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User Manual
Hasselblad CF Digital Camera Back Range
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C O N T E N T S
Inset photo on cover : © Francis Hills/ww w.figjamstudios.com. No t all the images in this man ual were taken with a Hasselbla d CF. They are used for illu strative purposes only a nd
are not intended to ac t as a representation of the ima ge quality produ ced by a Hasselblad CF. © Jens Karlsson/Hasselb lad and David Jeffer y.
Introduction 3
1 General overview 6
Parts, components and control panel 8
Initial setup 10
Shooting and storage modes 11
2 Initial General Settings 14
Overview of menu structure 15
Setting the menu language 17
3 Storage overview –
working with media and batches 18
B a t c h e s 18
Navigating media and batches 18
Creating new batches 20
Using Instant Approval Architecture 21
Reading and changing approval status 22
Browsing by approval status 22
Deleting by approval status 23
4 Ove rv ie w of v iewi ng , de letin g
and copying images 24
Basic image browsing 24
Choosing the current batch 24
Browsing by approval status 24
Zooming in and out 24
Zooming in for more detail 25
Thumbnail views 25
Preview modes 26
Histogram 27
Underexposure 27
Even exposure 27
Overexposure 27
Full-details 27
Battery saver mode 28
Full-screen mode 28
Overexposure indicator 28
Deleting images 29
Transferring images 29
5 MEN U—I SO , Wh it e bal an ce ,
Media, Browse 31
Menu system overview 31
Navigating the menu system 31
Language choice 33
IS O 33
White balance 34
Media 34
Br owse 35
6 MENU—Storage 36
De l ete 37
Format 42
Copy 42
Batch 43
Default Approval Level 44
7 MENU—Settings 45
User Interface 46
Camera 48
Capture sequence 50
Connectivity 51
Setting exposure time/sequence 54
Miscellaneous 56
About 57
Default 58
8 Multishot 59
General 59
9 Flash/Strobe 60
General 60
TTL 60
10 Cleaning 61
11 Equ ip me nt c ar e, serv ic e,
technical spec. 63
General 63
Technical specifications 64
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Welcome to Hasselblad!
The Hasselblad CF line of digital backs offers 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 flexibility to the professional photographer, and enables you to take full advantage of all that leading edge digital photography
can offer.
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 finest lit surfaces. Images shot with a CF digital back have unsurpassed clarity and sharpness. The 39 Mpix sensor produces the largest digital files currently available for professional photography, making them ideal for the most demanding, high resolution
printing applications and give the photographer increased flexibility and creative control when cropping or
enlarging. The finest 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 effects with every shot. This means that your digital captures are automatically optimized to provide the finest detail that a given lens can resolve. We have named this feature “Digital
Auto 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 confident 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 specific color profile to suit a specific job in order to capture various skin
tones, metals, fabrics, flowers, etc. Hasselblad has helped solve this dilemma, with the development of a
new, powerful color profile 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 difficult
colors reproduced easily and effec tively.
Francis Hills Fashion
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We have developed a new Hasselblad raw file format called 3F RAW (3FR) to help implement our new unique
color system. The new 3FR file format is designed to ensure that images captured on Hasselblad digital products are quickly, effectively and safely stored on the available media (CF card, ImageBank-II, etc). The file 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 file defines 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 different color profiles to obtain optimal colors and
the need for selective color correc tions.
DNG File Format
3FR files can be converted directly into Adobe’s raw image format DNG (‘Digital NeGative’), bringing this new
technology standard to the professional photographer for the first time. The DNG file format enables raw,
compressed image files to be opened directly in Adobe Photoshop. This enables photographers to operate
quickly and efficiently, reducing the ‘downtime’ taken to process image data and enabling final images to
reach the customer more quickly. Hasselblad image files 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 offered by Hasselblad’s FlexColor workflow
software is also available when importing the DNG file.
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
visual signals for each image captured, notifying the photographer immediately of its classification status.
The information is recorded both in the file and in the file name, providing a quick and easy way to classify
and select images, in the field or in the lab. CF backs are fully integrated with the Hasselblad Instant Approval
Architecture, bringing automated image classification into your digital workflow from the split second of capture. IAA is a Hasselblad trademark and Hasselblad has a patent pending on the invention. Large enhanced
OLED displays on the new Hasselblad products provide a realistic, high quality and perfect contrast image
view, even in bright sunlight, to allow instant on-site image approval.
FlexColor workflow
FlexColor offers an image processing workflow with the highest degree of control for the studio photographer.
In tethered operation, tools like overlay masking help bring productivity to advanced set composition. The latest FlexColor version allows the photographer to manipulate color temperature and compare image details
across multiple images for precise image selection. FlexColor processes the raw 3FR files generated by the
Hasselblad 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. The Hasselblad CF
offers a choice of storage devices: portable CF cards, the flexible ImageBank-II or a computer hard drive with
extended, special capture controls. With these three operating and storage options, you are able to select a
mode to suit the nature of the work in 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
Flash sync output cable
Flash sync input cable
FireWire cable
Grey Card Protective Case
E-wipes
Computer system requirements
Digital files 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-II. To load images stored on the removable compact-flash card,
you could instead use a compact-flash card reader, but FireWire is recommended for
maximum flexibility.
A CF digital back saves images as 3FR files which are Hasselblad raw digital-camera
capture standards. From FlexColor, you can optimize the files and export them into other
formats. 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.
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.
Warnings and restrictions
• If you want to power the back from a PC laptop (as opposed to a Macintosh laptop), you must ensure that the FireWire port
on the computer is capable of supplying power.
• 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 protective lter 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 it is running.
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.
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Working digitally
If you have only worked with film before, you will find that working with a digital back is
not so very different in many ways. Several changes in routine are needed and a certain
amount of experience with digital products and computers is advantageous to lower the
learning curve at the beginning. However, practically all of your analogue photographic
knowledge is still relevant to achieve optimum results.
The following is in no way intended to be a digital primer but simply aims to highlight some
main differentiating points to get started. There are many excellent books on the market
that explain in great detail the various aspects of digital photography and post-capture
processing.
1. It is essential to ensure you have a fully-charged battery, a spare fully-charged battery, access to battery recharging or access to a computer, depending on how you
work. Remember too that a lm magazine can act as a reserve for emergencies.
2. The digital back has an internal rechargeable battery to retain the correct Time &
Date settings which appear on les and le folders to assist sorting and archiving.
This battery is automatically charged by the main battery or FireWire cable when
the back remains ON. It is important, therefore, to regularly attach a charged
battery or connect a FireWire cable for a few hours once a week or so, when the
camera is not in regular use. For this purpose, the back should be left ON and, in
the case of a FireWire connection, ensure that the computer remains active and
not set to ‘power down’ mode.
3. If you intend to work with a CF card, you must ensure you either have enough
capacity on the card for the job in hand or have access to a card reader/separate
hard disk/computer to off-load the images.
4. The sensitivity (“ISO /lm speed”) of the sensor can be altered according to circumstances just as you would choose a fast or slow lm, thereby providing a range of
“speeds”. Just as with lm, the lower “speed” settings produce ner quality.
5. Always check the three basic settings before starting:
• ISO (“lm speed”)
• White balance (color temperature)
• Media (where the captured images will be stored).
6. Remember the size of the sensor causes an ‘increase’ in the focal length of lenses
in practical terms. Compose within the masking on the focusing screen.
7. Remember there can be specic restrictions regarding longer exposure times and
working with flash/strobe.
8. The OLED screen produces an image as a visual guide only. A histogram display
will provide you with the technical information about the optimum exposure.
9. Minor color casts on the preview screen can be ignored as there are opportunities
to adjust the les later in processing.
10. Be extra aware when photographing surfaces with a small regular pattern in the
coloring or structure (for example, ne-weave fabrics) as a moiré eect can be
produced in certain circumstances.
11. Most other usual photographic practices apply such as using a lens shade, using
a tripod when you can, checking for depth of eld etc. However good your post-
capture skills are on the computer, for optimum results you should still aim for
optimum image capture!
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General overview
1
In very simple terms, a CF digital back holds a light sensitive sensor in place at the
film plane. The electronic signals from the sensor are then processed and stored as
a digital file.
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 files (red, green and blue) for combination later on.
A CF digital back uses a CCD (Charged Couple Device) type sensor that has 22 or 39
million light sensitive areas on its surface each of which creates a pixel.
Each pixel in the sensor is filtered to create the three separate red, green and blue
files. Software then processes these electronic files as a package to produce the various formats − RAW, TIFF, JPEG etc.
The three components of the image file are later recombined on the computer screen
to produce the familiar full colour image.
The image file can be temporarily stored either in a CF digital back with a CF card,
on a Hasselblad ImageBank-II 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
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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.
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 workflow.
Likewise, image storage is limited, particularly when using flash 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 filter but
take great care when handling. If you need to clean the filter, see later section for
specific details. When storing separated from the camera, always ensure you have
replaced the protective cover.
If you scratch or mark the filter 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 different languages:
English, French, German, Italian, Spanish, Japanese or Chinese
Look at the section INITIAL GENERAL SETTINGS > CHANGING THE MENU
LANGUAGE if you want to make a language choice before reading further.
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4 5 6 7 8 9 10
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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 confirms settings when using the menus).
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 / (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 description
beside the button on the preview screen.
View-mode button 4
Steps through the various view modes for the preview image:
standard, histogram overlay, image details, screen off and
full-screen.
ON /OFF button 5
Powers the digital back.
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Flash sync output 13
Used when working with studio / strobe flash units. Allows connection to the lens sync contact via the flash sync cable to ensure
correct synchronisation
FireWire connector 14
Allows the connection to a computer or ImageBank-II. e digital back requires an 800 connecter whereas the computer can be
either an 800 or 400.
Battery retaining catch 15
Holds battery in place. Press to remove battery.
Digital back retaining hook slots 16
Accepts digital back/magazine retaining hooks on camera body.
CCD and IR lter 17
is is the light-sensitive element, which is positioned behind a
permanently mounted IR filter. 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 filter 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 filter—you will
probably ruin the CCD if you do so.
See ‘Cleaning the CCD’ section for details.
Databus connectors 18
For communicating with a Hasselblad ELD model camera body or
with a modified Hasselblad 202/203/205 model camera body.
Digital back support slots 19
Accepts digital back/magazine support hooks on camera body.
Flash card slot cover 20
Protects card slot.
Ready light indicator 6
Flashes red to indicate that the digital back is performing an operation (such as saving a new capture) and is not available for new
commands. Glows steady 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 finally 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 traffic signal convention of green, amber (yellow)
and red.
Also acts as a confirmation 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 input 11
Used when working with studio / strobe flash units. Allows connection to the unit via the flash 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.
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A
B
C
E
D
Initial setup
A CF digital back is delivered with a protective cover in place. This must be removed in order to fit the
i-Adapter and re-attached if the digitalback is to be stored or transported separately as protection
for the CCD/filter.
To remove the cover, use the TORX T10 screwdriver supplied to unscrew all four screws (illus A). You
can then fit the i-Adapter that suits your camera model.
CAUTION
Be very careful not to touch or scratch the CCD/filter surface while it is exposed and
always attach the protective cover for transportation or storage.
Fitting an i-Adapter
Aer 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/filter. When correctly positioned, the adapter is held in place by the four TORX
T10 screws supplied. Make sure the screws are firmly 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.
4. Press the battery towards the camera. This automatically depresses the battery
retaining catch.
5. Slide the battery into the final 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 and slide the battery over it. 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 fitted 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 aer the
preset time to save the battery. Press the ON/OFF button again to turn the digital back
off. An audible signal will be heard again to confirm this.
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Storage & Shooting
Image storage modes / shooting
e CF digital back can store captured images in three ways:
1. Untethered / Compact flash card mode
In this mode a CF digital back acts independently of other connections. Images are stored
on the internal, removable compact-flash 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 offer a reduced capture rate.
2. Semi-tethered / ImageBank-II mode
is mode enables you to attach the camera to a portable Hasselblad ImageBank-II via
a FireWire cable. e ImageBank-II 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 soware 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-II, 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:
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1
2
1a
1b
1c
1d
• 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.
Using compact flash memory cards
When shooting to a compact-flash 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 2GB compact-flash card.
Lossless compression is applied to the images, so the actual size of
each capture can vary, thereby affecting the total number of shots
you can fit on the card.
Inserting a card
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 firmly on the card removal button (2a) to eject the card
for removal (2b).
Working with an ImageBank-II
ere are no practical differences between storage on the internal
CF card or on an ImageBank-II. However, when several media
are mounted, you must be sure to select the correct destination
medium (see also “Working with Media and Batches”).
Working with a Hasselblad ImageBank-II
e ImageBank-II is an optional add-on for your digital camera
system. It is essentially an external FireWire hard disk optimized
for digital photography, providing extensive storage space and
high-speed data transfer. It is small, light and battery powered. You
can easily clip it to your belt, so the solution is nearly as portable
as the stand-alone camera.
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Older digital backs in the ‘Ixpress’ line used a different external disk and controller
called simply the “Image Bank”. This older ImageBank is not compatible with a CF
digital back. Only use the Hasselblad ImageBank-II with a CF digital back.
To use an ImageBank-II 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-II manual for complete details.
To remove the ImageBank-II, simply disconnect the FireWire cable. e back will then
revert to saving and browsing images on the internal flash 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-flash card reader and/or connect your ImageBank-II or FireWire disk
direc tly.
Connecting to a computer
To connect to a computer, simply attach a FireWire cable from the FireWire port on your
computer to the port on the side of the CF digital back. e port 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 finished.
Shooting with FlexColor running
When you are connected to a computer, the following rules apply (see Connectivity
Diagram and related issues for full information about sync cables etc):
• 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 this way, notably PC laptops).
When initiating a shot from FlexColor, the computer sends a signal to the CF digital
back, which in turn triggers the shutter and flash/strobe (if any). e back then sends
the image over the FireWire connection to the computer, where it is displayed on the
computer screen and saved as a 16-bit-per-colour 3F file 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 files are converted
into the 3F format. If you prefer not to use FlexColor, then you can export files directly
to DNG or other format and use Adobe Photoshop, for example.
Please refer to the FlexColor Soware Reference manual for further instructions about
taking pictures using FlexColor.
Page 15
15
Initial general settings
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2
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
It is advisable to initially quickly skim through this section of the manual to build up a
picture of the menu structure and its various sections.
Note that 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. e Zoom in/out buttons ( and ) though, for example, act as image enlargers and reducers as well as confirmation buttons, according
to where you are on the menu.
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16
MENU
STORAGE
SETTINGS
By using t he buttons on the control pa nel you
can navigate down through the various levels
in the menu. It provides the source of information abou t image files and als o provides a way
of making custom settin gs so the digital back
suits you r way of working.
Below is a simple overview of what is available
and where it is situated on the menu.
Overview
of menu
structure
USER INTERFACE
Sets menu language,
power down, sound, date
& time and several other
custom settings.
DEFAU LT
Resets all custom settings
back to the original factory
settings.
ABOUT
Displays serial number and
firmware ver sion.
CAMERA
Sets which type of camera
body is being used with the
digital back.
DELETE
For single or multiple deletion of images.
FORMAT
Used to format compac t
flash cards and ImageBankIIs for optimum use.
BATC H
Used to create new storage
folders (batches) and name
them.
DEFAULT
APP LEVEL
Assigns a default approval
status (classification) to all
new images.
BROWSE
Sets the approval status
(classification) filter for
easier and quicker image
browsing.
MEDIA
Determines where files
will be stored (flash card,
ImageBank-II).
ISO
Sets th e light sensitivit y of
the sensor. Equivalent to
‘film speed’.
WHITE
BALANCE
Set to matc h the color temperature of light used.
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17
Simple introductory overview of menu access, navigation and settings choice.
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 confirm 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.
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.
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. Note that how the MENU button is now described as EXIT on the screen, and the Instant Approval button is described as the OK button.
See later sections for more comprehensive information.
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18
1 2
3 4
5 6
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.
The initial general setting is language choice. Then, just as in analogue
photography, an ISO setting should be made, though in the digital world
it matches the job in hand and circumstances as opposed to the sensitivity of the film chosen. A white balance setting should also be made. Yet
again, this is for your convenience regarding the appearance of the image
on the OLED and monitor; it will not affect the raw file.
ISO and White Balance are available at the top level of the menu system so
you can get to them quickly and easily. They are also shown on-screen in
most preview modes, so you can easily keep an eye on them as you work.
Don’t forget to regularly attach a battery or make a FireWire
connection to retain Date & Time settings. See under ‘Working
digitally’ for details.
The description below is a general illustration of how settings are
changed. See later section in this manual for details regarding ISO and
White Balance.
Language
If you have not already done so, you may wish to change to your
chosen language now. You can choose between:
ENGLISH
GERMAN
FRENCH
ITALIAN
SPANISH
JAPANESE
CHINESE
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 N AVI GAT OR button ( and ) to select the
SETTINGS sub-menu.
3. Press the N AVI GAT OR button () to open the SETTINGS
menu.
4. Press the N AVI GAT OR 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.
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19
Storage overview –
Working with media
and batches
3
General
With a new CF card (or a newly formatted CF card) inserted or with an ImageBank-II,
a new folder (called a batch) is created automatically aer the first 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 exactly as folders on
a computer. Batches have the following properties:
• When you create a new batch, you assign a name to it and it is created as a new
folder.
• When you copy images from a compact-ash card, each batch is saved as a sub-
folder on the destination disk.
• When deleting multiple images, you are able to restrict your delete command so
that it affects 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 sensor
unit front panel.
• The batch name also shows the date on which it was created (using the Year/
Month/Day convention).
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.
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20
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 (Fir eWire 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 BAT CH list.
The blue frame around a folder tells
you that it is the Current Batch.
You work your way deeper into the menu branching off 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
Continu e to press (+)
to zoom furthe r
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21
1a 1b
2 3
4 5
6 7
8 9
Francis Hills Fashion
Example: nine-thumbnail view
• Choose MAIN MENU > Storage to select 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.
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-imagepreview(asing1a)
• Four-thumbnailview
• Nine-thumbnailview(asing1b)
• Batchlist(asing3)
• Medialist(asing4)
2. Each medium shows a name, total size and an estimate for
how many images will fit 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 (UNCLASSIFIED) and 3 red (DELETE).
If more than one medium is listed, then use and to
highlight the medium you wish to use.
3. The currently selected medium shows a blue border.
4. Press the zoom-in (
) button to zoom-in on the currently
highlighted medium.
5. 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.
6. As with media, use and to highlight the batch you wish
to view.
7. The currently selected batch shows a blue border.
8. Press the zoom-in (
) button to zoom in on the currently
highlighted batch.
9. The nine-thumbnail view of your selected batch now
appears.
Please note the difference 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, first make sure you have selected the correct current
medium (see Navigating Media and Batches) and then use the
MAIN MENU > STORAGE > BATCH item of the menu system to
create the new batch. See Creating Batches for a detailed procedure.
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22
Current approval stat us (green) and
browse -filter 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 only
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
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.
ereaer, 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 ‘traffic 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 different actions of pressing (or quickly clicking) the approve but-
ton to change the status and pressing and holding to change the browse filter!
One of the greatest advantages of digital photography compared to film 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 workflow
e standard method of working with the Instant Approval Architecture is as follows:
1. Take a shot.
2. The camera analyzes the shot to find out if it seems to be over- or underexposed. If it
suspects a problem, it does the following:
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23
• 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 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 filter 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 status 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, finally, check the red shots as a last resort.
Note that the system is very flexible 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 file 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 filter 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 filter.
Be careful when assigning red status because red images may be deleted if the current
storage medium becomes full.
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24
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 filter setting is indicated on-screen, as illustrated. Filtered images
are still there, but they will not be shown until you change the filter setting. Also, if you
change the status of an image, the image may ‘disappear’ if it no longer passes the filter.
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 filter.
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 filter:
• Press and hold
until the lter you want to use is shown by the indicator.
• Use the MAIN MENU > B rowse item 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 first pick the medium
or batch from which you want to delete and then use the MAIN MENU > STORAGE >
Delete item 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 Workflow, 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 workflow. You have the following options:
• Auto: works as described in Standard Instant Approval Workow.
• Green: gives all new images a green status, regardless of the exposure warning.
• Ye ll ow: 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 item to make this setting. See also Setting the Default
Approval Status for a detailed procedure.
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25
Overview of viewing,
deleting and
transferring images
Media list Batch list 9-Thumbnail view 4 -Thumbnail view Normal view Zoomed
Continu e to press (+)
to zoom furthe r
4
Basic image browsing
e large, full-colour OLED display enables you to inspect your shots while you are still
on-location. e display offers full-screen previews, high-magnification zoom, two levels
of thumbnails and analysis tools including a full histogram and camera settings.
When you first 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, aer 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 specific 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
filter, you will not see images excluded by the filter, but they are still there.
See Using Instant Approval Architecture for complete details about how to check and
set the browse filter.
Zooming in and out
As illustrate d below, you c an use t he or button to se e various levels of detai l in your images. You can furthermore zoom all the way out to view and select batches and media.
Page 26
26
3
or
or
4
1
2
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:
• Usethenavigatorbuttontomovethezoomareaifyouwishtoinspectadier-
ent part of the image.
• Zoomfurtherbypressingthezoom-in(
) button more times.
• Zoombackoutonestepbypressingthezoom-out(
) button.
4. When you are finished, 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 fit either four or nine
images on the screen at once. Use them to get an overview of your work so far and to
help find specific 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 (se e al so MAIN MENU > STO RAGE > D elete for a det ailed 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 27
27
You can cycle through
all the available
preview modes by
pressing the View-Mode
button.
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 different 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 off 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 sensor unit settings. To enter menu mode, press the menu button.
See Working with the Menus for details.
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28
A
B
C
D
The standard preview display is the one
shown when you first turn on the camera
and is probably the view you will use most
often. It features a preview of your most recent shot and basic information about the
settings and the image itself. Several other
display modes are also available, including
histogram, capture details, full-screen and
battery saver. Please see Preview Modes
for details.
Furthermore, the display enables you to
navigate the menu system and make camera settings; see Working with the Menus
for details.
ISO setting
White balance
Current sto rage medium
Button label
Storage capac ity
(Shots taken / shots remaining)
Approval st atus and
browse filter setting
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.
Look at the histogram examples and the explanations below:
Underexposure A
A histogram display that is concentrated on the le with few pixels elsewhere indicates
a likely underexposure. Many details will be lost in the shadows.
Even exposure B
A histogram display 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 oen normal in a good exposure.
Overexposure C
A histogram display that is concentrated on the right with few pixels elsewhere indicates
a likely overexposure Many details will be lost in the highlights
The histogram is only an indicator thast should be interpreted—there are many situ-
ations in which a questionable histogram will match an exposure that is perfectly fine
for the intended effect (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 aer you have loaded the image to your computer and stored it in your
archive.
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29
1
2
There is also a one-button shortcut for toggling the overexposure marker on and off.
To use it, press and hold
until the indicator is working
as you would like (enabled or
disabled).
Overexposure
indicator shortcut !
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 effect.
You can also save battery power by turning down the brightness and/or contrast of
the display using the items of the MAIN MENU > SETTINGS > USER INTERFACE >
DIS PL AY 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 Items 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 effect. 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 find
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 flashes the overexposed pixels from black
to white.
To enable or disable the overexposure indicator, use the MAIN MENU > SETTINGS >
USER INTERFACE > Mark Overexp. item.
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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 confirm-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 fills up.
You will always be asked to confirm 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 images
Transferring to a computer
To transfer images stored on the compact-flash 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.
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MENU –
• ISO
• White balance
• Media
• Browse
Item name (in w hite) and
current se tting in yellow
Sub-menus s how a right-
pointing ar row, press the
right-arrow on the naviga-
tor butto n to open the sub-
menu (or, in some ca ses a
dialogue win dow)
- button label
(Here shown as EXIT)
Current menu name
Selected item (indicated by blu e frame). The
+ and − signs indicate that you c an use the
(+) and (−) buttons to change t he value
-button l abel
(Here shown ina ctive)
5
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 first 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 items and/or sub-menus.
• Items are settings that are available at the current menu level; they show their
current settings next to the item name. To make an item setting, use the navigator
( ) button to select the item and then use the zoom ( and )buttons to select
the desired option for that item
• 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 conrm or cancel a delete command). The left arrowhead
will have no effect.
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Menu structure
Items on the main menu
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1
1 2
3 4
5 6
2
3
Language choice
As a practical example, a MAIN MENU > SETTINGS > USER
INTERFACE > Language item instruction would involve the fol-
lowing procedure:
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 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.
Note also that the menu and approval buttons are situated just
outside the bottom-le and bottom-right corners of the screen.
As you work through the various menu items, the screen shows
a label for each of these buttons. In the text, we therefore give the
generic name for the button and the screen name. For example we
will refer to: the menu (MENU) button, the menu (EXIT) button,
or the approval (OK) button.
Settings check
ISO, White Balance, Media and Browse settings should be
checked before each session. ey are therefore placed at the top
level of the menu for quick and easy access. ey are also shown
on-screen in most preview modes, so you can easily keep an eye
on them as your work.
ISO
e digital back can be set to use a light-sensitivity rating equivalent
to ISO 50, 100, 200 or 400 film. Note, however, that the “natural”
sensitivity of the CCD is ISO 50, so you will get best results with
this setting if the light conditions allow.
To set the ISO:
1. Select the MAIN MENU > ISO item. This is the top item 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 find this setting.)
2. Use the
or button to step through the available ISO
settings until the setting you want is shown.
3. Either move on to another setting by using the navigator button 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 film becomes grainer). It is recommended that you
use the lowest ISO setting possible for the lighting situation.
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White Bal. Setting Setting description
Dayligh t For gene ral outdoor use in direct sunlight.
Cloudy For general outdoor use in cloudy weather.
Shade For gener al outdoor use in shady locations out of direct sunlight.
Flash For general indoor use when using a normal flash/strobe sys tem.
Fluorescent For use when using fluorescent lighting (strip lights).
Tungsten For use when shooting indoors unde r standard tungsten/B lamps.
Manual For a manual setti ng
There are seven ‘ White Balance’ settings to choose from.
2a1
1a
4a
Color temperature can be set
manually or read off after a
test exposure.
White Balance Shot screen
appears after test exposure to
illustrate the area chosen for
white balance calculation.
3a
White balance / Grey Balance
ere are several ways to make a white/grey balance adjustment.
When untethered on location you might prefer to make a quick
preset adjustment setting at the same time that you check the
ISO and Media settings. Tethered in the studio you might prefer
to take the first shot of a grey scale and make the adjustment in
FlexColor for that session.
Please note that white balance settings are for your viewing
convenience only. The setting is temporary and in no way
affects the raw file which remains ‘neutral’ awaiting further
processing.
To select a preset white balance:
1a. Press the MENU button on the digital back.
2a. Use and to select the White Bal: sub-menu.
3a. Use the
or button to step through the available
choices until the one you want is shown.
4a. 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.
To make a manual white balance setting:
1. Select the MAIN MENU > White Bal > Manual item.
2. Use the button to call up the ‘Manual White Balance’ screen.
3. Here, you can adjust the color temperature to a specific
numeral setting in degrees K with the
or buttons.
Alternatively, you can position the central spot in the view-
finder 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 OLED
marking that particular area. Calculations then take place
automatically so that the following shots use the area chosen
as the new ‘white balance’ standard. Using this method you
can also read off the screen what the color temperature of the
light source has been judged to be in degrees Kelvin.
4. Press the MENU button to exit the menu system and keep
your setting.
New settings are retained even when the camera has been
turned off and re-activated, so don’t forget to make new settings when required.
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1 2
3 4
Media
e storage setting controls where your digital back will store
new images and which stored images will be visible in the browse
window.
Oen, you have just one type of storage media available—the
internal compact-flash 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 item
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 button, or,
press the MENU button to exit the menu system and keep
your setting.
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 filter 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 find 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 aer
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.
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There is also a one-button shortcut for changing the browse
filter.
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 classification.
Browse shortcut !
1
2 3
To set the browse filter using the menus:
1. Select the MAIN MENU > Browse item. The current setting is
displayed here.
2. Use the
or button to step through the filter options
(described above) until you have selected the filter you wish to
use.
3. Either move on to another setting by using the navigator button or press the menu button to exit the menu system and
keep your setting.
e appearance of the ‘Empty Browse Filter’ message signifies that
there are no images with that particular approval status.
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MENU –
• Storage
This section describes file storage, file transference,
storage organization, file classification and related
subjects.
6
Navigating the STORAGE settings
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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 confirm-delete dialog
opens.
Delete shortcut !
2
3
4
5
6
1
MAIN MENU > STORAGE
e Storage menu provides items for working with storage media. Here, you can format media, copy images from the back to
a computer and create new batches on available media. You can
also set the initial approval status (green or yellow) assigned to
new pictures.
e first item on the storage list is file deletion. e great advantage
of digital capture is of 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 specied 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 confirm 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.
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1
2
3
4
A.
B.
C.
D.
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 find 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 confirm the delete. To exit without delete, press
EXIT
Menus for deleting
several images from
a batch.
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5
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 (unclassified) and 3 red (marked for probable delete).
3. Select MAIN MENU > STORAGE > Delete. (See also
Navigating the Menu System for details about how to find
this setting.)
4. Press to open the Delete Image dialog.
6
1
4
3
2
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5
6
7
8
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
status.
You are now asked to confirm the delete.
7. • To conrm, 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.
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2
3
1
4
5
FO RM AT
e digital back is only able to read and write to media that have
been formatted.
However, new cards or disks somet imes arrive wit hout any for matting, 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-flash 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 efficiently.
The digital back is capable of formatting any type of medium
connected to it, including compact flash cards and ImageBankII 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 flexible 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-flash card and ImageBank-II), then start by selecting the medium you wish to format using the Storage item
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 find
this setting.)
3. Press the to open the Format Card dialog.
4. You are now asked to confirm the operation.
• Toconrm,presstheOK button. This will execute the format
and delete all data on the current medium.
• Tocancel,presstheEXIT.
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.
COPY
Files can be copied to an ImageBank-II to free up space on a CF
card. All batches and files remain on the card until deleted.
To copy files:
Aer connecting an ImageBank-II to the camera with a FireWire
cable, turn it on and proceed as follows:
1. Select MAIN MENU > STORAGE.
2. Press the button and then the button to navigate down
to COPY.
2
1
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3
4
5
3. Press the button to reach the confirmation dialogue.
To confirm, press the OK button. (To cancel, press the EXIT
button.)
Confirmation will make a copy of all batches and files and
store them on the ImageBank-II in a newly created folder
called ‘CARD0001’ (for example). If you connect the camera to
the ImageBank-ll again, a new folder is automatically created
with the name ‘CARD0002’ (for example) and so on.
4. The copy dialogue now appears to inform you of progress.
Press STOP if you want to cancel the procedure.
BAT CH
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 five
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 five letters.
• Usethe
or button to step the currently selected letter up
or down the alphabet until you have found the letter you
want.
• Continueworkinguntilyouhavesetthenameyouwant.
4. Press the approve (OK) button to save the new batch with the
name you selected.
5. You now return to the BATC H 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.
3
4
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3
4
1
2
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 configuration, the status of each new shot is assigned
as follows:
• Green (approved):
e new shot seems to have been exposed correctly.
• Yellow / Amber (unclassied):
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 det ails
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 button or press the menu (EXIT) button to exit the menu system
and keep your setting.
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Menu: Settings
There are a number of settings grouped under the
general ‘Settings’ heading which are:
• UserInterface
• Camera
• About
• Default
7
Navigating the
USER INTERFACE
settings
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MAIN MENU > SETTINGS > User Interface
By altering the User Interface set tings, you can cont rol the way the d igital back interacts
to suit you and your preferred way of working. It also includes date and time settings.
Items of the USER INTERFACE Menu
e user interface menu includes both items and sub-menus. e following items are
available here:
• Language:
e menu system can be displayed in any of seven languages. is menu item
enables you to select your preferred language for the menus.
• Power Down:
To help preserve the charge of the battery, you can set the back to power down
aer a specified period of inactivity. e effect is exactly the same as though
you had pressed the off button on the camera. Once it has powered down, you
must turn the 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 difference 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 flashing it white and black.
Set this item to On to enable the feature; set to Off 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 item has Volume (choose between High, Low and Off), Key Click
(choose between On and Off) and Exposure Warning (choose between On
and Off ).
• Date & Time:
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 off, but the back will still be running, so it will immediately respond to a press of the buttons. (Note the difference 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 1-1 0) 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.
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1 2
3 4
5
6
Setting the options under the User Interface menu
Each of the above items 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 final 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 item.
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.
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Hasselblad 503CW plus Winder CW with
Exposure cable 503 in place showing
connection from Winder to adapter.
Exposure Cable 503
Navigating the
CAMERA settings
Please note that this
particular list is only an
illustration of possible
options.
Camera choice displayed
will vary according to
adapter fitted.
MAIN MENU > SETTINGS > Camera
The camera choices that appear on the menu are automatically restricted to the adapter you have
fitted. So, if the adapter is specifically 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 (sup -
plied with adapter) between the adapter and the Winder CW, as in the illustration.
• 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.
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All Hasselblad EL models except the ELD
require an Exposure Cable EL.
Also illustrated here is the use of the Adapter
EL to hold the battery.
Exposure Cable EL
• 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 with adapter) 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 ELX (supplied with adapter) 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 with adapter) 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 STA RT (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 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.
H
• Make an H-series setting.
SWC
For use with the 903 SWC and 905 SWC models.
• Make an SWC setting.
PLEASE NOTE: Due to the mechanical design of the SWC, pressing the exposure release button
too slowly may cause a faulty capture with a magenta cast. Either press the button much more
distinctly or alternatively change the setting from SWC to Flash sync and use the Flash input
sync cable to connect the lens to the digital back.
200
For use with modified 202, 203 and 205 models together with F-lenses / CF-lenses in
F-mode. (Only these three models can be modified for cable-free compatibility with
the CFV/503CWD digital back. Please contact your Hasselblad dealer for further
information)
• Make a 200 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.
Please note that although the
903SWC and 905SWC models
work in conjunction with CF
digital backs, the combination
is not recommended for critical
work.
The Biogon 38 lens was de-
signed for film use where the
unusually close proximity of
the lens to the film plane was
of no consequence. However,
digital sensors and their protective filters make very different demands on the angle
and travelling distances of
the peripheral rays exiting the
rear lens element. Gradual unsharpness consequently occurs
towards the edges of the frame,
particularly noticeable with
flat subjects (typically copying
situations, 90º shots against
building façades, etc) though
these effects will be naturally
less obvious with more threedimensional subjects. Slight
green and magenta casts are
also caused, though these
can be removed digitally in
FlexColor/Phocus.
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50
1 2
3 4
5 6
7 8
9
Shutter Delay
ere can be differences 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.
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 t he amount of t ime requ ired to elapse before
the first 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.
Options available for PINHOLE and FLASH SYNC
Shutter Delay
e normal setting is Default and cannot be changed.
Exposure Time
is setting should be changed for cable-free exposure times longer
than 1/8 second, ensuring that it matches the shutter speed/exposure
time on the camera/lens. e settings range from 1/8 second to 32
seconds (1/8 second is the default setting).
Capture Sequence
is feature functions in the same manner as an interval timer.
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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 adapter
Hasselblad EL, ELM,
ELX adapter
Hasselblad 503 CW
adapter
Hasselblad ELD
adapter
Hasselblad CF
Hasselblad
CF-MS
Hasselblad camera connectivity diagram
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52
Connectivity diagram
Small and medium format camera connectivity diagram
Single shot
mode only
Flash sync
input cable
Hasselblad ELD adapter
Fuji GX680 adapter
Mamiya 645 AFD adapter
Mamiya 645 Pro adapter
Mamiya RZ67 adapter
Mamiya RB67 adapter
Rollei AF adapter
Rollei adapter
Contax 645 AF adapter
Flash sync
input cable
Horseman DigiFlex II
Fuji GX680
Mamiya 645 AF
Mamiya 645 Pro
Mamiya RZ67
Mamiya RB67
Rollei 6000 series
+ AF camera
Contax 645 AF
3PMMFJFYQPTVSF
DBCMF
3PMMFJFYQPTVSF
DBCMF
Hasselblad CF
Hasselblad
CF-MS
Page 53
53
Connectivity diagram
View camera connectivity diagram
Hasselblad CF
Hasselblad CF-MS
Single shot mode
Flash sync
input cable
Hasselblad ELD adapter
Hasselblad EL, ELM,
ELX adapter
Single shot
mode only
Hasselblad CF-MS
Single and multishot mode
Any view camera accepting
Hasselblad mount
Any shutter
with X sync
Hasselblad ELD adapter
Rollei electronic shutter
with lens control
Horseman ISS
electronic shut-
ter with lens
control
Exposure cable
ELX
Sliding adapter
Fixed mount
• Focusingusinggroundglass
• OptionsforstitchingfromLinhof,Rollei,
Horseman and Kapture Group
• FocusingusingHasselbladFlexcolor
live video
Any view camera accepting
Hasselblad mount
Any view camera accepting
Hasselblad mount
3PMMFJFYQPTVSF
DBCMF
View camera options for focusing, composition and stitching
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1 2
3 4
5 6
7 8
9
10
Initial delay: Controls the amount of time required to elapse
before the first exposure.
Delay: Controls the amount of time required between each exposure.
Count: Controls the total number of exposures required.
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.
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55
11 12
13
14
15
16
19
18
17
11. Press either the or button to make an INITIAL DELAY
setting.
This setting controls the amount of time that elapses
before the first exposure in the sequence.
12. Press to select DE LAY.
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 confirm all the settings.
17. The CF digital back is now ready for sequence start. Note that
the MENU/EXIT button now diplays S TAR T 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.
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1
MAIN MENU > SETTINGS > About
The About box
Occasionally, Hasselblad releases updates to the internal soware
(“firmware”) of the digital back. ese updates may fix 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 firmware vision of your digital back.
To find this out:
1. Select MAIN MENU > SETTINGS > ABOUT. (See also
Navigating the Menu System or details about how to find
this setting.)
2. Press to open the About dialog, which shows the serial
number and firmware version. When you are done reading
the information, press the menu (EXIT) button to return to the
SETTINGS menu. Either move on to another setting by using
the navigator button or press the menu (EXIT) button again
to exit the menu system.
MAIN MENU > SETTINGS > Default
e DE FAU LT 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.
1
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57
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
Francis Hills Fashion
Memorize these quick actions to save time and eort 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.
Menu Shortcuts
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58
With a 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-step
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.
8
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59
Most flash/strobe units are suitable for use with the CF, with some combinations offering TTL. Check
the chart further on in this chapter to find the specific combination you intend to use.
Pay particular attention when using studio flash/strobe units and tethered to a stationary computer as this cable configuration guards against both personal injury and damage to equipment.
Portable units
All Hasselblad 500 series and SWC series cameras use the regular PC contact on the lens
for flash sync. 200 series models, FlexBody ArcBody and view cameras require other
configurations (see chart).
Studio flash/strobe units and tethered to a desktop computer
If the CF is tethered to a computer that is connected to a regular electricity supply system
as well as a studio flash/strobe unit that is also connected to a regular electricity supply
system/generator system, then make the following connections instead. For your own safety
and to protect the electronics in the digital back, please ensure you do this correctly.
a) Connect the flash input sync cable from the sync contact (PC connector) on the lens
to the flash sync IN terminal on the back.
b) Connect the flash output sync cable from the flash sync OUT terminal on the back
to a regular flash/strobe sync cable that is connected to the unit.
TTL function – (503CW only)
e reflective characteristics of the digital sensor are different to film surface characteristics for which the TTL function was originally designed. However, by changing (in
effect, ‘tricking’) the setting, TTL exposures can be made. Proceed as follows:
Move the ISO selector on the 503CW so that is becomes approximately 1⅔ f/stop higher
than the ISO setting on the digital back. erefore, for example, when the back is set at
50 ISO, the ‘film speed setting’ on the camera should read 160 ISO, and so on. Testing
for the most suitable compensation that suits you is recommended.
Flash / Strobe
A CF digital back can be used together with
most studio or portable units.
The Hasselblad 503CW and 200 series cameras also offer a TTL function if required.
9
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60
Viewnder indicator – (503CW only)
Flash/strobe operation and flash battery−check are indicated by a red light, located under
the le edge of the focusing screen. It is operative only when a dedicated flash/strobe is
connected to the TTL socket. It indicates three separate states as described below.
Ready signal
A steady red light indicates that the flash/strobe unit is charged and ready to be fired.
Absence of any signal indicates the need for fresh batteries.
Confirmation signal
A flashing red light occurring for just over a second immediately aer exposure confirms
that the light output was sufficient for a proper exposure. It then remains dark until the
flash/strobe unit has recharged. e steady red light will then reappear indicating operative status again. e time of reappearance however may vary according to the condition
of the batteries.
No result signal
Absence of the flashing confirmation signal aer exposure indicates that the flash emitted was not sufficient for correct exposure. e aperture must then be opened more or
the flash distance to the subject reduced. Changing to a faster ISO setting on the digital
back is also a possibility.
See appropriate manuals for connection details regarding the various units and
adapters.
CF and Hasselblad 200 series cameras
Connection to 200 series cameras depends on whether they are modified or not (contact
your local Hasselblad Service Center about modification). TTL is also possible if the
flash/strobe unit allows. See the appropriate camera manual for further details.
Please note the difference below – unmodified cameras can only use C lenses (C/ CF /CFi
etc) at the C-mode setting whereas modified cameras can use C and F-type lenses.
Unmodified cameras (with portable flash/strobe units) with C type lenses:
a) Connect the flash input sync cable from the sync contact (PC connector) on the lens
to the flash sync IN terminal on the back.
b) Connect the flash output sync cable from the flash sync OUT terminal on the back
to a regular flash sync cable that is connected to the unit.
c) Use the C-mode setting.
d) Shutter speeds faster than 1/90 sec allowed.
Modified cameras (with portable flash/strobe units) with C type lenses:
a) Connect the flash input sync cable from the sync contact (PC connector) on the lens
to the flash sync IN terminal on the back.
b) Connect the flash output sync cable from the flash sync OUT terminal on the back
to a regular flash sync cable that is connected to the unit.
c) Use the C-mode setting.
d) Shutter speeds faster than 1/90 sec allowed.
Modified cameras (with portable flash/strobe units) with F and CF type lenses:
a) Connect the standard PC /flash / strobe sync cable from the sync contact (PC con-
nector) on the camera body to the unit.
b) Use F type or CF type lenses at the F-mode setting.
c) Use a shutter speed no faster than 1/90 sec.
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Flash / strobe connection for CF
digital backs.
Please note the different ways of connecting
the various camera body / digital back / flash
/computer combinations.
In particular, notice the importance of the
correct connections when using a FireWire link
directly to a desktop computer in combination
with studio flash /strobe.
Please check the appropriate user manuals for
other camera models and adapters.
PORTABLE FLASH
/ untethered
Standa rd ash /strob e sync cable
500 C/CM, 5 01 C/CM, 503
CX/C Xi/CW, 555 ELD, 500
EL/ELM , 500/553 ELX
SWC / SWC/M , 903 SWC,
905 SWC
PORTABLE FLASH
/ untethered
Standa rd ash /strob e sync cable
Modie d 202FA/203 FE / 205
TCC / 205 FCC with F t ype
lenses a nd CF type l enses at
F-mode s etting.
PORTABLE FLASH
/ untethered
Standa rd ash /strob e sync cable
Flash out put sync cab le
Flash inp ut sync cabl e
Modie d and unmod ied
2000 FC / FCM, 2 003 FCW, 201
F / 203 FE, 205 TCC / FCC wi th C
type le nses (C-mod e settin g).
FlexBod y, ArcBody. An y view
camer a with Hass elblad V
system a dapter.
Standa rd ash /strob e sync cable
Modie d and unmod ied
2000 FC / FCM, 2 003 FCW, 201
F / 203 FE, 205 TCC / FCC wi th C
type le nses (C-mod e settin g).
FlexBod y, ArcBody. An y view
camer a with Hass elblad V
system a dapter.
Flash out put sync cab le
Flash inp ut sync cabl e
PORTABLE FLASH
/ tethered
FireWir e cable
ImageBank-II or laptop computer
Standa rd ash /strob e sync cable
Modie d 202FA/203 FE / 205
TCC / 205 FCC with F t ype
lenses a nd CF type l enses at
F-mode s etting.
PORTABLE FLASH
/ tethered
FireWir e cable
ImageBank-II or laptop computer
Standa rd ash /strob e sync cable
500 C/CM, 5 01 C/CM, 503
CX/C Xi/CW, 555 ELD, 500
EL/ELM , 500/553 ELX
SWC / SWC/M , 903 SWC,
905 SWC
PORTABLE FLASH
/ tethered
FireWir e cable
ImageBank-II or laptop computer
Standard flash /strobe sync cable
All cam era models
STUDIO FLASH
/ tethered
FireWir e cable
Image Bank-II or l aptop/desk top comput er
Flash out put sync cab le
Flash inp ut sync cabl e
Page 62
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Cleaning
Regularly check the surface of the sensor
filter for dust specks that might cause timeconsuming retouching afterwards.
10
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) filter. 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 filter, requiring for a more thorough cleaning, involving either fluid or wipes.
For a good safe cleaning, follow descriptions below.
WARNING: never attempt to remove the glass filter from the front of the CCD—you
will probably ruin the CCD if you do so. If dust manages to get between the IR filter
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
filter, then you may have dust on either on the back side of the IR filter 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 firmly in
place.
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63
Cleaning using the HAMA Cleaning Fluid and tissues
Note! Hasselblad recommends HAMA Optic Cleaning Fluid 5902.
1. Carefully spray the fluid onto the IR filter at a distance of 10-15 cm (4-5 inches), so
that the fluid is applied onto the filter as a thin, even haze. 1-2 sprays are enough. If
you apply too little, the fluid will start to dry up before you start wiping the filter. As
an alternative you can spray the fluid onto the tissue first, and then apply it to the
filter as you wipe it.
2. Fold the tissue several times to match the width of the IR filter—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
filter using two or three fingers. Be sure to wipe the entire surface evenly. Sweep the
filter only once. Do not wipe the same area twice with the same tissue as you might
reapply dirt removed in the first sweep.
4. Finally check if the IR filter 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 filter.
4. Apply firm pressure using two or three fingers at the edge of the wipe to ensure an
even, firm contact with filter 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 first sweep.
5. Finally check if the IR filter 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.
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EQUIPMENT CARE
• Keep all equipment and accessories out of the reach of small children.
• Donotplaceheavyobjectsontheequipment.
• Donotusethebatteryexceptasspecified.
• UseonlythebatterytypespecifiedforusewiththeCFdigitalback.
• Removethebatterywhencleaningthebackorifyouintendtoleaveitun-
used for a long period.
• Ifyouuseaspare(standardorrechargeable)batterybeparticularlycareful
when storing. There is a potential fire risk if the contacts are short circuited
across a conductive object (such as keys in a pocket, for example).
• Takeparticularcarewhenworkingwithstrobe/studioflashunitstoprevent
damage to equipment and personal injury.
• DonotattempttoopentheCFdigitalback.
• Alwaysreplacetheprotectivesensorfiltercoverwhenthedigitalbackisnot
mounted on a camera.
• Donottouchtheexposedsensorfilterwithyourfingers.
• Ensurethatthedatabusconnectionsarenotdamagedorsoiledinanyway.
• KeepallforeignobjectsoutoftheCFdigitalbackopenings.
• Keeptheoriginalshippingboxesforstorage.
• KeepyourCFdigitalbackandallothercomputerequipmentawayfrom
moisture. If your CF digital back becomes wet, disconnect from power and
allow it to dry before attempting to operate again.
• NevercovertheventilationopeningsonaCFdigitalbackwheninuse.
• NevertrytoremovetheglassIRfilterfromthefrontofthesensor;thiswill
probably ruin the sensor. If dust manages to get between the sensor and IR
filter, 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 specific 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.
DISPOSAL
If you need to dispose of a CF digital back, ImageBank-II and/or batteries, please do so in an environmentally friendly manner at the local
waste plant/ recycling centre or similar.
Equipment care
and Service
11
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65
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 classification
Capture rate
Colour display
Colour definition
Colour management
Histogram /Acoustic feedback
File format
IR filter
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)
36.7 x 49.0 mm
22 Mpix: 8 bit TIFF: 66 MB /Raw 3FR 30MB on average
Single shot
Yes
ISO 50, 100, 200 and 400
32 seconds
CF card type ll, ImageBank-II.
or tethered to Mac or PC
Over 1700 (22 Mpix) 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
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)
81 x 81 x 53 mm (W x H x D)
39 Mpixels: (5412 x 7212 pixels)
39 Mpix: 8 bit TIFF: 117 MB /Raw 3FR 50MB on average
(Multi-shot with CF-39MS)
Over 1500 (39 Mpix) images on an 80 GByte disk
at least 30 captures per minute (single shot)
600 g (excluding battery and i-adapter)
81 x 81 x 68 mm (W x H x D)
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66
The informati on in this manual is furnished for informational use
only, is subject to change without notice, and should not be con-
strued as a commitme nt by Victor Hasselb lad AB & Hasselblad A/S.
Not all the images in this manual were taken with a Hasselblad CF
digital back. They are used for illustrative purp oses only and are not
intended to rep resent the image qualit y produced by a Hasselblad
CF digital back.
The text in this manual cannot be reprinted or reused without the
express pe rmission of Victor Hasselblad AB & Hasse lblad A/S.
The images in this manual cannot be reprinted or reused without
the express pe rmission of the photographers wh o took them.
All text in this ma nual :
© Victor Hasselb lad AB & Hasselblad A/S.
All images in this man ual :
© Jens Karlsson/Has selblad and David Jeffer y.
© Francis Hills/www.figjamstudios.com
Victor Hasselblad AB & Hasselblad A/S assumes no responsibility
or liabilit y for any errors or inaccuracies that may appear in this
manual.
Victor Hasselblad AB & Hasselblad A/S assumes no responsibility
or liabilit y for loss or damage incurred d uring or as a result of using
Hasselblad sof tware or products .
Hasselblad, Im acon, Ixpress and FlexColor are trad emarks of Victor
Hasselblad AB & Hasselblad A/S. Adobe and Adobe Ph otoshop are
trademark s of Adobe Systems, Inc. Macintosh, Mac OS and FireWire
are registered trad emarks of Apple Compute r, Inc. InfoLithiu m is a
registered trade mark of Sony Corporation.
Copyright © 2007
Victor Hasselblad AB & Hasselblad A/S
All rights reserved.
Page 67
67
Has selblad A/S
Hejrevej 30, DK - 2400 Copenhagen,
Denmark
Victor Hasselblad AB
Box 220, SE - 401 23 Göteborg,
Sweden
CF - English v.3 - item no. 80500 483
Page 68
Addendum V2 to User Manuals 2007
H1 / H1D / H2 / H2D / H3D / 503CWD / CFV / CF
2007-09-20 / V2
Page 69
www.hasselblad.com
1/5
ADDENDUM TO H1 / H1D / H2 / H2D / H3D / 503CWD /
CFV / CF - USER MANUALS
SEPTEMBER 2007
Upgrades to both camera firmware and digital back/sensor unit firmware have taken place
since the issuing of recent revisions of the user manuals.
503CWD/CFV/CF models have one addition, H1/H1D/H2/H2D have six additions while H3D
models have nine additions or changes. (Please see separate user manual supplement for
H3D-ll models).
The changes are as follows:
• Copying files to the ImageBank-II has been revised and updated. All digital units.
• Four additions including the Customizable Button Function list, Custom Options.
All H-system cameras.
• ‘Delete last image’ implemented. H digital cameras only.
• Three additions including Customizable Options, System Info. H3D only.
In additon, new warranty conditions were issued with effect from 1st July 2006 onwards
which affects all new products from that date onwards.
This affects the following user manuals:
H1 / H1D user manual: all versions
H2 / H2D user manual: all versions
H3D user manual: V.4 and earlier
CF & CFMS user manual: V.2 and earlier
503CWD & CFV user manual: V.6 and earlier
The changes are effective with regard to the following upgrades:
H3D firmware 1.0.2 and later
H1/H1D/H2/H2D firmware version 9.2.2 and later
Please check your particular model on the following pages to see what changes apply if or
when you upgrade.
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2/5
Copy
Files can be copied to an ImageBank-II to free up space
on a CF card. All batches and les remain on the card
until deleted.
To copy les:
Connect an ImageBank-II to the camera with a FireWire cable
and turn it on.
1. Press MENU and navigate down to select STORAGE.
2. Press the button and navigate down to COPY.
3. Press the button to reach the conrmation dialogue.
To conrm, press the OK button. (To cancel, press the EXIT
button. )
Conrmation will make a copy of all batches and les and
store them on the ImageBank-II in a newly created folder
called ‘CARD0001’ (for example). If you connect the camera to
the ImageBank-ll again, a new folder is automatically created
with the name ‘CARD0002’ (for example) and so on.
4s. The copying dialogue now appears to inform you of progress.
Press STOP if you want want to cancel the procedure.
2
3
1
4
All models (H1D / H2D / H3D / 503CWD / CFV / CF)
ADDENDUM TO H1 / H1D / H2 / H2D / H3D / 503CWD /
CFV / CF - USER MANUALS
Navigating the STORAG E sett ings
Copy Images
Page 71
H1 / H1D / H2 / H2D / H3D only
www.hasselblad.com
3/5
Custom option #31
ADDENDUM TO H1 / H1D / H2 / H2D / H3D / 503CWD /
CFV / CF - USER MANUALS
Delete last image
The ’Delete last image’ has now been implemented to
the customizable button function list. Consequently
by just pressing the USER, AE-L, STOP DOWN or M.UP
button, you are now able to immediately delete the
last image. Please note that for this action to be car-
ried out, there should be no intervening action taken.
So, for example, if you zoom in to check the image you
cannot then delete it using this particular feature but
must use the regular procedure on the sensor unit.
H1D / H2D / H3D only
Profiles
ISO, white balance, colour temperature and colour tint
are now also stored in the camera proles.
Standby mode
It is now possible to turn the camera off directly from
Standby mode.
On / Off
The amount of time that the ON-OFF button must be
depressed before turning the camera on has been
increased from 500 ms to 750 ms to avoid unin-
tentional battery drain (inadvertently pressed in a
camera bag, for example).
‘Extra mirror delay’ is activated either by loading the
‘Standard’ prole or making
a manual change in Custom
Option #31.
The factory default settings
list now includes a 50 ms
extra mirror delay.
Extra mirror delay
Camera shake is common with longer hand-held
exposures leading to a loss of sharpness. The normal
remedy of using a tripod or support and manually rais-
ing the mirror is not always suitable however.
To counteract this situation, you can now increase the
delay time between the mirror settling into its raised
position and the opening of the shutter. Although the
time period here is in milliseconds, tests have shown
a marked improvement in many cases. Consequently,
slower shutter speeds can be considered (whether
hand-held or on a tripod/support) than would normally
be advised while still retaining sharpness normally
only obtainable with faster shutter speeds.
There are a number of factors — shutter speed/stur-
diness of tripod or support/focal length of lens — to
take into account when determining the ideal setting.
50 milliseconds is suggested as a good starting point
for experimentation and is the default setting.
Default setting
50 ms
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4/5
H3D only (with sensor unit attached)
On H-system cameras, ISO settings and White Bal-
ance settings can be changed either on the camera
or on the sensor unit.
On the camera, this part of the menu is normally
accessed by pressing the MENU button, turning the
front control wheeel to DIGITAL and then pressing
the ENTER (Drive) button.
The new Custom Option #32 now provides rapid
access to the ISO / White Balance setting screen
by re-assigning the FLASH, AF or DRIVE buttons.
One press of the chosen button will then take you
straight to the ISO and White Balance setting screen
for immediate last-second changes.
Custom option #32
ADDENDUM TO H1 / H1D / H2 / H2D / H3D / 503CWD /
CFV / CF - USER MANUALS
‘Camera’
The ‘Camera’ choice on the menu is now greyed out
as it is irrelevant in this conguration.
‘System Info’
The “System info” section of the menu has an
additional information screen that displays the Ultra
Focus calibration ID.
A matching ID can also be found in the sensor unit
menu for optimum performance.
Page 73
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5/5
Changes to the Warranty Conditions — all products
ADDENDUM TO H1 / H1D / H2 / H2D / H3D / 503CWD /
CFV / CF - USER MANUALS
“Hasselblad partners will provide the minimum of a twelve month
warranty to end-users (subject to their normal statutory rights) on
new Hasselblad equipment sold, valid from the date that the equipment is purchased by the rst end-user.
For H System camera bodies, lm backs and lenses the warranty
will be limited to the warranty period provided by the partner or to
100,000 exposures, whichever is reached rst.
Warranty claims must be made through the dealer and/or company
where the product was originally purchased. The factory warranty
is NOT international, and warranty claims cannot be made through
other channels. This is also valid for equipment purchased outside
the country of residence.
Please note that physical damage to the CCD sensor (scratches,
chipping, unauthorized polishing) is not covered by factory warranty.
Cleaning of dust from the CCD sensor is considered as maintenance
and is thus not covered by factory warranty.”
Please note the important changes in the warranty conditions which came into effect from
the 1st July 2006 onwards. These changes replace the warranty conditions appearing in
the user manuals from 1st July 2006 onwards.
Page 74
Software Reference
FlexColor 4.0 for Camera Backs
by Hasselblad Imacon
Page 75
2
© 2004 Hasselblad A/S. All rights reserved.
Software Reference - FlexColor 4.0 for Camera Backs, Part No 70030035 revision 1.0.
The information in this manual is furnished for informational use only, is subject to change
without notice, and should not be construed as a commitment by Hasselblad A/S.
Hasselblad A/S assumes no responsibility or liability for any errors or inaccuracies that may
appear in this manual.
Hasselblad A/S assumes no responsibility or liability for loss or damage incurred during or as
a result of using Hasselblad software or products.
Hasselblad, Imacon, FlexColor, Flextight, FlexFrame and Ixpress are trademarks of
Hasselblad A/S.
Adobe and Adobe Photoshop are trademarks of Adobe Systems, Inc. Macintosh, Mac OS,
ColorSync, and FireWire are registered trademarks of Apple Computer, Inc.
Printed in Denmark.
Software Reference - FlexColor 4.0 for Camera Backs
Page 76
Table of Contents
Table of Contents
Introduction 7
What's in this Manual 7
Software compatibility 7
FlexColor under Mac OS and Windows 7
System Requirements 8
The 3f File Format 10
FlexColor Menus 13
The FlexColor Menu 13
The File Menu 14
The Edit Menu 16
The Modify Menu 17
The View Menu 18
The Maintenance Menu 18
The Window Menu 19
3
The Main FlexColor Window 21
Introduction 21
Capture and Save Tools 21
Color and Exposure Analysis Tools 23
Corrections Controls 24
Size Controls 24
Zoom Controls 26
Orientation Controls 26
Other Controls 27
Overlay 28
The Preview 28
The Setup Window 29
Introduction 29
The FlexColor Setup Philosophy 30
Managing Setups 30
Advanced Setup Management 31
continues...
Software Reference - FlexColor 4.0 for Camera Backs
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4
Table of Contents
...continued
General Tab 32
Contrast Tab 35
Texture Tab 36
CC (Color Correction) Tab 37
Auto Tab 39
Dot Tab 40
ColorSync or ICM Tab 41
The Preferences Window 47
Introduction 47
Scanner Tab 47
Camera Tab 47
3f Tab 50
Output Profiles Tab 51
General FlexColor Settings 52
FlexColor ICC Profiles 55
Generic ICC Output Profiles 55
Editing ColorSync Color Profiles 56
The Thumbnails Window 61
Introduction 61
Opening the Thumbnails Window 61
Selecting a Thumbnails Folder 62
Files and Formats 62
Saving Crop and Imaging Settings 62
Using the Thumbnails Window 63
Printing the Thumbnails 69
Ixpress Contents Window 71
Introduction 71
Using the Ixpress Contents Window 71
Transferring Images 74
The Info Window 75
Introduction 75
Using the Info Window 75
Software Reference - FlexColor 4.0 for Camera Backs
Page 78
Table of Contents
The Exposure Window 79
Introduction 79
Using the Exposure window 79
Setting the Exposure 80
Custom White Calibration 81
The Color Info Window 83
Introduction 83
Reading Values in the Color Info Window 83
Setting Fixed Sample Points 84
Active and Reload Buttons 85
Introduction 85
5
The Gradations Window 87
Introduction 87
Using the Sliders 88
Using the Gradations Color Picker 89
Using the Curve 89
Setting the Threshold for Lineart Captures 91
The Histogram Window 93
Introduction 93
The Histogram Display 94
The Histogram Color Pickers 96
Neutralizing Colors 98
Selective Color Correction 99
Introduction 99
Opening the Color Correction Window 99
Using the Color Correction Window 99
The Texture Window 101
Introduction 101
Using the Texture Window 102
The Detail Window 105
Introduction 105
Using the Detail Window 106
Software Reference - FlexColor 4.0 for Camera Backs
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6
Table of Contents
The Live Video Window 107
Introduction 107
Live Video Window Tools 108
The Tasks Window 111
Background save from 3f 111
Appendix 113
Keyboard Shortcuts 113
Software Reference - FlexColor 4.0 for Camera Backs
Page 80
Introduction
What's in this Manual
This manual provides a menu-by-menu, screen-by-screen listing of
controls and settings available with FlexColor.
Topics include:
Summaries of all menu commands
•
Description of the 3f file format
•
Information about rotating and mirroring images
•
Image management from the Thumbnails Window
•
Full details of all tab sheets in the Setup window
•
Introduction
What's in this Manual
7
Full details of the Preferences window
•
Instructions for editing ColorSyncTMprofiles
•
Brightness and contrast control with the Gradations window
•
Advanced highlight and shadow settings with the Histogram window,
•
including color neutralization and control
•
Advanced color control with the Color Correction window
•
Sharpening images with the Texture window
Software compatibility
The FlexColor software works with the entire range of Ixpress and
FlexFrame digital camera backs and all Flextight scanners except for the
Flextight 4800.
FlexColor under Mac OS and Windows
The CD that came with your digital camera system includes versions of
FlexColor for both Macintosh and Windows-based systems.
The interface is nearly identical on both platforms, with mostly superficial
differences to conform with the interface guidelines of the two systems.
Software Reference - FlexColor 4.0 for Camera Backs
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8
Introduction
System Requirements
Nearly all of the screen captures shown in this manual were taken from
Mac OS X. Windows users will notice the following differences:
In the Setup window, the color management tab is called ICM instead
•
of ColorSync
The menus are located at the top of the main FlexColor window instead
•
of at the top of the screen.
TM
.
System Requirements
IBM PC-Compatibles
Minimum 233 MHz processor.
•
Windows 2000 or XP.
•
System RAM
•
512 MB or more recommended - when performing micro step captures
we recommend at least 1.5 GB. Ixpress 528C will not function with less
than 2 GB.
Screen resolution of 800 x 600 pixels with true colors (24 bits).
•
Mouse or other pointing device.
•
• FireWire interface
or
SCSI Interface.
•
Minimum available hard disk space of 10 GB
Macintosh
•
Minimum Power PC processor.
•
Mac OS X ver. 10.2.1 or later.
•
System RAM
512 MB or more recommended - when performing micro step captures
we recommend at least 1 GB.
•
Screen resolution of 800 x 600 pixels with true colors (24 bits).
•
FireWire interface
or
SCSI interface.
•
Minimum available hard disk space of 10 GB.
Software Reference - FlexColor 4.0 for Camera Backs
Page 82
Introduction
System Requirements
OS X Requirements
OS X V 10.2.1 or later is required. We recommend updating to the latest
release available.
Devices can be connected by either SCSI or FireWire. Please note that if
you are connecting a SCSI device through a SCSI to FireWire device it will
be represented as a FireWire device - that is the bus number in the device
window will be 9.
To be recognized by OS X, devices connected to a standard SCSI adapter
must be present when booting the Mac.
A SCSI device connected via a SCSI to FireWire adapter will be recognized
when the adapter is plugged in.
The SCSI device itself must be turned on before connecting the adapter to
FireWire or rebooting.
9
Software Reference - FlexColor 4.0 for Camera Backs
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10
Introduction
The 3f File Format
The 3f File Format
When using the Scan 3f function (for scanners) or capturing an image
with a digital camera back, FlexColor stores the image in the unique 3f
(flexible file format).
The 3f file is an extended TIFF-file containing
Raw 16-bit image data
•
A complete history of applied settings
•
High quality preview image
•
Custom icons and previews visible in the Finder.
•
Meta-data (including IPTC tags) to support an image database.
•
In short this means that when you have scanned or captured your image,
you can crop, resize and color correct an unlimited number of times
afterwards.
You can easily integrate to databases, have fast previews in a number of
applications and always be able to re-create the quality you need - all this
from the same 3f file.
Image Archiving & Availability
Because a 3f file preserves all of the details captured by your scanner or
camera, it is perfect for archiving. Then, for each new job, you will work
with the 3f image in FlexColor and export it to create a new TIFF file in
which your settings are applied - the only change made to the 3f file will
be the addition of a new history record of the settings you used.
By making the 3f files available over your network, you will enable
operators at any workstation to open an image in FlexColor and apply
cropping, correction and conversion just as though they were working
directly on the scanner or camera.
Software Reference - FlexColor 4.0 for Camera Backs
Page 84
Introduction
The 3f File Format
Editing 3f Files
FlexColor holds all tools required for making standard image correction
of the 3f files.
If you need to apply pixel-editing to your image, FlexColor has a special
plug-in for Photoshop. When installing FlexColor, this plug-in will be
installed in the appropriate plug-in folder if Photoshop is already
installed.
Please note that you will permanently alter your original scanning or
capture data when you save using the plug-in.
To use your images in other image-editing and DTP applications, you
must apply the required settings and then save them as TIFF files. TIFF is
a standard format that is supported by the vast majority of imaging and
DTP programs.
IPTC Tags
11
The International Press Telecommunications Council (IPTC) defines a
standard used in the press industry for exchanging meta-information in
news content, including images. The standard associates an object with its
description within the same file. You can embed all kinds of information
in your images, such as a caption, the place you took it, the date and even
keywords and categories etc.
In FlexColor you are able to apply a number of IPTC-tags to your 3f files.
See “The Info Window” on page 65 for details.
An extra copy of the IPTC data is stored in the Adobe Image Resource tag
to enable Extensis Portfolio and other applications extracting metadata
with QuickTime to read the keywords stored in the standard IPTC tag.
Many aspects of managing your images are made easier using the IPTC
standard. Many software programs already exist for doing this, including
Adobe Photoshop. It’s the standard used by professional news agencies
worldwide, and it’s just as useful for others.
Software Reference - FlexColor 4.0 for Camera Backs
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12
Introduction
Software Reference - FlexColor 4.0 for Camera Backs
Page 86
FlexColor Menus
The FlexColor Menu
FlexColor Menus
FlexColor commands are available via a standard menu bar. Each of them
is described briefly below. Note that most menu entries also list a
keyboard shortcut to the right of the entry. Try to remember and use these
shortcuts to speed up your work.
The FlexColor Menu
Except for the Preferences entry the FlexColor menu functions are
standard for all applications.
13
•
Preferences: Opens the Preferences window, which enables you to
make general flash and shutter settings for your current camera model,
select an application for viewing final images, and typing some default
information for the 3f files.
See "The Preferences Window" on page 47 for more information.
Software Reference - FlexColor 4.0 for Camera Backs
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14
FlexColor Menus
The File Menu
The File Menu
The File menu includes entries that initiate image captures and make
settings for FlexColor.
Capture: Captures an image using your current settings and saves it as
•
a 3f file (see page 10 for details). A preview of the image will be
displayed in main FlexColor window right away, though rendering of
the image will continue in the background for several seconds
afterwards. You will not be able to view the image in full resolution
until the rendering is finished, though you can make other types of
settings. All setting are previewed using the full 16-bit color depth to
display results.
•
Save: Saves the image currently shown in the FlexColor window as a
standard TIFF file. All current crop, mode, color and imageenhancement settings will be applied to the saved image.
•
Close: Closes the currently selected window if possible.
•
Setup: Opens the Setup window, in which most of the basic settings for
an image capture can be made, saved and loaded.
See "The Setup Window" on page 29 for more information.
Software Reference - FlexColor 4.0 for Camera Backs
Page 88
FlexColor Menus
The File Menu
Devices: Opens the Devices window.
•
The window lists all connected devices allowing you to select which
camera or scanner device you want to work with. Click on the one you
prefer and click the Select button. If you have only a single scanner or
camera connected this device is automatically chosen.
The numbers just to the right of the scanner or camera icon in the list
(ex. 0-5) refers to the Bus no. (0) and the SCSI address (5).
Get Info: Opens an Info window, which contains various information
•
about the currently selected image.
See "The Info Window" on page 65 for a detailed description.
15
Page Setup.../Print… : Enables you to print the contents of the
•
Thumbnails window. Make sure you have selected the view by
clicking on an image in the window, then select Print.
Software Reference - FlexColor 4.0 for Camera Backs
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16
FlexColor Menus
The Edit Menu
The Edit Menu
The Edit menu contains entries that enable you to undo multiple actions
that you have made while making settings in FlexColor. It also enables
you to cut, copy and paste text in various windows.
Undo: Reverses your most-recent actions - for example, a crop area
•
modification or a change in the Setup window. You are able to step
back through a long series of actions.
•
Redo: Reapplies the last action that you cancelled using the Undo
command.
•
Cut: If you have selected some text in a text field, then this command
removes the text and saves it on a system-wide virtual clipboard.
•
Copy: Saves the selected text on the clipboard without removing it.
•
Paste: Places a copy of the text on the clipboard at the insertion point.
•
Clear: Removes all text from the clipboard.
•
Select All: Selects all of the text contained in the field in which the
insertion point is standing. In the Thumbnails window, this selects all
of the icons in the window (see "The Thumbnails Window" on page 61).
•
Deselect: Removes the cropping of the currently shown image.
•
Show Clipboard: displays the current contents of the clipboard.
Software Reference - FlexColor 4.0 for Camera Backs
Page 90
FlexColor Menus
The Modify Menu
The Modify Menu
The Modify menu gives you quick short cuts to functions that are also
available from within the modify dialog in the Thumbnails window (see
page 61 for details).
You have the possibility to select a number of files and choose Process
from the Modify menu. This will add a corresponding number of
processing tasks to the list in the Task window and processing of those
files will take place in the background. Processing tasks will not be
interrupted by new image captures.
17
Batch Modify
When using the Batch Modify... function to add settings from current
settings the cropping will be maintained in the added settings.
If the images in question have different sizes the cropping will be scaled
accordingly.
Neutralization presets
You have the ability to save and reuse named neutralization presets. This
feature is also accessible from the Modify dialog in the Thumbnails
window (see page 67 for details).
Software Reference - FlexColor 4.0 for Camera Backs
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18
FlexColor Menus
The View Menu
The View Menu
The View menu exposes some of the “secret” short cuts that relate to the
control of grid, overlay and crop mask and to zooming and selection of
images.
The Soft Proof feature combines the ICC color profile of your monitor
with the profiles of your camera back and output device to provide a
simulation of the output colors on your screen. Enable this only when you
are sure about the specific output device you are using. If you are making
a general-purpose RGB capture, then keep this feature unselected.
A small s to the right of the Color Info area in the main FlexColor
window indicates that Soft Proof is enabled.
The Hide Tools item lets you hide all tool windows.
The Maintenance Menu
The Maintenance menu is not available when you use FlexColor with a
digital camera back.
Software Reference - FlexColor 4.0 for Camera Backs
Page 92
The Window Menu
FlexColor Menus
The Window Menu
19
The Window menu opens and closes each of the image settings windows
available with FlexColor. Each window that is currently open shows a
check mark to the left of its name. For more information about each of
these windows, see the appropriate section later in this manual:
Gradations window ......... seepage 87.
Histogram window .......... seepage 93.
Color Correction window .... seepage 99.
Texture window ........... seepage 101.
Detail window ............. seepage 105.
Exposure window ........... seepage 79.
Thumbnails window ........ seepage 61.
Color Info window .......... seepage 83.
Live Video window ........ seepage 107.
Tasks window ............. seepage 111.
NOTE! The Batch Scan entry is not available when you use FlexColor
with a digital camera back.
Software Reference - FlexColor 4.0 for Camera Backs
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20
FlexColor Menus
Software Reference - FlexColor 4.0 for Camera Backs
Page 94
The Main FlexColor Window
The Main FlexColor Window
Introduction
The main FlexColor window displays your preview images and provides
access to most of the image capturing and editing functions available with
FlexColor.
Introduction
21
Capture and Save Tools
Capture Captures an image using your current settings.
A preview of the image will be displayed in the main
FlexColor window right away.
All settings are previewed using the full 16-bit color depth to
display results.
Software Reference - FlexColor 4.0 for Camera Backs
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22
The Main FlexColor Window
Capture and Save Tools
Save Saves the image currently shown in the FlexColor window
as a standard TIFF file. All current crop, mode, color and
image-enhancement settings will be applied to the saved
image. The save task is added to the list in the Tasks
window (see page 111 for details) and the actual save task
will take place in the background
Previous/Next Image Buttons: Use these buttons to select
previous or next image from the thumbnails folder.
Ixpress Contents Button: Opens the Ixpress Contents
window displaying thumbnails of all images currently
stored on the Image Bank's hard disk.
Thumbnails Button: Opens the Thumbnails window, which
displays thumbnail images of all of the images saved in the
current folder. See "The Thumbnails Window" on page 61 for
more information.
Setup Use this pop-up menu to choose between any of the
currently available setups. A small + will appear to the right
of the menu to indicate when you have made custom
changes that affect the setup but have not been saved.
Type Use this pop-up menu to choose the type of capture you
want to make (preview, single-shot, multi-shot or
micro-step). This setting mirrors the Type setting on the
General tab of the Setup window.
See "General Tab" on page 32 for more information.
Mode Use this pop-up menu to set the capture mode (RGB, RGB
16 bit, Grayscale, Grayscale 16 bit, Lineart,orCMYK). This
setting mirrors the Mode setting on the General tab of the
Setup window.
See "General Tab" on page 32 for more information.
Keyboard shortcuts
See "Appendix" on page 113 for related keyboard shortcuts.
Software Reference - FlexColor 4.0 for Camera Backs
Page 96
Color and Exposure Analysis Tools
Color and Exposure Analysis Tools
The Main FlexColor Window
23
Exposure button
f-stop pixel value
Color Info button
Exposure-level indicator
Neutralize color picker
Soft Proof enabled
Red, green and blue pixel values
Use the exposure-level indicator to get a rough idea of how bright your
picture is. Ideally, it should be near the top of the green area, but without
entering into the red area, which indicates an overexposure. The indicator
turns yellow to indicate a probably bad exposure and turns white to
indicate a good exposure. Only the part of the image that is inside of your
crop area is measured by this tool, which means that the measurement
will change when you modify the crop area.
The various pixel value displays give you the f-stop and/or color values
for the pixel currently under the mouse pointer in the preview. Use this
tool to evaluate the exposure in particular areas of the captured image.
When you are shooting in RGB mode, then you can read values for each of
the three colors and the f-stop brightness, as shown above. However, if
you are shooting to CMYK, then CMYK pixel values are shown, and no
f-stop value appears. Use the Color Info window to read CMYK and
f-stop values simultaneously (see below).
The Neutralize color picker helps you to obtain a neutral color balance in
your image (see “Neutralizing Colors" on page 98 for details).
Next to the information displays are two buttons, which will open
windows that give you even more information and control. These are:
Exposure Button: Click this button to open the Exposure
window, which enables you to assess your exposure, set
camera aperture, exposure time and ISO sensitivity, and
make a black calibration. See "The Exposure Window" on
page 79 for more information.
Color Info Button: Click this button to read pixel values
from several points in the preview image. See "The Color
Info Window" on page 65 for more information.
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24
The Main FlexColor Window
Corrections Controls
Corrections Controls
Gradation Button: Opens/closes the Gradations window.
See "The Gradations Window" on page 87 for more
information.
Histogram Button: Opens/closes the Histogram window.
See "The Histogram Window" on page 93 for more
information.
Color Correction Button: Opens/closes the Color
Correction window.
See "Selective Color Correction" on page 99 for more
information.
Texture Button: Opens/closes the Texture window.
See "The Texture Window" on page 101 for more
information.
Size Controls
Width The measured width of the output image. The units used are
Height The measured height of the output image. The units used are
Zoom The level of magnification applied when the image is saved.
Auto Button: Click this button to apply automatic settings
for highlight and shadow points based on the histogram of
your image.
Reload Button: Click on this button to return all correction
windows (Gradations, Histogram, Color Correction, and
Texture) to the settings saved with the current setup.
set on the General tab of the Setup window. See "General
Tab" on page 32 for more information.
set on the General tab of the Setup window. See "General
Tab" on page 32 for more information.
The Width and Height settings will update to reflect the
setting you make here. Note that if you choose a setting
other than 100%, then FlexColor will interpolate the image to
fit the size you specify.
Size The file size of the final image file. This is affected by the
Width, Height, Zoom, and PPI settings.
It is possible to type a desired output file size. This will
adjust the zoom percentage correspondingly (max. 200%).
Software Reference - FlexColor 4.0 for Camera Backs
Page 98
The Main FlexColor Window
Size Controls
PPI The output resolution of the final image. The Width and
Height settings will update to reflect the setting you make
here.
Lock Button: The lock button enables you to lock the output
width and height settings. When the lock is closed, then the
output width and height will not change when you modify
the crop area by dragging one of its corners, and the
proportion of height to width will be maintained. Click on
the lock to toggle its setting.
Crop Button: Usually this button is gray, which indicates
that the crop tool is active. When the crop tool is active, you
are able to click and drag on the preview image to create and
manipulate the crop area. However, some tools, such as the
color pickers, change the cursor so that it selects colors
instead of defining a crop area. When one of these tools is
active, the crop button is white. To return to the crop tool,
click on the crop button.
25
Note the following points about working with the crop and size tools:
When you work with the digital camera, you will typically know the
•
target output dimensions and resolution. If so, first enter the
dimensions in the Height and Width fields and choose the output
resolution from the PPI pop-up menu. Then click on the lock icon so
that it is closed (this will lock your height and width settings).
You are now able to click and drag the crop area to define the
composition of your image - the Zoom value automatically tracks your
changes without changing the height, width, or PPI of your output
image.
•
To set the crop area, place the mouse cursor over the preview image.
Click and hold over one corner of the area you wish to capture and drag
the cursor away to outline the area. Release the mouse button to select
the area.
•
To move the crop area, place the mouse cursor inside the outline, then
click and drag the area. Release the button to drop the area again.
•
To resize the crop area, place the mouse cursor over one of the sides or
corners. The cursor will change into a double sided arrow. Click and
drag the side or corner to stretch or shrink the area.
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26
The Main FlexColor Window
Zoom Controls
Zoom Controls
Zoom Out: Click this button to make the preview image
smaller.
Zoom In: Click this button to make the preview image
larger.
Fit to Window: Click this button to resize the preview to fit
the window.
Detail: Click this button to open the Detail window. Use this
window to show details of the image and/or a strongly
magnified view of the preview image for reading color
values of a specific pixel in your image. See "The Detail
Window" on page 105 for more information.
Keyboard shortcuts
See "Appendix" on page 113 for related keyboard shortcuts.
Orientation Controls
Rotate Buttons: If you choose to shoot with the camera back
in portrait mode, then your subjects will be rotated so that
they appears sideways in relation to the FlexColor preview
window. If this annoys you, the use the rotate buttons to
rotate the image in 90° steps in either direction. Both the
preview and the final image will be rotated.
Mirror Button: Mirrors the preview and final image.
Orientation Icon: Shows the current rotation/mirroring in
relation to the captured image.
Keyboard shortcuts
See "Appendix" on page 113 for related keyboard shortcuts.
Software Reference - FlexColor 4.0 for Camera Backs
Page 100
Other Controls
Grab tool: Holding down space activates the grab tool
allowing you to drag the contents of the preview window
around.
Crop mask button: Masks off the area outside the current
cropping.
Overlay Button: Switches on and off the display of an
overlay over the image in the preview window.
Activating this button without actually having added an
overlay image will display a message describing this.
See page 28 for details about adding an overlay to the image.
Opacity slider: This slider occurs below the overlay button
while the overlay is active. The slider gives you full control
of the overlay image transparency.
The Main FlexColor Window
Other Controls
27
Grid Button: Adds a grid over the preview and live video
window. The grid can be useful for aligning objects in your
setup.
Holding down the option key while clicking the button
opens the Grid options window:
Here you are able to define the number and color of the lines
in the grid.
The number of lines is per the smallest image dimension
(width or height).
Scrolling
The scroll wheel on your mouse can be used in the preview window hold down option key to scroll sideways.
Software Reference - FlexColor 4.0 for Camera Backs
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