, you can set the camera to assign all new images a yellow or green status regardless of the exposure warning. Be careful when assigning red status because red images may be deleted if the current storage medium becomes full.

Reading and changing the approval status

e current approval status of each shot is indicated in two ways:

• In most preview modes, the current status is indicated by a coloured dot in the bottom-right corner of the screen.

• Each image is given a name that indicates its approval status. Approved (green) image names start with “A” (e.g., “A0000043”); warning (yellow) images start with “B” (e.g., “B0000043”); and images marked for delete (red) start with “C”. Because of this naming convention, you will also be able to sort your image les by status after you have copied them to your computer (e.g., by listing the folder by le name).

By keeping an eye on the le name and/or coloured dot as you browse your images at the single-image, four-thumbnail or nine-thumbnail level, you can easily see the current approval status of each of them.

To change the approval status of the currently displayed/selected image, simply press the approval button until the desired approval status is shown.

Note that you can set the camera to lter by approval status as you browse, which

means that some images may be hidden (though they are still there). See “Browsing by Approval Status”, below, for details about how to work with the lter.

Be careful when assigning red status because red images may be deleted if the current

storage medium becomes full.

Browsing by approval status

You can set the camera to browse by approval status, which means, for example, that you will see only green-status images as you browse a batch (or both green and yellow, or only red, etc.). e current lter setting is indicated on-screen, as illustrated. Filtered

Page 23

images are still there, but they will not be shown until you change the lter setting. Also, if you change the status of an image, the image may ‘disappear’ if it no longer passes the lter. For example, if you have set the camera to browse only green-status images and then change an image to yellow status, that image will not be shown again until you change the browse lter.

ere are many ways to make use of this feature. For example:

• Set the lter to show only yellow images. Then step through each image and decide whether any of them should be promoted to green or demoted red.

• If you are running out of space, set the lter to show only red images and then step through to nd shots you can delete.

• Set the lter to show only green images. Then step through to make sure you have at least one ‘good’ example of each shot that you need.

ere are two ways to set the browse lter:

• Press and hold

until the lter you want to use is shown by the indicator.

• Use the MAIN MENU > Browse entry of the menu system. See Setting the Browse Filter for a detailed procedure.

Deleting by approval status

ere are many ways to delete images, including one-at-a-time and multiple delete by batch, media and/or approval status. When deleting several images, you rst pick the medium or batch from which you want to delete and then use the MAIN MENU > STORAGE > Delete entry to specify the status of the images to delete. You can choose to delete:

• All red-status images from the selected batch or medium

• All red- and yellow-status images from the selected batch or medium

• All images from the selected batch or medium

See MAIN MENU > Delete for detailed procedures describing each of the delete options.

Setting the default status

As outlined in “Standard Instant Approval Workow”, a CF digital back normally works by assigning a green status to all images that pass a basic exposure test and a yellow status to all images that fail the test. However, you can change this behaviour if you prefer an alternative workow. You have the following options:

•

Auto: works as described in Standard Instant Approval Workow.

•

Green: gives all new images a green status, regardless of the exposure warning.

•

Yellow: gives all new images a yellow status, regardless of the exposure warning.

Regardless of this setting, audio feedback will still be provided if an image is judged to be badly exposed (if this option is chosen).

Use the MAIN MENU > BROWSE entry to make this setting. See also Setting the Default Approval Status for a detailed procedure.

Page 24

Basic image browsing

e large, full-colour OLED display enables you to inspect your shots while you are still on-location. e display oers full-screen previews, high-magnication zoom, two levels of thumbnails and analysis tools including a full histogram and camera settings.

When you rst turn on the camera, the display opens in standard browse mode, showing the last image taken (if any) for the current medium and batch. Likewise, aer each new shot, the display shows a preview of the shot.

To browse the images of the current batch, simply press the le



and right



arrows

of the navigator button.

Choosing the current batch

When you browse using the navigator button, you will only see images from the current batch on the current medium. To view another batch, you must navigate to it by zooming out to the batch or media level and then zooming in on the appropriate folder. See Navigating Media and Batches for complete details about how to select the current medium and/or batch.

Browsing by approval status

It is possible to set the camera to browse only images of one or more specic approval levels from the current batch. You can use this, for example, to review all of your redstatus shots to make sure you don’t need them or to review all of your yellow-status shots to decide whether they should be moved to green or red status. When you use the browse lter, you will not see images excluded by the lter, but they are still there.

See Using Instant Approval Architecture for complete details about how to check and set the browse lter.

Zooming in and out

As illustrated below, you can use the or button to see various levels of detail in your images. You can furthermore zoom all the way out to view and select batches and media.

Overview of viewing, deleting and copying images

Media list Batch list 9-Thumbnail view 4-Thumbnail view Normal view Zoomed

Continue to pr ess (+) to zoom fur ther

Page 25

Zooming in for more detail

e preview display has a much lower resolution than your images. You can therefore zoom very far into the images to inspect small details. To do this:

1. Browse to the image you wish to zoom into with the navigation button.

2. Press the zoom-in (

) button to zoom in one step. The screen updates to show both a zoomed image and a thumbnail image that includes a red box outlining the portion of the images currently shown.

3. You can now do the following as needed:

• Use the navigator button to move the zoom area if you wish to inspect a dier ent part of the image.

• Zoom further by pressing the zoom-in (

) button more times.

• Zoom back out one step by pressing the zoom-out (

) button.

4. When you are nished, press and hold the zoom-out (

) button to return to brows-

ing at the standard zoom level.

Thumbnail views

Preview thumbnails are small versions of each preview, sized to t either four or nine images on the screen at once. Use them to get an overview of your work so far and to help nd specic shots.

To see the thumbnails, start with the standard preview display and press the zoom-out button once to see four thumbnails or twice to see nine.

When viewing thumbnails, the selected image shows a blue border. When an image is selected, you can zoom in on it using the zoom-in button or delete it using MAIN MENU > STORAGE > Delete (see also MAIN MENU > STORAGE > Delete for a detailed procedure). Use  and  to scroll the thumbnails when you have more shots than can be shown.

If you continue to zoom out beyond the nine-thumb view, you will come to the batch

list and then to the media list. You can use this to select the current medium and batch for browsing and for storing new images. See Working with Media and Batches for details.

Page 26

Preview Modes

Choosing the Preview mode

You can use the view-mode button to cycle through the available preview modes.

e preview screen works in several dierent modes:

• Standard preview:

shows a preview image surrounded by a display of few important settings.

• Histogram:

shows a preview image overlaid with a histogram.

• Histogram and full details:

shows a preview image overlaid with both a histogram and camera-setting details.

• Battery saver:

turns o the screen, but you can still use the menus and take pictures.

• Full-screen preview:

shows the preview only, with no frame or settings information.

To cycle through the various modes, press the view-mode button on the front panel. e order is circular, as listed above. Each mode is described in detail in the sub-sections below.

Regardless of the current mode, if you zoom in on the image or zoom out to the thumbnails, the display reverts to showing the “standard” preview frame, which shows information about the current image and camera settings around the edges. When you return to the standard zoom level, however, you will then also return to your last-selected preview mode.

Note that the screen can also operate in menu mode, which does not show a preview, but enables you to make digital back settings. To enter menu mode, press the menu button. See Working with the Menus for details.

You can cycle through all the available preview modes by pressing the View-Mode button.

Page 27

ISO setti ng

White balance

Current sto rage medium

Button lab el

Image le name

Storage capa city (Shots taken / shots remaining)

Approval st atus and browse lter setting

The standard preview display

e standard preview display is the one shown when you rst turn on the camera. It features a preview of your most recent shot and basic information about the digital back settings and the image itself.

Using the histogram

e histogram provides a graph that indicates the total number of pixels at each brightness level, with brightnesses going from black on the le to white on the right. It is a valuable tool for evaluating your exposure. A well-exposed shot usually has a full range of levels, while under- and overexposed shots tend to show levels concentrated at the le or right part of the scale, respectively.

For example:

Underexposure A

A histogram that is cut-o at the le with few pixels elsewhere indicates a likely underexposure. Many details will be lost in the shadows.

Even exposure B

A histogram that is spread across the full range indicates a likely good exposure. ere may still be a few pixels at the extremes, indicating a few spectral highlights and saturated shadows, but this is oen normal in a good exposure.

Overexposure C

A histogram that is cut-o at the right with few pixels elsewhere indicates a likely overexposure Many details will be lost in the highlights

The histogram is only an indicator that should be interpreted—there are many situ-

ations in which a questionable histogram will match an exposure that is ne for the intended eect (and vice-versa).

Full-details mode D

In full-details mode, you can read a complete list of camera settings, plus see the histogram and, in the background, a darkened preview of the image.

e camera-setting details are stored with the image, so you can refer to them using FlexColor even aer you have loaded the image to your computer and stored it in your archive.

Page 28

Battery-saver mode

In this mode, the digital back 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 eect.



You can also save battery power by turning down the brightness and/or contrast of the display using the entries of the MAIN MENU > SETTINGS > USER INTERFACE > DISPLAY menu. See Making Display Settings for details.

Other ways to save battery power include setting a display time-out and/or a power-

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 1

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 eect. is will prevent you from accidentally assigning the wrong status without knowing it.

Overexposure indicator 2

ough 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 nd them, the digital back 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 ashes the overexposed pixels from black to white.

To enable or disable the overexposure indicator, use the MAIN MENU > SETTINGS > USER INTERFACE > Mark Overexp. entry.

There is also a one-button shortcut for toggling the overexposure marker on and o.

To use it, press and hold  until the indicator is working as you would like (enabled or disabled).

 Overexposure

indicator shortcut !

Page 29

There is also a one-button shortcut for deleting single images. To use it, select a target image and then press and hold the  until the conrm-delete dialog opens.

 Delete shortcut !

Deleting images − general

A CF digital back 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

Another way of working is to simply assign unwanted images as Red. In this way, you

retain the option (for a while) of changing your mind later while allowing the system to automatically delete the unwanted images as the storage medium lls up.

You will always be asked to conrm each delete operation.

For complete details about how to use the menu system to delete single or multiple images, please see MAIN MENU > STORAGE > Delete.

Transferring / Copying images − general

Transferring to a computer

To transfer images stored on the compact-ash card to your computer, simply connect the digital back to a computer using a FireWire cable and then run FlexColor, which will automate the process. See your FlexColor manual for details.

See also Connecting to the Computer for details about how to connect to a computer.

Another way to transfer images to your computer is to remove the compact-ash card from the digital back and insert it into a compact-ash card reader connected to a computer. See Using Compact Flash Memory Cards for details about how to remove and insert the card.

A CF digital back can also function as a CF card reader for le transference. Select MAIN

MENU > SETTINGS> Misc > Interface > Disk.

Images that you have stored on an Imagebank can also be transferred to a computer by connected the external disk to the computer with a FireWire cable and then copying the les using the le system. See your Imagebank or hard disk documentation for details.

For complete details see MAIN MENU > STORAGE > Copy.

Transferring to an Imagebank

A CF digital back enables you to work in the eld, shooting to the internal card, and then transfer images to an external hard disk even if you do not have a computer with you. In this way, you can combine the total exibility of shooting without any external connections with the massive storage capacity of an external hard disk.

When the internal card gets full, just connect the camera to a Imagebank, transfer the images, clear the card and return to shooting.

Images are not automatically deleted from the card aer copying. If you want to delete some or all images to free up some space, then use MAIN MENU > STORAGE > Delete.

See also MAIN MENU > STORAGE > Delete.

Page 30

Menu system overview

The main menu contains those settings that you will need to access most often as you work on an assignment. It also provides sub-menus that give you access to all other settings, most of which you will need less often.

Navigating the menu system

To enter to the menu system, press the MENU button on the panel. Any image visible is then replaced by the rst level of the menu. Use the navigator button to scroll through the menu items and use the and buttons to change the selected setting. See also The Control Panel for button diagrams and descriptions.

Any given menu may include both entries and/or sub-menus.

• Entries are settings that are available at the current menu level; they show their

current settings next to the entry name. To make an entry setting, use the navigator ( ) button to select the entry and then use the zoom ( and )buttons to select the desired option for that entry

• Sub-menus do not have settings at the current level; they lead to another menu

or dialog. Sub-menus show a right-pointing arrowhead () instead of a value. To open a sub-menu, use the up/down arrowheads ( and ) of the navigator button to select the sub-menu and then press the right side of the button to open it. There can be several levels of sub-menus.

• When you are in a sub-menu, you can go back to the parent menu by pressing the

left arrowhead () of the navigator button.

• Some sub-menus open a dialog. Dialogs require that you either make a setting or

exit the dialog (e.g., to conrm or cancel a delete command). The left arrowhead will have no eect.

MENU –

• ISO

• White balance

• Media

• Browse

Entry nam e (in white) and

current se tting in yellow

Sub-menus s how a rightpointing ar row, press the

right-arrow on the naviga-

tor button to open the sub-

menu (or, in some ca ses a

dialogue win dow)

- button label

(Here shown as EXIT)

Current menu name

Selected entry (indicated by blue frame). The + and − signs indicate that y ou can use the (+) and (−) buttons to chan ge the value

-button label

(Here shown in active)

Page 31

Menu structure

Entries of the main menu

Page 32

1 2

3 4

5 6

Language

1. Press the 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

or button to choose a new language (in

this case Spanish).

6. Press the

MENU/EXIT button again to close the menu.

ISO

You are able to set the light sensitivity of the digital back to match an equivalent ISO rating for standard lm.

e ISO rating can be set to 50, 100, 200 or 400.

To set the ISO:

1. Select the

MAIN MENU > ISO entry. This is the top entry of the top menu, so it will be selected by default when you enter the menu system. (See also Navigating the Menu System for details about how to nd this setting.)

2. Use the

or button to step through the available ISO set-

tings until the setting you want is shown.

3. Either move on to another setting by using the navigator but

ton or press the menu button to exit the menu system and keep your setting.

Note that the default sensitivity of the CCD sensor is ISO 50.

Higher ISO settings result in progressively noisier images (just as higher ISO lm becomes more grainy). It is recommended that you use the lowest ISO setting possible for the lighting situation.

Page 33

White Bal. Setting Setting descript ion

Daylight For general outdoor use in direct sunlight.

Cloudy For general ou tdoor use in cloudy weather.

Shade For general outdoor use in shady locations out of direc t sunlight.

Flash For general indoor use when using a normal ash system.

Fluorescent For use when using uorescent lighting.

Tungsten For use when shooting indoors under standard tungsten lamps.

Manual F or a manual setting

There are six ‘White Balance’ settings to choose from.

White balance

Use this entry to set the white balance saved with the image and applied to the preview.

To select a preset white balance:

1. Select the

MAIN MENU > White Bal entry. The current setting is displayed here. (See also Navigating the Menu System for details about how to nd this setting.)

2. Use the

or button to step through the available white

balance settings until the setting you want is shown.

3. Either move on to another setting by using the navigator but

ton or press the menu button to exit the menu system and keep your setting.



Please note that white balance settings are for your viewing convenience only. The setting is temporary for preview display reasons and in no way aects the le which remains neutral awaiting further processing.

To make a manual white balance setting:

1. Select the

MAIN MENU > White Bal > Manual entry.

2. Use the

 button to call up the ‘Manual White Balance’

screen.

3. Here, you can set the color temperature as a gure with the or buttons. Alternatively, you can position the central

spot in the viewnder over an area that you consider should be rendered as neutral in color in the image ( a ‘grey card’ or even a sheet of white paper is ideal) and make a test exposure (ensure the exposure is approximately correct otherwise you will get a warning message). A small rectangle appears on the LCD marking that particular area. Calculations then take place automatically so that the following shots use the area chosen as the new ‘white balance’ standard.

Media

e storage setting controls where your digital back will store new images and which stored images will be visible in the browse window.

Oen, you have just one type of storage media available—the internal compact-ash card. However, if you have several media attached (e.g., a card and one or more external disks), then you may need to switch between them.

If your selected storage medium has more than one batch (folder) on it, then the batch selected when you use the storage menu entry will be the one you most recently created.

To select the medium to which to save new shots and from which to browse previous shots:

1. Press the

MENU button.

2. Use

 and  to select the MEDIA sub-menu.

3. Use the

or button to step through the available media until the name for destination/source you wish to use is shown.

4. Either move on to another setting by using the navigator but

ton, or,

press the

MENU button to exit the menu system and keep

your setting.

1 2

Page 34

2 3



There is also a one-button shortcut for changing the browse lter.

To use it, press and hold (do not click!) the Instant Approval button until the approval status colour appears. Browsing will then only display the images with that classication.

 Browse shortcut !



Note that you can also select media using just the (+) and (-) buttons while browsing images. This method also enables you to select a batch as you zoom in from media to batch to thumbnails to preview. See Navigating Media and Batches for complete details about this method.

Browse

e browse lter complements the instant-approval system by enabling you to browse through images according to their approval status. You have the following choices:

• All: browses all of the images in the current batch, regardless

of their approval status. is is the default.

• Red: browses only red-status images from the current batch.

ese are images that you have marked for likely deletion. You might browse these images to make sure you have not eliminated any usable images and/or to nd images that you can delete to make room for new shots.

• Green: browses only green-status images from the current batch.

ese are either new shots that did not trigger an exposure warning or shots that you manually assigned to green aer overriding an exposure warning.

• Green & Yellow:

browses green and yellow-status images, but does not show red-status images. ese are probably images that you have either decided to keep or not yet checked for approval status.

For more information about using the instant-approval system, please see Using Instant Approval Architecture.

To set the browse lter using the menus:

1. Select the

MAIN MENU > Browse entry. The current setting

is displayed here.

2. Use the

or button to step through the lter options (described above) until you have selected the lter you wish to use.

3. Either move on to another setting by using the navigator but

ton or press the menu button to exit the menu system and keep your setting.

e appearance of the ‘Empty Browse Filter’ message signies that there are no images with that particular approval status.

Page 35

MENU –

• Storage

This section describes le storage, le transference, storage organization, le classication and related subjects.

Navigating the STORAGE settings

Page 36



There is also a one-button shortcut for deleting single images. To use it, select a target image and then press and hold the  until the conrm-delete dialog opens.

 Delete shortcut !



MAIN MENU > STORAGE

e Storage menu provides entries for working with storage me- dia. Here, you can format media, copy images from the camera to a hard disk or computer and create new batches on available media. You can also set the initial approval status (green or yellow) assigned to new pictures.

e rst item on the storage list is le deletion. e great advantage of digital capture is course the ability to judge images on the spot, delete them immediately if necessary and thereby make room for more valuable captures. ere are several ways to delete images:

• Delete a single image

• Delete all images from a batch

• Delete all images from a medium

• Delete all images of a specied approval status (e.g., red) from a batch or medium

DELETE

In this example, one image is to be deleted from a batch containing nine images.

To delete a single image:

1. From a preview image (which is being kept), use the

button

to go to the nine-thumbnail (in this case) view.

2. Use the navigator button to select the image you wish to

delete. When you are viewing thumbnails, the selected image has a coloured border around it. When you are viewing single images, the selected image is the one currently shown. (You can delete an image either from single image view or from thumbnail view).

3. Select

MAIN MENU > STORAGE

4. Press

 to open the Delete dialog.

5. You are now shown a full-size preview of the selected image

and asked to conrm the delete. Press OK.

6. You now return to the main menu. Notice that the unwanted

image has now been deleted and the batch only contains the three remaining images. Either move on to another image by using the navigator button or press the menu button to exit the menu system.

Page 37

Menus for deleting several images from a batch.

  

Deleting several images from a batch

To delete several images from a selected batch:

1. Starting at the single-image preview display, Select

MAIN MENU > STORAGE > Delete. (See also Navigating the Menu System for details about how to nd this setting.)

2. Use

 to enter the Delete submenu.

3. Use the

or button to select:

This image - deletes the current image only All Red in batch - deletes all red images in the current batch All yellow/red in batch - deletes all yellow and red images

in the current batch All in batch - deletes all images in the current batch

4. Press

OK to conrm the delete. To exit without delete, press

EXIT.

Page 38

5. You now return to the main menu. Either move on to another setting by using the navigator button or

6. Press the menu (

EXIT) button to exit the menu system.

Deleting several images from a selected medium

To delete several images at once:

1. Starting at the single-image preview display, press the button until you reach the media list.

2. Use

 and  to select the medium from which you wish to

delete. You will be deleting from all batches stored on that item.

Note that both each listed medium shows a set of three coloured

numbers in parentheses to the right of the medium name. These indicate the total number of images of each approval status (green, yellow and red) that exist on the medium. For example, if you see a medium that shows (18/5/3), then the medium contains a total of 26 images: 18 green (approved), 5 yellow (unclassied) and 3 red (marked for probable delete).

3. Select MAIN MENU > STORAGE > Delete. (See also Navigating the Menu System for details about how to nd this setting.)

4. Press

 to open the Delete Image dialog.



Page 39

Menus for deleting several images from all batches from a selected storage medium.



5. You must now select the approval status that you wish to delete. All images from the selected medium that are also of the status that you select here will be deleted by the operation.

Use

 and  to select All Red, All Red & Yellow or All.

6. Then press

 to open the delete dialog for your selected sta-

tus.

You are now asked to conrm the delete.

7. • To conrm, press the button to change the status to Yes

and then press the approve button to execute the delete.

• To cancel, press the menu button to exit; or press the

button to set the status to No and then press the approval button to cancel.

You now return to the main menu. Either move on to another

setting by using the navigator button or

8. Press the menu

(EXIT) button to exit the menu system.

Page 40



FORMAT

e digital back is only able to read and write to media that have been formatted.

However, new cards or disks sometimes arrive without any formatting, or you might want to convert media that are currently using a format that the camera cannot read.

Each time you get a new compact-ash card, we recommend

that you format it using the digital back as described below, even if the digital back is already able to read it. This will enable the digital back to use the card more eciently.

The digital back is capable of formatting any type of medium

connected to it, including compact ash cards and Imagebank units. When you do this, you will erase all data contained on the target medium.

You can also use the format command for the purpose of delet-

ing all images on a disk. This is sometimes faster than using the delete function, but it is not as exible because all data from all batches will always be erased.

To format media:

1. If you have more than one type of medium connected (e.g., a compact-ash card and Imagebank), then start by selecting the medium you wish to format using the Storage entry of the main menu (see also Selecting the Current Storage Medium ).

2. Select

MAIN MENU > STORAGE > Format. (See also Navigating the Menu System for details about how to nd this setting.)

3. Press the

 to open the Format Card dialog.

4. You are now asked to conrm the operation.

• To conrm, press the

OK button. This will execute the format

and delete all data on the current medium.

• To cancel, press the

EXIT.

5. You now return to the

STORAGE menu. Either move on to another setting by using the navigator button or press the menu (EXIT) button to exit the menu system.

Page 41



COPY

Usually, you will copy images from a card by connecting the camera to a computer and using FlexColor. However, you might also want to load images from a card to a portable FireWire hard disk or Imagebank, allowing you to erase the card and keep shooting even when you do not have a computer with you.

Aer the copy, the destination disk will have a folder named CARDXXX, where XXX is a number that increments with each new copy operation (e.g., CARD001 for the rst copy, CARD002 for the next, etc.). Previous copies are therefore never overwritten (provided you have fewer than 1000 folders of them). Within each CARD folder is a sub-folder for each batch. You cannot use the digital back to browse images copied in this way; you must connect the disk to a computer to browse the copied folders. is operation does not delete the copied images from the card—you must do this manually if you want to free card space aer the copy.

To copy images from the compact-ash card to external media, use a FireWire cable to connect the external media to a CF digital back and then.

1. Press the

MENU button.

2. Press

 to navigate down and select the Storage dialog.

3. Press

 and then  to navigate down and select the Copy

dialog. Press  to open the Copy dialog.

4. If you have only one disk attached, then skip this step. If you have more than one disk attached, then press

 to

select the From card to entry. Then use the or button to select the name of the medium you want to copy to. Finally, press  to go back to the Are you sure? entry.

With the

Are you sure? entry selected, you must now con-

rm the operation.

• To conrm, press the

button to change the status to Yes

and then press the approve (OK) button to execute the copy.

• To cancel, press the menu (

EXIT) button to exit; or press the

button to set the status to No and then press the approve

(OK) button to cancel.

If you chose to conrm, then the digital back now tracks the

progress of the copy operation, which can take a few minutes. You can stop the copy at any time by pressing and holding the menu (STOP) button.

5. You now return to the

STORAGE menu. Either move on to another setting by using the navigator button or press the menu (EXIT) button to exit the menu system.

Page 42



BATCH

Batches help you to organize your work. ey are very similar to folders on a computer hard disk. Use the Batch command of the STORAGE menu each time you want to create a new batch.

For more information about batches, please see Working with

Media and Batches.

To create a new batch:

1. Press the

MENU button.

2. Press

 to navigate down and select the Storage dialog.

Press

 and then  to navigate down and select Batch.

3 Press

 to open the Batch dialog. The new batch name will

always begin with a three-digit number, which automatically increments by one with each new batch. Following this is ve letters, which you can assign yourself to help make the batch easier to identify. To set the letters:

• Use

 and  to select one of the ve letters.

• Use the

or button to step the currently selected letter up or down the alphabet until you have found the letter you want.

• Continue working until you have set the name you want.

4. Press the approve (

OK) button to save the new batch with the

name you selected.

5. You now return to the

BATCH menu. Either move on to another setting by using the navigator button or press the menu (EXIT) button to exit the menu system.



Remember that all new images are stored automatically in the latest batch. It is not possible to store new images in older batches.

Page 43



DEFAULT APPR. LEVEL

e 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 conguration, the status of each new shot is assigned as follows:

• Green (approved): e new shot seems to have been exposed correctly.

• Yellow / Amber (unclassied): e 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

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 but

ton or press the menu (EXIT) button to exit the menu system and keep your setting.

Page 44

Menu: Settings

There are a number of settings grouped under the general ‘Settings’ heading which are:

• User Interface

• Camera

• Miscellaneous

• Default

Navigating the USER INTERFACE settings

Page 45

MAIN MENU > SETTINGS > User Interface

By altering the User Interface settings, you can control the way the digital back interacts to suit you and your preferred way of working. It also includes date and time settings.

Entries of the USER INTERFACE Menu

e user interface menu includes both entries and sub-menus. e following entries are available here:

•

Language:

e menu system can be displayed in any of seven languages. is menu entry enables you to select your preferred language for the menus.

•

Power Down:

To help preserve the charge of the battery, you can set the back to power down aer a specied period of inactivity. e eect is exactly the same as though you had pressed the o button on the camera. Once it has powered down, you must turn the digital back 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. (Note the dierence between Display ‘timeout’ and Power Down.)

•

Mark Overexp.:

is 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 ashing it white and black.

Set this entry to On to enable the feature; set to O to disable it.

•

Sound:

A CF digital back uses audio feedback to help let you know if each new image is exposed correctly. is is described in Using Instant Approval

Architecture.

is menu entry has Volume (choose between High, Low and O), Key Click (choose between On and O) and Exposure Warning (choose between On and O).

•

Date & Time:

A CF digital back has an internal clock that keeps track of the date and time. is 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.

•

Display:

is feature sets the Timeout (2-30 seconds) on the display, which behaves very much like a screen saver on a computer.When the timeout is reached, the display will be turned o, but the back will still be running, so it will immediately respond to a press of the buttons. (Note the dierence between Display ‘timeout’ and Power Down.)

is 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.

is feature also sets the Brightness (on a scale of 1-10) on the display. is 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.

Page 46

Setting the options under the User Interface menu

Each of the above entries can be set by similar menu navigation. Language, Power Down and Mark Overex can be set immediately by the or buttons while Sound, Date & Time and Display require another move to sub menu for nal choice.

Proceed as follows:

1. 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 open the USER INTERFACE sub-menu.

5. Use

 and  to select the required entry.

6. Press either the

or button to make the new settings in

the case of Language, Power Down and Mark Overex or Press  again to access Sound, Date & Time and Display

7. Press the

MENU/EXIT button again to save the new settings

and close the menu.

1 2

3 4

Page 47

MAIN MENU > SETTINGS > Camera

The camera choices that appear on the menu are automatically restricted to the adapter you have tted. So, if you have have tted an adapter specically intended for Hasselblad models, then only Hasselblad models will appear. The following is a description of settings and action needed when working with the various Hasselblad models.

e exposure time set on a CF digital back sets the maximum length of exposure. e default setting is 1/8 sec and this is the setting that can be kept for all exposures from 1/8 sec. However, this setting should be changed in accordance with the time required if it exceeds 1/8 sec. Times of up to 32 seconds can be set.

If you prefer, you can connect the ‘Flash sync input cable’ between the lens PC socket and a CF digital back which allows you to retain the default setting of 1/8 second while still being able to use exposure times longer than 1/8 second. is method also allows the use of the B setting.

Model setting variations

Look in the list below for the camera model you are using and make the appropriate settings change. Don’t forget to change the setting if you change camera model!

Please note that certain connection cables /cords are only included as accessories to certain adapters. Please see adapter manuals for further information.

Winder CW

For use with 503 CW models:

• Make a

Winder CW setting.

• If you want to control the camera from FlexColor, connect the Exposure cable 503

between a CF digital back and the Winder CW.

• Do not use the winder at rapid sequence setting.

ELD

For use with ELD models:

• Make an

ELD setting.

• A B setting exposure can be made by choosing the “Bulb” in the “Exposure Time” setting. The maximum exposure time remains at 32 seconds however.

Navigating the CAMERA settings

Hasselblad 503CW plus Winder CW with Exposure cable 503 in place showing connection from Winder to adapter.

Exposure Cable 503

Please note that this particular list is only an illustration.

Camera choice displayed will vary according to adapter tted.

Page 48

• Only the single shot function (A or AS mode camera settings) should be set on the camera. Rapid sequence shots are not possible.

• Use the

Adapter EL (supplied) to provide the necesssary extension beyond the motor housing

of the EL models for battery attachment. It is attached to a CF digital back in the same manner as a battery, and the battery itself is then attached to the adapter as in the illustration.

ELX

For use with 500EL/ELM and 500/553ELX models:

• Make an

ELX setting.

• The

Exposure Cable EL (supplied) should be connected.

• All exposures times, including the B setting, function correctly without having to alter the “Exposure Time” setting.

• Rapid sequence shots are not possible.

• Use the

Adapter EL (supplied) to provide the necesssary extension beyond the motor housing

of the EL models for battery attachment. It is attached to a CF digital back in the same manner as a battery, and the battery itself is then attached to the adapter as in the illustration.

Pinhole

For use with lenses/cameras with no shutter. Intended primarily for use in a studio environment where complete darkness can be achieved and exposures made accordingly (also useful for ‘light painting’). In this mode a CF digital back uses the exposure time (as well as other required stages in a capture sequence) set in the Capture Sequence dialog. e back can be triggered either via the START (MENU/EXIT) button or from FlexColor (see later section for full description of Capture Sequence settings procedure).

Flash sync

For use with an ArcBody, a FlexBody or view cameras with a Hasselblad adapter.

• Make a

Flash sync setting.

• A

Flash sync input cable should not be used.

• All exposures times, including the B setting, function correctly without having to alter the “Exposure Time” setting.

• Do not use a winder at rapid sequence setting.

500

For use with 500C/CM, 501C/CM and 503 CX/CXi/CW models.

• Make a

500 setting.

• Make an H setting.

Shutter Delay

ere can be dierences in the amount of time required in preparation (raising the mirror, opening/closing the shutter etc) for digital capture between various camera models. is corrective feature adjusts the time a little to ensure the image is read out from the sensor. e normal setting is Default and should only be changed if problems are encountered.

Exposure Time

is setting should be changed for cable-free exposure times longer than 1/8 second, ensuring that it matches the set shutter speed on the lens. e settings range from 1/8 second to 32 seconds (1/8 second is the default setting). e ELD also has a “Bulb” setting.

All Hasselblad EL models except the ELD require an Exposure Cable EL.

Illustrated here also is use of the Adapter EL to hold the battery.

Exposure Cable EL

Page 49

Capture sequence

is feature functions in the same manner as an interval timer and only works in conjunction with a motor or winder driven camera model except in the case of the Pinhole setting where it is the only way of controlling such exposures (see later section for full details).

Initial delay: Controls the amount of time required to elapse before the rst exposure.

Delay: Controls the amount of time required between each exposure.

Count: Controls the total number of exposures required.

Setting CAMERA model and options

Proceed as follows:

1. 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. Use

 and  to select CAMERA.

5. Press

 to open the CAMERA menu.

6. Press either the

or button to select camera model.

7. Use

 and  to select SHUTTER DELAY or EXPOSURE

TIME if required.

8. Press either the

or button to make new settings if

required.

9. Press the menu (

EXIT) button to exit the menu system and

keep your settings.

1 2

3 4

5 6

7 8

Page 50

Connectivity diagram

FlexBody

ArcBody

SWC / SWC/M

903 SWC

905 SWC

2000 FC / FCM

2003 FCW

201 F / 203 FE

205 TCC / FCC

With C-type lens

503 CW +

Winder CW

500 EL/ELM

500/553 ELX

555 ELD

Flash sync

input cable

500 C/CM

501 C/CM

503 CX/CXi/CW

Exposure cable

ELX

Exposure cable

503 CW

H1, H2

Single shot

mode only

Hasselblad H adapter

Hasselblad ELD

Hasselblad EL, ELM,

ELX adapter

Hasselblad 503 CW

adapter

Hasselblad

ELD adapter

Hasselblad CF-39

Hasselblad CF-39MS

Hasselblad camera connectivity diagram

CF/MS

Page 51

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Connectivity diagram

CF/39

Page 52

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Connectivity diagram

CF / MS

Page 53

1 2

3 4

5 6

7 8

Setting EXPOSURE TIME and CAPTURE SEQUENCE

Proceed as follows:

1. 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. Use

 and  to select CAMERA.

5. Press

 to open the CAMERA menu.

6. Press either the

or button to select PINHOLE.

7. Press

 or  to select EXPOSURE TIME.

8. Press either

or to make an exposure time setting.

9. Press

 to select CAPTURE SEQUENCE.

10. Press

 to open the CAPTURE SEQUENCE menu.

Page 54

11 12

11. Press either the or button to make an INITIAL DELAY setting.

This setting controls the amount of time that elapses

before the rst exposure in the sequence.

12. Press

 to select DELAY.

13. Press either

or to make a DELAY setting.

This setting controls the amount of time between each

exposure in the sequence.

14. Press

 to select COUNT.

15. Press either

or to make a COUNT setting.

This setting controls the number of exposures in the

sequence.

16. Press

OK to conrm all the settings.

17. The CF digital back is now ready for sequence start. Note that the MENU/EXIT button now diplays START instead:

18. Press

START to set the sequence running.

19. Note that the

MENU/EXIT button now displays STOP. The sequence can be stopped at any time by pressing this button and the standard menu display returns.

Page 55



Navigating the MISCELLANEOUS settings

MAIN MENU > SETTINGS > Miscellaneous

e MISCELLANEOUS menu contains two settings:

Selecting an interface

e interface setting controls the way the camera will appear to your computer when you connect it. You have the following choices:

•

Camera:

e camera will present itself to your computer as a camera. Depending on the way you have congured your computer, this may mean that when you connect the camera, your computer will automatically launch FlexColor, which may then begin importing images and converting them to 3F format.

•

Disk:

e camera will present itself to your computer as a mass storage device. is means that it will look like a hard disk, which you can navigate to, open and read using the standard tools for your operating system (e.g., the Finder in Mac OS or the File Explorer in Windows).

To set the interface presented by the digital back to your operating system:

1. Select the

MAIN MENU > SETTINGS > MISCELLANEOUS >

Interface entry. The current setting is shown here. (See also

Navigating the Menu System for details about how to nd this setting.)

2. Use the

or button to step through the available settings

until the interface you wish to use (camera or disk) is shown.

3. Either move on to another setting by using the navigator but

ton or press the menu (EXIT) button to exit the menu system and keep your setting.

Page 56





The About box

Occasionally, Hasselblad releases updates to the internal soware of the digital back (this is called “rmware”). ese updates may x small errors and/or add new features. You will probably receive additional assistance from Hasselblad technical support if and when a new update is available. In this case, it may be important to know the serial number and current rmware version of your digital back. To nd this out:

1. Select

MAIN MENU > SETTINGS > MISCELLANEOUS >

About. (See also Navigating the Menu System or details

about how to nd this setting.)

2. Press

 to open the About dialog, which shows the serial

number and rmware version.

3. When you are done reading the information, press the menu (EXIT) button to return to the MISCELLANEOUS menu. Either move on to another setting by using the navigator button or press the menu (EXIT) button again to exit the menu system.

Page 57



MAIN MENU > SETTINGS > Default

e DEFAULT setting will reset all custom settings you have made back to the original default / factory settings.

To reset all settings:

1. Select the

MAIN MENU > SETTINGS > DEFAULT entry.

2. Press the

OK button and then the EXIT to return.

Press and hold until the display begins to ﬂash (or stops ﬂashing) its overexposed areas. See ‘Overexposure Indicator’ for full details.

Press and hold until your preferred ﬁlter is indicated. See ‘Using Instant Approval Architecture’ for full details.

Select the target image and then press and hold until the delete dialog opens. See ‘MAIN MENU > Delete’ for full details.

To toggle the overexposure indicator

To set the browse ﬁlter

To delete images

Menu Shortcuts – memorize these quick actions to save time and eort later!

To help you work faster, the digital back provides shortcuts to some of the most commonly used menu commands that do not otherwise have a dedicated button on the front panel. These are accessible by

pressing and holding one of the front-panel buttons for a second or so. These are mentioned where appropriate elsewhere in this manual, but we summarize them here for your convenience.

Francis Hills Fashion

Page 58

Witha Multishot back, there are two extra modes available other than single shot; namely Multi-shot and Micro-step. These virtually eliminate unwanted moire and artefacts in studio type sets ups.

Multi-shot

e technology behind this mode is high precision piezo controlled movements of the sensor in pixel sized increments. Four separate shots are taken in succession (one for each color, but with green captured twice for extra sharpness)that are then combined into a single, high-resolution image. Images taken in multi-shot mode will be sharper and contain more detail than single-shot images. Multi-shot images will also stand up to greater enlargement later in production.

Micro-shot

In this this mode the movements of the sensor can be controlled accurately down to 1/2 pixel movement increments. It quadruples the resolution of the image making a total of 16 captures. is creates high-resolution images of up to 528 MB. Micro-step images will stand up to even greater enlargement than multi-shot images.

General

In both cases it is essential to ensure that there is no movement in either the camera or the subject. Because of this, these methods are only suitable for tripod/camera stand use for studio-like environments, technical shots, product shots, architectural subjects and similar.

Instructions

Multi-shot and Micro-shot modes are instigated by way of FlexColor only. Please see the FlexColor user manual for full intructions.

Multishot

The Multishot facility is only available with Multishot units.

Page 59

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Most ash units are suitable for use with a CF digital back. However, for safety reasons, care should be taken when using studio ash units (strobe) and tethered to a stationary computer.

Portable units

Attach the ash sync cable to the lens (or camera body in the case of a Hasselblad 200 series model) and make the appropriate settings according to the unit.

is also applies when using studio units when:

a) tethered to a computer not connected to a regular electricity supply system.

b) tethered to an Imagebank or laptop computer running on batteries.

With studio type ash units (strobe) and tethered to a computer

If the CWD is tethered to a computer that is connected to a regular electricity supply system as well as a studio ash/strobe unit that is also connected to a regular electricity supply system/generator system, then make the following connections instead:

a) Connect the ash sync input cable from the sync contact (PC connector) on the lens

to the ash sync IN terminal on the back.

b) Connect the

ash sync output cable from the ash sync OUT terminal on the back

to a regular ash sync cable that is connected to the unit.

TTL function – 503CW /503CWD only

A TTL function is only available with the 503CW/D. e reective characteristics of the digital sensor are dierent to lm surface characteristics for which the TTL function was originally designed. However, by changing (in eect, ‘tricking’) the setting, TTL exposures can be made. Proceed as follows:

Move the ISO selector on the 503CW/D so that is becomes approximately 1⅔ f/stop higher than the ISO setting on a CF digital back. erefore, for example, when the back is set at 50ISO, the ‘lm speed setting’ on the camera should read 160ISO, and so on. Testing for the most suitable compensation that suits you is recommended.

See appropriate manuals for connection details regarding the various units and adapters.

Flash / Strobe

A CF digital back can be used together with most studio or portable units.

When attached to a 503CW (or 503CWD), the TTL function is also available.

Page 60

Cleaning the CCD Infrared Filter

If you see dark or coloured spots or lines in your images, then you may need to clean the outer surface of digital back’s infrared (IR) lter. In most cases, the careful use of compressed air will be adequate, but sometimes small particles will get stuck to the surface of the IR lter, requiring for a more thorough cleaning, involving either uid or wipes. For a good safe cleaning, follow descriptions below.

WARNING: never attempt to remove the glass lter from the front of the CCD—you

will probably ruin the CCD if you do so. If dust manages to get between the IR lter and CCD, please contact your Hasselblad dealer for assistance.

Basic cleaning procedure

1. Discharge any static electricity that may have built up on your body by touching the digital back housing.

2. Unlock the digital back from the camera (according to camera model).

3. The top of the digital back will be released (while it rests on the magazine retaining hooks) and it can be swung away from the camera body.

4. Clean the outside surface of IR Filter by spraying it with clean compressed air. If this is not enough, then use one of the procedures outlined below.

5. If you still see spots on your shot after you have cleaned the outside of the infrared lter, then you may have dust on either on the back side of the IR lter or on the CCD itself. This can only be removed at the Hasselblad factory. Contact your Hasselblad dealer for assistance.

6. When reattaching the digital back to the camera, keep the magazine catch lock depressed and the magazine catch to the right. Check that the back is rmly in place.

Cleaning using the HAMA Cleaning Fluid and tissues

Note! Hasselblad recommends HAMA Optic Cleaning Fluid 5902.

1. Carefully spray the uid onto the IR lter at a distance of 10-15 cm (4-5 inches), so that the uid is applied onto the lter as a thin, even haze. 1-2 sprays are enough. If you apply too little, the uid will start to dry up before you start wiping the lter. As an alternative you can spray the uid onto the tissue rst, and then apply it to the lter as you wipe it.

Cleaning

Regularly check the surface of the sensor lter for dust specks that might cause timeconsuming retouching afterwards.

Page 61

2. Fold the tissue several times to match the width of the IR lter—you might use two or three tissues at a time if necessary (to give you a better grip). Be sure to fold the paper so that the coated glossy side faces outwards—do not use the other side, as it can do more harm than good!

3. Gently place the folded tissue onto the edge of the lter using two or three ngers. Be sure to wipe the entire surface evenly. Sweep the lter only once. Do not wipe the same area twice with the same tissue as you might reapply dirt removed in the rst sweep.

4. Finally check if the IR lter has been properly cleaned either by visual inspection or by mounting the digital back to the camera and making a shot. If further cleaning is needed, repeat cleaning procedure.

Cleaning with an E-Wipe

E-wipes are individually packed wet tissues.

1. Tear at the notch to break seal.

2. Remove the e-wipe from its packaging and continue without delay.

3. Fold the tissue to match the width of the IR lter.

4. Apply rm pressure using two or three ngers at the edge of the wipe to ensure an even, rm contact with lter surface. Wipe the surface in one unbroken motion.



Note! Do not use same side of the e-wipe twice as you will be likely to reapply any particles removed in the rst sweep.

5. Finally check if the IR lter has been properly cleaned either by visual inspection or by mounting the digital back to the camera and making a shot. If further cleaning is needed, repeat cleaning procedure.

Cleaning the housings

If the back becomes dirty do not use any other solvents. Clean it with a so, clean cloth lightly moistened with water only. Do not allow water to enter any sockets or openings.

Page 62

EQUIPMENT CARE

• Keep all equipment and accessories out of the reach of small children.

• Do not place heavy objects on the equipment.

• Do not use the battery except as specied.

• Use only the battery type specied for use with the CF digital back.

• Remove the battery when cleaning the back or if you intend to leave it un

used for a long period.

• If you use a spare (standard or rechargeable) battery be particularly careful when storing. There is a potential re risk if the contacts are short circuited across a conductive object (such as keys in a pocket, for example).

• Take particular care when working with strobe / studio ash units to prevent damage to equipment and personal injury.

• Do not attempt to open the CF digital back.

• Always replace the protective sensor lter cover when the digital back is not mounted on a camera.

• Do not touch the exposed sensor lter with your ngers.

• Ensure that the databus connections are not damaged or soiled in any way.

• Keep all foreign objects out of the CF digital back openings.

• Keep the original shipping boxes for storage.

• Keep your CF digital back and all other computer equipment away from moisture. If your CF digital back becomes wet, disconnect from power and allow it to dry before attempting to operate again.

• Never cover the ventilation openings on a CF digital back when in use.

• Never try to remove the glass IR filter from the front of the sensor; this will probably ruin the sensor. If dust manages to get between the sensor and IR lter, please contact your Hasselblad dealer for assistance.

• Avoid frequent and severe temperature changes and be particularly careful

in humid environments. Allow the equipment to acclimatize whenever possible before use. Try to ensure the storage conditions in such environments are as dry as possible.

• Prevent dust and grit from getting into your equipment. In coastal areas take

measures to protect your equipment from sand and salt water spray.

• Avoid physical shocks to the CF digital back. Some form of protective case or

camera bag is advised for transportation.

• Hasselblad equipment is much sought after and you should take obvious

steps to prevent theft. Never leave it visible in an unattended car, for example. Separate and specic camera insurance cover should be considered by professional users.

SERVICE

Return your equipment to a service centre for occasional checking and preventive maintenance to ensure optimal reliability.

GUARANTEE

Provided that you bought your equipment from an authorized Hasselblad outlet, it is covered by an international guarantee for one year. The guarantee document and a registration card are supplied with a CF digital back. Keep the guarantee document carefully, but ll in the registration card and return it to your Hasselblad distributor.

DISPOSAL

If you need to dispose of a CF digital back, Imagebank and/or batteries, please do so in an environmentally friendly manner at the local waste plant/ recycling centre or similar.

Equipment care, Service and Guarantee

Page 63

Technical speciﬁcations — CF

Sensor size

Sensor dimensions

Image size (8/16 bit RGB)

Shooting mode

16 bit colour

ISO speed range

Longest shutter speed

Image storage

Storage capacity

Battery type

IAA - Instant Approval Architecture . H2 recognition . Acoustic feed back . Metadata classication

Capture rate

Colour display

Colour denition

Color management

Histogram /Acoustic feedback

File format

IR lter

Software

Platform support

Host connection type

Operating temperature

Camera support via i-Adapters

Weight

Dimensions

22 Mpixels 39 Mpixels

22 Mpixels: (4080 x 5440 pixels) 39 Mpixels: (5412 x 7212 pixels)

36.7 x 49.0 mm

22 Mpix: 8 bit TIFF: 66 MB /Raw 3FR 30MB on average

39 Mpix: 8 bit TIFF: 117 MB /Raw 3FR 50MB on average

Single shot (

Multi-shot with CF-39MS)

Yes

ISO 50, 100, 200 and 400

32 seconds

CF card type ll, new Imagebank or tethered to Mac or PC

Over 1700 (22 Mpix) on an 80 GByte disk Over 1500 (39 Mpix) images on an 80 GByte disk

Powered from the camera battery (Li-Ion). 250 captures in 4 hours.

Included, with: yes yes yes

at least 30 captures per minute at least 30 captures per minute (single shot)

Colour display – OLED 2.2”

16 bit

Hasselblad HB RGB

• full dynamics

• reproduction dynamics

Yes

Lossless compressed Hasselblad 3F RAW

Mounted on CCD sensor

FlexColor (supplied)

Mac: OSX, PC: NT, 2000, XP

FireWire 800 (IEEE1394b)

0 – 45 ˚C / 32 – 113 ˚F

Hasselblad H system and V system, Rollei 600X and AF, Contax 645AF, Mamiya 645 Pro, 645 AFD, RB and RZ67, Fuji GX6801/ll/lll. All view cameras via Hasselblad adapter. Horseman DigiFlex ll and PrecisionWide 35 via Hasselblad adapter.

450 g (excluding battery and i-adapter) 600 g (excluding battery and i-adapter)

81 x 81 x 53 mm (W x H x D) 81 x 81 x 68 mm (W x H x D)

Page 64

The in formation in this man ual is furn ished for in formatio nal use

only, is subje ct to cha nge witho ut notice , and sho uld not b e con-

strued as a commit ment by Victor Hasselbla d AB & Hasselbla d A/S.

Not all t he ima ges in this manual were taken with a Hassel blad

H3D. They a re used for il lustra tive pu rposes only a nd are not in -

tend ed to rep resent the imag e quali ty prod uced by a Hasselb lad

H3D.

The te xt in this m anual cann ot be repri nted or reuse d without th e

express pe rmission of Victor Hasse lblad AB & Hasselblad A/S .

The im ages in th is manual cannot be r eprinted o r reused wi thout

the express p ermission of the photogra phers who took them.

All text in th is manual :

All images in th is manual :

Vict or Hasse lblad AB & Hasselb lad A/S assumes no respon sibilit y

or l iabili ty for any err ors or i naccura cies th at may a ppear in this

manual.

Vict or Hasse lblad AB & Hasselb lad A/S assumes no respon sibilit y

or liabili ty for loss or damage incurre d during or as a result of usin g

Hasselbla d software or produc ts.

Hasselbla d, Imacon, Ixpress and FlexColo r a re t rademarks of Victor

Hasselb lad AB & Hasselbla d A/S. Adob e and Adobe Photo shop are

trademark s o f Ad obe Systems, Inc. Macintosh , Ma c OS and FireWire

are regis tered tradema rks of Apple Com puter, Inc. Info Lithium is a

registered tra demark of Sony Corporatio n.

Victor Hasselblad AB & Hasselblad A/S

Page 65

Victor Hasselblad AB

Box 220,

SE - 401 23 Göteborg,

Sweden

Hasselblad A/S

Hejrevej 30,

DK - 2400 Copenhagen,

Denmark

Hasselblad CF22MS, CF39MS User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual