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User Manual
Language version: English
Manual version: 4 / 2007
22 MPix
31 MPix
39 MPix
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C O N T E N T S
6 Ini ti al Ge ne ral Se tt in gs an d
Pre pa rat io n 34
S et ti n g th e me nu l a ng ua ge 3 4
St o ra ge a nd s h oo ti ng m o de s 35
U si ng c om p ac t f la sh m em or y c ar d s 36
Wo r ki ng w i th a n Im ag eB a nk -I I 37
Te th e re d to a c o mp ut er 38
7 Sto rage work in g wit h media
and b atc he s 39
B at ch es 39
N av ig at in g m ed ia a nd ba tc he s 39
C re at in g n ew b at ch e s 41
U si ng I ns t an t Ap pr o va l Ar ch i te ct ur e 42
R ea di ng a n d ch an gi n g ap pr ov a l st at us 43
B ro ws in g by ap pr ov al st at us 4 4
D el et in g b y ap pr ov a l st at us 4 4
8 Ove rv iew of vi ew ing, de leti ng
and c opy ing im ag es 45
B as ic i ma g e br ow si n g 45
C ho os in g t he c ur r en t ba tc h 45
B ro ws in g by ap pr ov al st at us 4 5
Z oo mi ng i n a nd o ut 45
Z oo mi ng i n f or m or e d et ai l 4 6
T hu mb na il vi ew s 4 6
P re vi ew m o de s 47
B at te r y sa ve r mo d e 49
Fu l l- sc r ee n mo de 49
O ve re xp o su re i nd i ca to r 49
D el et in g i ma ge s 50
Tr an s fe rr i ng i ma ge s 50
9 MENU —IS O, W hi te ba lance ,
Med ia , Bro wse 52
M en u ov er v ie w 52
N av ig at in g t he m en u s ys te m 5 2
L an gu ag e 5 4
IS O 5 4
W hi te b al an c e 55
M ed ia 56
B ro ws e 57
10 MENU —S tora ge 58
D el et e 59
F or ma t 6 3
Int ro ductio n 4
1 Fu nc ti on Contr ol & Di sp lay 8
G ri p LC D 12
V ie wf i nd er L CD 14
2 Cam era Bo dy 17
C ar ry i ng s tr a p 20
R ec ha rg e ab le b at t er y g ri p − ge ne r al 20
B at te r y ch ar g er 2 0
C ha rg in g t he b at t er y 20
V ie wf i nd er s c re en 2 1
Ac c es so r y co nn ec t io n 21
P C- co nn ec t or 21
B as e pl at e 2 1
3 Vie wf in der 22
P ar ts & C o mp on en t s 25
At t ac hi n g an d
r em ov in g t he v ie w fi nd e r 2 5
Ey e pi ec e ad j us tm en t 25
Ey e c up 2 5
4 Len se s 24
P ar ts & C o mp on en t s 25
At t ac hi n g a le ns 2 5
R em ov in g a l en s 2 5
L en s ca p 2 5
Fi l te rs 25
L en s sh ad e s 2 5
S hu tt er a n d ap er t ur e co nt r ol 2 5
D ep th -o f -f ie ld ca lc ul a ti on 26
D ep th -o f -f ie ld / vi su al p r ev ie w 26
I nf ra re d f oc us s e tt in g s 26
F oc us a id 26
C F ad ap te r 27
S pe ci f ic -l en s in f or ma ti o n 27
5 Gene ral overv ie w o f sen so r
uni t 2 8
T he c on tr o l pa ne l 30
Sy s te m ov er v ie w 3 2
M en u ov er v ie w 33
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15 Fl as h 10 7
Fl a sh m ea su r e 110
16 Opt io nal A ccess ories 111
17 Fi lm Mag az ine 115
P ar ts & C o mp on en t s 11 6
LC D p an el 116
LC D i ll um in a ti on b ut t on 11 6
C ha ng e up b u tt on 11 6
C ha ng e do w n bu tt on 11 6
Fu n ct io n s el ec t or 117
Fi l m pl an e i nd ex 11 7
D ar ks li d e ke y 117
Fi l m ta b ho l de r 11 7
M ag az in e s et ti ng s l oc k 1 17
D at ab us i n te rf a ce 11 7
B at te r y 11 8
At t ac hi n g an d re m ov in g 1 18
M ag az in e s et ti ng s 119
Fi l m lo ad i ng 12 1
18 App en dix 123
G lo ss ar y 12 5
Te ch n ic al s pe c if i ca ti on s 12 9
C ar e, s en s or u ni t 13 2
E qu ip me nt ca re a nd se rv i ce 13 3
B at ch 6 4
D ef au lt A p pr ov al L ev e l 6 5
11 MENU —S et ting s 66
U se r In te r fa ce 6 7
C am er a 6 8
A bo ut 7 3
D ef au lt 7 3
12 Lig ht Me te ring &
Expo sure Cont ro l 75
M et er in g m et ho d 7 6
E xp os ur e m et ho d 7 7
M an ua l ex p os ur e mo d e 7 7
A ut om at ic e x po su re mo de 78
AE - L bu tt o n 7 9
E xp os ur e c om pe ns a ti on 8 0
13 Gen er al Funct io ns 81
Po we r −O N 82
Po we r −St a nd by 8 2
Po we r −O FF 82
M an ua l fo c us 8 2
M an ua l fo c us m od e 8 3
A ut of oc u s ov er ri de in m an ua l m od e 8 3
A ut of oc u s 8 3
S in gl e Sh ot 83
C on ti nu ou s 84
A ut of oc u s mo de 8 4
D ri ve 8 5
S in gl e 85
C on ti nu ou s 85
P ro fi l es 8 6
M ak in g a p ro fi le 86
C ha ng in g a p ro fi l e na me 87
14 Adv anced Fe at ures 88
G en er al o ve r vi ew o f c am er a m en u 89
S el f Ti me r 90
B ra ck et in g 92
I nt er va l 94
S et ti n gs 9 5
C us to m Op t io ns 9 6
I ma ge I nf o 10 0
Te x t 10 1
D at e & Ti me 1 03
Sy s te m st a tu s 10 4
D ig it al 1 05
C us to mi z ab le b ut t on f un c ti on l i st 10 6
Cover shot: Jürgen Müller ©. Not all the images in this manual were taken with a Hasselblad H3D. They are used for illustrative purposes only and are not intended to represent the image quality produced by a Hasselblad H3D. © Jens Karlsson/Hasselblad and David Jeery.
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Welcome to Hasselblad !
The H3D represents the forefront of medium format photography - both digital
and analogue. The unrivalled position is based on an accumulation of experience spanning more than fty years. By using Hasselblad equipment you share
the decision made by of some of the world’s best and most famous photographers. Congratulations on a wise choice!
The H3D is the world’s rst full-frame, large-sensor, medium-format DSLR camera. The H3D has been developed around a brand new digital camera engine
producing increased lens performance and a new level of image sharpness. By
focusing solely on digital camera architecture, Hasselblad is able to oer photographers the full benets of professional medium-format digital cameras as
well as the ease of use of the best 35mm DSLRs
The H3D delivers outstanding digital performance, taking full advantage of the
virtues of medium format photography. The result is exibility for the professional photographer, including the freedom to choose between eye-level and
waist-level viewnders, digitally APO corrected lenses, and on-the-y classication of images. It also oers the photographer the freedom to work with lm
to allow shooting under extreme conditions, and Hasselblad’s Natural Color
Solution delivers out-of-the-box image quality only achievable in a true digital
camera system.
The H system
The H system is the result of the most intensive technical development programme ever undertaken by Hasselblad, the most prestigious medium-format camera manufacturer in the
world. It presents a list of features coloured by superlatives. What was once considered optional is now integral, built around the three pillars of the Hasselblad reputation: Reliability,
Versatility and Interchangeability.
The list of features is long, varied and comprehensive. The list includes: automatic focus with
instant manual override, dot-matrix LCDs, rapid button and control wheel user interface,
integral grip, integral ll-ash, multi-mode exposure metering, TTL ash control, extremely
accurate electronic leaf shutter, ash sync at all shutter speeds to 1/800s, eyeline viewnder
with 100% view, dot matrix viewnder LCD, lithium or rechargeable battery options, shutter
speeds from 18 hours to 1/800s, user customization of functions, bracketing, interval timer,
rapid access user button, ash measure, integral diopter adjustment in viewnder, zone system capability, time-lapse photography, customized proles and so on.
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Film users can take advantage of automatic lm speed setting with
bar code, instant 120/220 interchangeability, integral dark slide, independent LCD illumination on magazines, automatic lm advance
and lm wind o, custom imprinting on frame edge including exposure data, name, symbols, etc.,
Ultra-Focus and Digital Auto Correction
Information about the lens and exact capture conditions is fed to the
camera processor for ultra-ne-tuning of the auto-focus mechanism,
taking into account the design specications of the lens and the optical specications of the sensor. In this way the full HC lens program is
enhanced to perform at a new level of sharpness and resolution.
Digital correction for color aberration and distortion is also added.
“Digital Auto Correction” (DAC), is an APO-chromatic correction of
the images based on a combination of the various parameters concerning each specic lens for each specic shot, ensuring that each
image represents the best that your equipment can produce.
The advantages of the central lens shutters of HC/HCD lenses adds
flexibility by allowing flash to be employed at shutter speeds up to
1/800s. Thanks to the large format, the depth of eld range is considerably shallower making it much easier to create a perfect interplay
between sharpness and blur.
Large format digital capture
In digital photography, the advantages of large format cameras
become particularly obvious. The 6 x 4.5 cm window allows the
Hasselblad H3D to use the largest image sensors currently available
in digital photography – more than twice the size of a 35mm camera
sensor. The sensor therefore holds more and larger pixels, which secure a high-end image quality in terms of moiré free color rendering
without gradation break-ups in even the nest lit surfaces.
A choice of bright viewnders
One of the important traditional advantages is the extra large and
bright viewfinder image, enabling extremely precise compositions
and easy operation in dim lighting. The H3D comes with a new HVD
90x viewnder designed for full performance over the large 36x48mm
sensor. Hasselblad has added an interchangeable waist-level viewnder, the HVM, for the range of H system cameras. This new viewnder allows the photographer to maintain direct eye contact with
the model throughout a shoot, for example, or to gain impact by
shooting from a point lower than eye level as a creative feature
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 specic color prole to suit a specic job in order to capture various
skin tones, metals, fabrics, owers, etc. Hasselblad has helped solve
this dilemma, with the development of a single powerful color prole to be used with its FlexColor imaging software. Working with the
new Hasselblad Natural Color Solution (HNCS) enables you to produce outstanding and reliable out-of-the-box colors, with skin tones,
specific product colors and other difficult tones reproduced easily
and eectively.
In order to incorporate our new unique HNCS and DAC features we
have developed a custom Hasselblad raw le format called 3F RAW
(3FR). The new 3FR file format is designed to ensure that images
captured on Hasselblad digital products are quickly, eectively and
safely stored on the available media. This le format includes lossless image compression, which reduces the required storage space
by 33%. The 3FR file defines the colors in the Hasselblad RBG color
space with its out-of-the-box quality, and used in conjunction with
FlexColor it removes both the need for experimenting with dierent
color proles to obtain optimal colors and the need for selective color
corrections.
DNG workow
The 3FR les can be converted into Adobe’s raw image format DNG
(‘Digital NeGative’), bringing this new technology standard to the
professional photographer for the rst time. In order to utilize DAC
and optimize the colors of the DNG le format, conversion from 3FR
must take place through FlexColor. The DNG le format enables raw,
compressed image les to be opened directly in Adobe PhotoShop.
Hasselblad image les carry a full set of metadata, including capture
conditions, keywords and copyright, facilitating work with image asset management solutions.
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 classication status. The information is recorded both in the le and in the le
name, providing a quick and easy way to classify and select images,
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The primary goal of all camera development is of course the seamless and unobtrusive production of superb images, regardless of situation. Hasselblad cameras have
abilities and features that you may not think you need yet; each individual has their
own way of working. But the H3D has tremendous scope for ne-tuning your technique possibly beyond your present ambitions .
Take your time to learn the intricacies and potentials of your new camera. Go at your
own pace and explore the possibilities when you feel ready for the next step. Results
will be good from the word go, that’s guaranteed, but when you want to make improvements or work more eciently perhaps, the capabilities are there for you.
The supreme Hasselblad potential is there, it’s up to you to exploit it!
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FlexColor workow
FlexColor oers an image processing workow 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 H3D. 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.
Modular design for exiblity
The H3D oers the choice of working with lm using a Hasselblad H
System lm magazine. This option permits photography in extreme
temperature environments or when extreme exposure times are demanded.
For increased usefulness, the digital capture unit of the H3D can also
be detached and used on a view camera by way of an adapter. In
this case the unit is controlled by the ash sync signal from the view
camera shutter.
A clean and dust-free sensor is essential and the modular design of
the camera allows for easy access for cleaning, saving you hours of
retouching work later.
in the eld or in the lab. The Hasselblad H3D is fully integrated with
the Hasselblad Instant Approval Architecture, bringing automated
image classication into your digital workow 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.
Three modes of operation and storage
Optimum portability and image storage are critical for the professional photographer. The Hasselblad H3D oers a choice of storage
devices: portable CF cards, the exible ImageBank-II or a computer
hard drive. 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 Hasselblad H3D is 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.
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Computer system requirements
Digital les naturally end up on a computer for processing. Image-storage and
correction requires a certain minimum standard regarding computer capabilities.
Large images will require a high-performance computer with plenty of memory,
advanced graphics capabilities and a recent operating system. In most cases, the
computer should include a FireWire 800/400 connector, which will enable you to
load images directly from the camera or ImageBank-II (see note below). To load
images stored on the removable compact-ash card, you could instead use a compact-ash card reader, but FireWire is recommended for maximum exibility.
Regarding the FireWire connection please not the following:
• All recent Macintosh computers are compatible, both desktops and laptops.
• Most recent desktop PC computers are compatible.
• Most laptop PC computers are NOT compatible (but can be modied in many
cases).
Warnings and restrictions
■ If you want to power the H3D from a laptop PC (as opposed to a Macintosh laptop),
you must ensure that the FireWire port on the computer is capable of supplying power.
Please note the following:
• All recent Macintosh computers are compatible, both desktops and laptops.
• Most recent desktop PC computers are compatible.
• Most laptop PC computers are NOT compatible (but can be modified in many
cases).
■ Keep the H3D and all other 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 the digital back when it is active.
■ Your new Hasselblad camera may have been supplied in kit form or as separate items.
There are a number of possible combinations depending on factors such as offers,
bundles etc. Please ensure that all the items noted on the accompanying packing information have been supplied and are correct.
■ Contact your Hasselblad dealer or distributor immediately if anything is missing or
seems faulty in any way, quoting the serial numbers and purchase details where appropriate.
■ Please keep purchase details and the warranty in a safe place.
■ Familiarise yourself with the various parts and components. Leave protective covers
on as much as possible and avoid touching glass surfaces and inserting ngers into
the camera body. Hasselblad equipmentthas 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.
■ Finally, please check occasionally on the Hasselblad website — www.hasselblad.com
— for any updates regarding user instructions, changes, news, or other information.
If you have no Internet access, please contact your Hasselblad dealer or distributor for
the latest information.
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Function Control
& Display
� LCD display on camera
� LED display on viewnder
� Upgradeable rmware
� Rapidly accessible menu
� Interactive display
� Customizable functions
All functions and settings on the H3D camera body
are accessed and altered by the control buttons and
wheels on and around the grip aided visually by the
LCD user-interface.
The information on the grip LCD is in menu format
and has a great deal in common with those found
in modern computers, cell phones, etc. It is pixel
based and therefore has a greater capacity to produce user-friendly symbols for rapid and secure
interpretation.
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Below is an overview of the primary functions of the control wheels and buttons. Some controls have dual or triple functions according to the state of the menu or setting. A full description can be found further on in this manual.
M.UP button
Raises and lowers mirror. Can be
reassigned to another function.
Remote release cord port
For attaching a remote release cord
(electrical).
STOP DOWN button
Stops down aperture to current
setting. Can be reassigned to another function.
Shutter release button
Releases shutter. Also activates
camera from standby mode.
FLASH / (CONTROL LOCK) button
Locks settings to avoid inadvertent
change. Also accesses ash settings.
AF button
Accesses focus modes.
DRIVE button
Accesses drive modes.
Front control wheel
Accesses and changes various
settings.
MENU button
Accesses menu.
Illumination button
Illuminates grip LCD.
ON.OFF (PROFILES/ESC) button
Turns the camera on and o.
Accesses Proles and acts as escape
button for other functions.
Rear control wheel
Accesses and changes various
settings.
Eyesight correction adjustment wheel
Personal eyesight adjustment
facility.
EV correction adjustment button
Produces EV compensation.
EXP button
Accesses exposure mode and metering method.
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AE-L button
Locks light reading made in both
automatic and manual exposure
modes. Can be reassigned to another function.
button
No function at present.
USER button
User assignable-function button.
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Typical camera grip display when changing settings.
Command indication
The upper row on the screens describes commands (which
change according to the setting). The button immediately above
each command eects the change. So in this case, for example,
you would press the FLASH button to ‘exit’ from the screen. See
note below.
Settings symbols
Symbolize the options available when settings are changed. The
active symbol is depicted by a drop shadow.
Control wheel description and direction
Arrowheads symbolize which control wheel should be used to
change the setting they are beside. In this case, the Bracketing
option is chosen by the front control wheel and the number of
exposures in that option is chosen by the rear control wheel.
. . .
= front control wheel
= rear control wheel
Setting information
The lower row on the screen displays information about the current state of the setting. In short, the upper row displays what you
can do, and the lower row displays the current state of settings or
what you have done.
Typical camera grip display. (The information in brackets describes this particular example only).
Grip LCD
Flash condition indication
(No exposure compensation,
normal ash synchronisation)
Focus setting
(Autofocus setting, single
shot mode)
Aperture setting
(f/5.6)
Exposure mode indication
(Aperture priority setting)
Exposure Value display
(EV 9.3)
Drive condition
(Single setting)
Shutter speed setting
(1/400s)
ISO setting
(50 ISO/ASA)
Low battery symbol
‘Exposure counter’
(1286 shots remaining on
chosen storage medium)
Metering method
indication
(Centre weighted)
White balance
(Daylight)
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The basic principle behind making changes is that the appropriate button is rst
pressed to access the menu and then settings altered by way of the control wheels.
The appropriate control wheel is designated by arrowheads alongside the setting
description.
Some buttons have a toggle function, the ON.OFF button has a quick
‘click’ action as well as a longer (half-second) ‘press’ action and the shutter
release has two positions: ‘half-press’ and ‘full-press’.
Several buttons on the grip are multifunctional, according to the state of
the menu. In the example illustrated here, the FLASH button functions as
the EXIT button, the AF button functions as the ON button and the DRIVE
button functions as the SAVE button.
At very low temperatures the LCDs require a few seconds to display new
settings.
The following is a list of the various terms describing the various
actions that appear in the menu (on the grip LCD):
Enter : moves screen down one level on the menu.
Exit : moves screen back up one level on the menu. Does not save any
settings.
O : deactivates the particular function being set.
On : activates the particular function being set.
Sel. : (Select) - selects the character marked for image info and prole
name
ESC : (Escape) - terminates an action and returns to the main screen.
Does not save any settings.
Save : saves a setting and also moves screen back up one level on the
menu. Can save many changes made in a setting sequence.
Examples
Remember the following groupings of ‘saved’ and ‘not-saved’ actions when making settings changes:
SAVED NOT SAVED
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‘Quick save’ - half-press shutter release button
Save - press save button (DRIVE button)
Escape - press ESC button (PROFILES /ESC button)
Exit - press exit button (FLASH button)
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-%.5
FLASH
-%.5
+/-
EXP
-%.5
DRIVE
-%.5
AF
Typical viewnder display. Note the LEDs will only be visible when activated (by the camera or a setting).
(The information in brackets describes this particular example only).
Viewnder LCD
Some examples of various viewnder LCD screens visible with standard settings and when specic control buttons are pressed.
Normal screen Normal screen in AE lock state Normal screen with
exposure compensation set
Standard settings
Flash mode
AF mode
Drive mode
Menu mode
Exposure compensation mode
Exposure method and metering method
Exposure compensation
setting reminder symbol
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Exposure method indication
(‘aperture priority’ mode)
Aperture setting
(f/5.6)
Metering method setting
(Centre weighted)
Warning triangle
LED
Exposure compensation setting
(+0.7 EV)
Shutter speed setting
(1/30 second)
‘Exposure counter’
Focus Aid LED
Flash LED
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&
2
-%.5
$2)6%
%NTER
!&
/N
$2)6%
3AVE
Menu charts – general
Throughout this manual you will nd charts to explain the steps
and procedures required to alter the various settings. These
charts are laid out to graphically illustrate in a simple manner
how to navigate through the menus. While they include all the
information that would be presented on the LCD relevant to that
section, they cannot illustrate all the possible combinations of
the various symbols seen on a screen at one time as that would
be impractical and too confusing. If you are at all familiar with
cell phone menus, for example, then the design of the layout and
working practice will not be unfamiliar
You should find that, in practice, working your way through a
menu on the camera is a good deal simpler and more obvious
than the written explanation implies!
In the descriptions, various terms are used regarding menu navigation. Menus have ‘trees’, for example, which describes their imaginary graphical layout where you could trace a navigational
path along its ‘branches’. Each new section, or stopping o point
on the branches, seen on the LCD is called a ‘screen’. Therefore a
screen is the graphical display on the LCD of where you are on the
menu and represents the current state of settings.
The H3D features the advantage of multiple customization of
settings. This means that your personal choice of settings, and
thereby appearance of various combinations of symbols on the
LCD at any time, will not necessarily be the same as many of the
screens illustrated in this manual.
To simplify the descriptions, reference is often made to a ‘main’
or standard screen. Apart from default settings, there is no actual standard setting in the normal sense and therefore you create your own ‘standard’, which of course can be changed at any
time.
The ‘main’ screen is therefore the one you have currently created
and is the one visible on the LCD when photographing (except
where a particular mode is in actual operation, such as self-timer,
for example).
Symbols used in the charts
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Choose Save
(by pressing DRIVE button on grip)
e new setting will be saved
and chosen action can be carried
out. Setting will be retained until
changed.
Functions in loop on menu
A loop means that the available
functions on that particular branch
of the menu can be successively
accessed in either direction of the
control wheels without a break in
ow. at is, you could turn the
wheel clockwise or anticlockwise to
arrive at the desired function.
Main direction of path
through menu
e main path traces step-bystep the path that has to be taken
through the various branches of
the menu tree as they appear on the
LCD to reach the relevant functions.
Use front control wheel
(direction depends on user setting)
Use rear control wheel
(direction depends on user setting)
Press button or turn wheel
MENU button on the grip
Choose ENTER
(by pressing DRIVE button on grip)
Choose ON
(by pressing AF button on grip)
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F
G
H
I
B C D E
A
Shutter release button A
is button has half-press and full-press positions. By pressing half-way (or soly) the
camera, auto focus function and exposure meter can be activated. By pressing all the way
down (or more rmly) the shutter will be released (or the chosen exposure procedure will
begin, as relevant. For example, the self timer is activated with this button)
FLASH / (CONTROL LOCK) button / (EXIT) B
is is a triple function button. If you press the button for one second, the beeper will
sound (if set) and a key symbol will appear on the grip LCD signifying that the controls
(except the shutter release) have been locked and therefore cannot be altered unintentionally in use. Press the button for one second again to unlock (this function can be altered
to lock all controls or control wheels only in ‘Custom options’).
Quickly clicking the button will access the ash settings information on the LCD from
the main screen. See separate section for full details.
is button also acts as the EXIT button for many other settings.
AF button / (ON) / (SEL.) C
is is a triple function button. Press this button to directly access the autofocus/manual
focus choice screen from the main screen. See separate section for full details. It also acts
as the ON and SEL. (= select) buttons for many other settings.
DRIVE button / (SAVE) / (ENTER) D
is is a triple function button. It will access the drive settings screen on the LCD from
the working screen. See separate section for full details.
It also acts as the SAVE and ENTER buttons for many other settings.
Front control wheel E
e front and rear control wheels are turned to make changes in exposure settings in the
main screen as well as to access the various loop sections of the menu for settings. e
eect of the wheels’ direction is customizable.
MENU button F
Accesses the rst level of the menu for settings changes.
Illumination button G
Press to illuminate the LCD. Remains active until camera enters standby mode.
ON.OFF (PROFILES/ESC) button H
Press the button for 1 second to activate the camera. e H3D start-up logo will appear
and then the main screen. Aer a few seconds (customizable) the camera will enter
Standby mode. A press of the button will turn the camera o completely (even from
Standby mode) whereas a quick ‘click’ on the button will access the Proles section of
the menu from the main screen.
Note the dierence in results between a long press and a quick click of the this button.
Rear control wheel I
e front and rear control wheels are turned to make changes in exposure settings on
the main screen as well as to access the various loop sections of the menu for settings.
Acts as quick access exposure compensation control. e eect of the wheels’ direction
is customizable.
14
Page 15
J
K
L
M
N
O
On the rear of the grip, as well as the rear control wheel, there are a further three
control buttons:
AE-L button J
is button can lock a light reading made in both automatic and manual exposure modes.
It can also be used in Zone mode to take a new reading.
Can be reassigned in Custom Settings to another function.
See section on the AE-L button (“Light Metering and Exposure Control”) for full details.
button K
No function at present.
USER button L
is button is purely user programmable to rapidly access a chosen function or screen.
For example, you might use bracketing a great deal and so by one press of this button
you could access the bracketing function without having to navigate through the menu.
e AE-L, Mirror -UP and Stop Down buttons are also user-programmable but are by default
initially assigned the functions according to their names
The reassignable capability of these buttons is particularly useful and can save you a
great deal of time and eort depending on how you work. You are advised to investigate their potential fully. See under ‘Custom settings’ for full details.
On the front of the grip there are two more control buttons plus the remote cord
release port:
M.UP button M
Press this button to raise the mirror and press again to lower it (toggle function). A quick
double press of the button (two within a half second) will immediately access the ‘Self
timer’ function.
Can be reassigned in Custom Settings to another function.
Remote release cord port N
For attaching a remote release cord (electrical). e Hasselblad accessory jack plug socket
is protected by a captive rubber plug.
STOP DOWN button O
Press this button to make a visual check of the depth-of-eld on the viewnder screen at
the chosen aperture. e aperture will close according to the setting and remain closed
as long as the pressure is maintained. You can alter the aperture at the same time to see
the changes taking place.
Can be reassigned in Custom Settings to another function.
15
Page 16
P Q R
There are also two control buttons on the viewfinder, as well as the eyesight correction adjustment wheel:
Eyesight correction adjustment wheel P
e personal eyesight adjustment facility has a diopter range of -5 to +3.5, to suit most
users.
EV correction adjustment button Q
Press this button to access the EV compensation screen. Settings are made with either
the front or rear control wheels. An EV correction symbol appears on the grip and
viewnder LCD as conrmation.
EXP button R
e EXP (Exposure) button accesses the exposure mode and metering method options
screen. Settings are made with the front and rear control wheels and the appropriate
symbols appear on the grip and viewnder LCD accordingly.
16
Page 17
2
� Aluminium cast in one piece
� Stainless steel shell
� Integral Quick coupling plate
� Digitally controlled
� Upgradeable software
� Modular design
� Integral ergonomic grip
� Pixel based LCD user interface
Camera Body
The H3D camera body is a robust construction of cast aluminium
with a stainless steel shell for extreme durability. The workings of
the camera are controlled by silicon technology that provides tremendous opportunities for sophisticated operation. For example,
mirror return is slowed down at the last moment by controlling the
motor. Usage status of the camera body is automatically recorded
for service intervals and so on.
The integral ergonomic grip houses the main control interface
and also contains the battery holder. An auxiliary shutter in the
rear opening of the camera body protects the sensor unit from exposure during the various camera procedures. The camera body
also contains the viewnder screen, which can be easily removed
or exchanged without the use of special tools or adjustment
procedures.
Please take extra care when handling the camera body without a
protective cover or the sensor unit in place to protect the auxiliary
shutter. Likewise, the front opening of the camera body reveals the
mirror when unprotected by a cover or lens. Do not touch or attempt to clean the mirror yourself—marks or dust particles will
not aect results in any case. More noticeable problems, however,
should be taken care of by a Hasselblad Authorized Service Center.
17
Page 18
21
3
4
5
1
1
2
3
Carrying strap 1, 2
e carrying strap is attached by rstly withdrawing the safety
collar. e hook is then freed and attached to the strap lug (g. 1).
Slide back the safety collar (g. 2) to ensure the hook remains in
the locked position between the small protruding lugs. e collar
is purposely a tight t and might need some eort to slide.
Rechargeable battery grip 3, 4
e H3D requires battery power for all actions. Being a completely
digital camera there is naturally no mechanical reserve facility. It
is therefore advisable to keep the reserve grip complete with fresh
lithium batteries handy if you do not use a spare rechargeable grip.
As is the case with most batteries, problems might be encountered
when used in very low temperatures. In this situation it is advisable
to keep the reserve in an inside pocket, for example, to maintain
them near body temperature.
e Battery grip rechargeable 7.2V (3043348) is the standard
power source for the H3D camera. Remove it from the camera by
depressing the battery holder button and simultaneously swinging
the battery holder retaining lever down until it stops. Pull battery
grip downwards.
If you intend to store the battery grip separately from the camera
you should ensure that the safety cover is in place. It snaps into
place and is removed by pulling outwards and upwards on the
locking clip as in the illustration.
The battery charger 5, 6
e battery charger unit is supplied with ve plug attachments to
suit various types of domestic electrical sockets available worldwide.
Other types of socket will require a domestic socket converter.
Attach the chosen plug (g 6) by sliding it into position, ensuring
that the two electrical contact prongs on the charger correctly
enter the two contact sockets on the plug attachment. Removal is
by the reverse procedure.
Please note the Battery charger BC-H Li-ion 7.2 VDC (3053568) is
designed for use with Battery grip rechargeable 7.2V units only.
Charging the battery 7
With the battery grip removed from the camera, insert the jack
plug from the battery charger into the socket (g. 6) on the battery grip. Insert the battery charger into a standard (100–240V~
/50–60 Hz) domestic socket.
Remember that it will take around 12 hours to load the battery
properly the rst time.
e red LED indicator on the battery charger signies the following:
On (not ashing) = battery is charging
Slow ashing (0.8 Hz) = charging is complete and condition is being
maintained.
Or occasionally
Rapid ashing (3 Hz) = deeply discharged battery is charging
(with reduced current)
18
6
7
Page 19
8
Please note that rapid ashing of the LED indicator is not to be
expected. e battery will not normally be so deeply discharged
because the camera will shut down automatically before complete
battery discharge takes place. e indicator might also ash rapidly
for a few moments in some instances when the charger is connected
to the electrical supply. e normal indication is therefore either
‘not ashing’ or ‘slow ashing’.
Attaching the battery to the camera 8
Holding the battery holder at against the grip and aligning the
two upper lugs with the slot in the grip, slide it back into position
as far as it will go. Swing back the battery holder retaining lever
until it clicks back into place.
Please note if you want to use the rechargeable battery with
an H1/H1D model, the rmware in the camera must be version
8.2.2 or later for the battery grip to function properly.
Rechargeable battery grip – general
• The battery should be charged for approximately 12 hours before rst time use.
• Maximum battery capacity is reached only after the battery has been charged
and discharged several times.
• The battery is an environmentally approved Li-ion type and has no ‘memory eect’
of practical importance. This means the battery can be charged before it is fully
discharged without loss of capacity or performance.
• The battery should be charged at an ambient temperature of 10 −30° C.
• When removing a battery from the charger and immediately replacing it with
another, allow a few seconds to elapse so that the charger can automatically reset
for the next charging procedure.
• It is perfectly normal for the battery to become warm when being charged.
• A slight temporary loss of battery performance might be noticed at very high or
low temperatures. Take the approriate measures if this is the case.
• Long-term storage of batteries with very low charge is not recommended.
• The battery has a limited life and its performance is gradually reduced over
time.
• It is advisable to follow the recommendations and precautions in this manual for
product performance and safety reasons.
Rechargeable battery grip – precautions
e following precautions should be adhered to:
Battery grip rechargeable 7.2 V:
• Connect the battery grip to the camera correctly.
• Keep the protective cover in place when not in use. (Short-circuiting across keys
in a pocket, for example, could cause a re risk).
• Do not use the battery grip for anything other than an H1/H1D/H2/H2D camera.
• Do not immerse the battery grip in liquids.
• Do not incinerate the battery grip. Please recycle or discard in an environmentally
approved manner.
• Do not use any other charger than the Hasselblad battery charger BC-H Li-ion 7.2
VDC (3053568).
19
Page 20
1312
11
10
9
Battery charger BC-H Li-ion 7.2 VDC:
• Read the instructions before using the charger.
• Use indoors only (protect against moisture).
• Do not use charger for anything else than charging of Battery grip rechargeable
7.2 V (3043348).
• Do not short-circuit the jack plug.
• Do not a lte r t he c har ger in any w ay other tha n changing t he plug
attachment.
Reserve lithium-battery grip 9, 10, 11
e reserve lithium-battery grip is attached and removed in the
same manner as the rechargeable grip.
Press the red battery cassette retaining button inwards on the
holder to release the battery cassette (g 9). Load three CR-123
lithium (or equivalent) into the cassette, ensuring the polarity of
each battery is correctly oriented (see the ‘+’ markings on the batteries and the cassette) (g 10, 11). Re-insert the cassette into the
battery holder, ensuring that it is seated properly in place and that
the red button returns fully into the locked position. Holding the
battery holder at against the grip and aligning the two upper lugs
with the slot in the grip, slide it back into position as far as it will
go. Swing back the battery holder retaining lever as far as it will
go into the locked position.
Battery life 12, 13
Battery life is dependent on a number of variable factors and
therefore cannot be exactly predicted.If the camera is le in the
active state instead of standby for long periods, for example, then
battery life will be reduced. A low-battery state is indicated as a
symbol on the grip LCD (g. 12).
When the batteries are almost completely exhausted, a warning
message ‘Low battery’ will appear on the grip LCD (g. 13). e
camera will not function at all when this message appears and
battery change is essential.
When the low-battery icon appears, the camera automatically
enters a temporary power-saving mode. This is recognizable by
a slower pace for all the actions in an exposure sequence. The
camera actions also sound dierently .
This mode is designed so that you can continue working for a
while, even though the batteries are too low for working in the
normal manner. Naturally, you should change the battery pack
as soon as possible to restore normal action again.
20
Page 21
17
16
19
18
Viewnder screen 14, 15, 16
e H3D is tted with a Spherical Acute-Matte D viewnder screen
for extreme brightness, clarity and even illumination. An optional
accessory screen with a grid pattern is also available.
To change a viewnder screen, remove the viewnder to access
the viewnder screen. To remove the screen, place the tip of a
ballpoint pen or similar in the viewnder screen removal lug and
pull upwards. To replace the screen, position the right side of the
screen in place so that it sits correctly in the recess. Place the tip
of a ballpoint pen or similar in the viewnder screen replacement
indentation and press downwards until the screen snaps into
position. Try to avoid touching either surface of the screen with
bare ngers.
Do not attempt to clean the screen by immersing it in water,
or use any kind of cleaning uid. If the screen becomes damp,
do not use hot air to dry it. Use a soft cloth on the upper surface only. Seek advice from an Authorized Hasselblad Service
Center if the screen becomes particularly soiled. Remember
that particles or greasy marks on the screen might impair the
viewnder image but have no eect whatsoever on the recorded
image.
Accessory connection 16, 17
On the le hand side of the camera body are two accessory retaining
screw threads (M5), as well as a databus connector, protected beneath a cover. e screw threads are a future-safe design feature for
new products while the connector is for service purposes only.
e cover can be removed by inserting a pointed object, such as
a pen, in the small hole and then sliding it to the le, as in the illustration. e retaining clip can then also be removed to access
the connector.
PC-connector
A PC connector for non TTL-ash synchronisation is located on
the le side of the body. It is protected by a captive rubber plug.
Protective base plate 18, 19
To attach the protective base plate, slip it over the camera foot
until it stops. To remove it, li the securing catch while pushing
the plate back as in the illustration.
15
14
Viewnder screen showing composition frame marking (22/39MPix).
21
Viewnder screen showing composition frame marking (31MPix).
Page 22
3
� Multi-mode light metering
� Full exposure information
� 100% image
� 90° viewing angle for eye-line composition
� Full image for spectacle wearers
� Integral dioptre adjustment
� Integral ash unit
Viewfi nder
The HVD 90X viewnder provides a laterally corrected 100% image
at eye-line level. It features a wide-range diopter adjustment to suit
most users. The viewing distance is designed to provide full frame
view even for eyeglass wearers. The bright Spherical Acute-Matte D
focusing screens (located in the camera body) are interchangeable
to suit preference, each of them naturally indicating the spot light
metering area for accuracy in exposure calculation. The information display located beneath the viewing frame is continually updated and visible and is back lit for optimum visibility. This LCD also
duplicates much information visible on the grip LCD for immediate
checking. In addition to the LCD, there are four LEDs providing general warnings, ash and focus information.
The viewnder also features a pop-up ll-ash unit for added convenience.
The viewfinder requires no batteries as it is supplied with power
from the camera body and can be easily and quickly removed.
Please see section on ‘Flash’ for full details.
See the ‘Camera Body ‘ section for details about the viewfinder
screen.
The exposure compensation button and exposure mode button
are described in the ‘Function Control‘ section.
The viewnder is interchangeable. See under ‘Optional Accessories’
for further details.
22
Page 23
1
2
Attaching and removing the viewnder 1
While holding the viewnder at a slight angle and resting it on the top of the camera,
slide the viewnder forward until the front locating pin is in position in the recess in the
front edge of the viewnder screen aperture on camera body. Press the rear part of the
viewnder rmly downwards until it clicks into place.
Ensure that both sides of the viewnder are seated correctly and that it has been rmly
attached and locked into position. Failure to do so could cause an intermittent malfunction if the databus interface connections between the viewnder and camera body are
not positively secured.
To remove, grasp the viewnder in the right hand and while depressing the viewnder
release button, li the rear of the viewnder up and away from the camera body.
Eyepiece adjustment 2
No corrective lenses are needed to adjust the eyepiece to suit most requirements. e
diopter range is from -5 to +3.5. Eyeglass wearers can rapidly and accurately change the
settings according to whether they wish to wear eyeglasses for viewing or not.
Personal eyepiece adjustments can be carried out by pointing the camera at the sky or
similar smoothly toned area. While holding the camera in your le hand, you can with
your right thumb turn the adjustment wheel until the markings on the viewnder screen
reach the optimum sharpness for your eyesight.
If you normally wear eyeglasses for distance viewing and intend to wear them for camera
use then do not remove them for the above procedure. If, on the other hand, you prefer
to remove your eyeglasses for camera work, then repeat the above procedure without
wearing your eyeglasses.
Rubber eye cup
Two rubber eye cups are available for the H3D. e one supplied is suitable for users who
do not intend to use eyeglasses when photographing. e second shorter eye cup is for
those who either prefer to position their eye further from the viewnder and those who
wish to wear eyeglasses.
e eye cups can be rapidly changed by a Hasselblad Authorized Service Center.
Integral ash unit
See section on ‘Flash’ for full details.
The HVD 90X viewnder (supplied) is most suitable for digital capture as it corresponds
to the actual digital sensor area. If you work with a lm back and want to see the
whole of the capture area (slightly larger than the sensor area) then you might prefer
to use an HD 90X viewnder instead (as well as the Focusing screen HS-standard that
has lm area markings).
23
A B C D E F G H
1
2
A. Rubber eye cup D. Exposure compensation button G. Flash unit button
B. Hot shoe E. Exposure method / mode button H. Viewnder release button
C. Eyesight adjustment wheel F. Integral ash unit
Page 24
4
� Rapid and accurate automatic focusing capability
� Central electronic shutter
� Instant manual focus override with natural friction
� Instant automatic-focus return capability
� Non-rotation of lter or accessory when focusing
� Non-rotation of lens barrel in automatic focusing mode
� Flash sync at shutter speeds for 18 hours to 1/800 sec with lm magazine
� Reversed lens shade serves as protection
� Automatic detection of extension rings and converters
Lenses
All HC lenses have been specially formulated for the H system
to produce the extremely high performance expected from
Hasselblad to meet the demands from conventional and digital
photography alike. In addition to extreme sharpness, the design
also incorporates a soft, pleasant looking boké (the visual quality of the out-of-focus areas of the image). All lenses feature an
electronically controlled central shutter designed to extremely
ne tolerances for supreme accuracy that also provides ash synchronization with all speeds from 18 hours to 1/800s with a film
magazine or 32s to 1/800s with the sensor back. All lenses have a
very rapid automatic focus capability with instant manual override. To ensure reliable and fast autofocus in low contrast and low
light conditions, a focusing-assist light (on the grip) is automatically activated. Aperture and shutter control is set via the control
wheels on the camera grip.
As a general rule, lens shades should always be fitted to achieve
optimum performance. Protective lters (UV / Sky) should also be
considered at least when working outdoors in harsh conditions.
(See Accessories section for information about the CF Adapter that
allows the use of C type lenses from the Hasselblad V-system).
24
Page 25
6
5
4
3
21
A
B
C
D
E
2
1
Parts and components 1
A. Lens shade index
B. Manual focus ring
C. Focusing distance scales
D. Depth-of-eld scales
E. Lens index
Attaching a lens 2, 3
Remove the front protective cover on the camera body by depressing
the lens release button and keeping it depressed while turning the
cover counter-clockwise. Remove the rear lens cap by unscrewing
it in a counter-clockwise direction. Align the index on the lens
with the index on the camera body and rotate the lens clockwise
(bayonet tting) until it clicks into place.
Removing a lens
Depress the lens release button and keep it depressed while rotating the lens counter-clockwise until it stops and li it out. Replace
protective caps on the lens immediately and on the camera body
if necessary.
If you try to rotate the lens before you press the lens release button,
it might lock. In this case, rotate the lens clockwise a little rst
and then re-attempt removal with the correct procedure: button
rst, then lens.
Front lens cap 4
Front lens caps are released for removal and attachment by inserting a thumb and index nger into the recesses and pinching in the
direction of the arrows.
Filters
Filters have a screw thread tting (67 / 77 / 95 mm, according to
lens) and are screwed clockwise into place. As there is no rotation
of the front section of the lens when focus is changed, lters do not
rotate either. is is particularly useful when using polarizing or
graduated lters where the orientation is normally critical.
Lens shades 5, 6
All lenses are supplied with lens shades that additionally provide extra protection for transport and storage when mounted
in reverse. Lens shades have a bayonet tting and are turned
clockwise into place aer ensuring the index on the lens shade
aligns with the index on the front of the lens. When mounted in
reverse, they are attached by matching the indexes and turning
counter-clockwise.
Shutter and aperture control
Both the shutter and aperture are electronically controlled and are
adjusted by the control wheels on the grip. ere are no separate
manual setting rings on the lenses or camera body.
e chosen settings are displayed both on the grip LCD and in
the viewnder LCD. See the ‘Exposure Control’ chapter for a
complete explanation.
25
Page 26
7
8
9
12
Focus setting correct
11
Focus setting too close for
the distance of the subject
framed by the central section
in the viewnder
10
Lens focus setting too far
beyond the distance of the
subject framed by the central
section in the view nder
Depth-of-eld calculation 7
ere are two distance scales (in feet and metres) visible through
the focus distance window on the upper part of the lens barrel.
ere is also a central lens index mark and a depth-of-eld scale.
e focusing distance is read o the chosen scale from the central
lens index.
Depth-of-eld can be calculated as follows:
1. Focus the lens as required.
2. Make an exposure reading (auto or manual) and note the
aperture setting.
3. Find the markings on either side of the central index that cor
-
respond to the chosen aperture.
4. From these two markings, read o on the required lens dis
-
tance scale the two corresponding distances.
5. The depth-of-eld (at that particular aperture and focus set
-
ting) will be the area included between these two distances.
In the example given here, the focusing distance is set at nearly 3
metres. At an aperture of f/22, the depth-of-eld would therefore
extend from just over 2 m to approximately 4.5 m.
Stop down / depth-of-eld 8
A visual depth-of-eld preview can be made by depressing the STOP
DOWN button while viewing the image on the viewnder screen.
Infrared focus settings 9
As infrared rays form an image at a dierent plane to that formed
by visible light, the normal focus settings do not apply. Proceed as
follows in manual focus mode:
1. Focus the lens in the conventional manner until satised.
2. Note the distance setting against the central lens index.
3. Re-align this distance setting against the infrared mark
(coloured red) instead of the central lens index.
Alternatively if you have already calculated the required distance,
you can make a manual distance setting by using the distance
scales together with the infrared mark instead of the central lens
index.
Focus aid 10, 11, 12
As well as the conventional view on the focusing screen to ensure
a sharp image, the H3D also features LED focus aid capability appearing as two arrowheads to the right of the viewnder display
(except for lenses with a maximum aperture of f/6.7 or smaller).
e arrowheads provide conrmation of a precision focus setting
and are a useful aid when making a setting with eyesight alone.
Manual focus setting
When the le arrowhead alone appears it means the focus setting
is too far beyond the chosen distance (the area framed within the
central zone in the viewnder) and when the right arrowhead
alone appears it means the focus setting is too close. Focus is correct when both arrowheads appear together. If the focus cannot
be established, then both arrowheads ash.
26
Page 27
Automatic focus setting
Focus is correct when both arrowheads are visible together. Focus
is incorrect if only one arrowhead is visible. If the focus cannot be
established, then both arrowheads ash.
CF Adapter
e CF adapter is an optional accessory that allows virtually all
C type lenses from the V-system to be used on H-system camera
bodies. is automatically expands the potential lens range for H
cameras by more than a dozen dierent focal lengths. e automatic focusing system in the H camera can be used as a guide for
manual focus setting. Light is measured at full aperture with all
lenses which produces aperture and shutter speed information
display in the camera for manual setting. With CFE lenses, however, a preset aperture is automatically transferred to the camera.
Shutter cocking is manual with all lenses and is swily carried
out by an easily accessible lever.
Specic-lens information
HC 3.5 / 300 1
When using a tripod with a 300mm you should use the (removable) tripod mounting bracket to provide optimum balance. is
is attached via a sleeve so that the camera body can be rotated
for landscape/portrait formats without altering the tripod head
position. e rotation is secured by a locking screw (A). Correct
90° orientation can be ensured by aligning white index markers
(B) for both landscape and portrait orientations.
HC 4 / 120 (Macro) 2
In addition to the metres/feet scale, the 120 mm lens also displays
magnication ratio scale (A). In the illustration, the scale shows a
focusing distance of 1.27 feet / 0.39 metres which in turn produces
a 1:1 (lifesize) magnication.
With the 120mm lens mounted on the camera, addition screens
will appear on the grip LCD when autofocus is chosen to signify a
focus limit setting. ree are available – Full scan, Innity scan and
Near scan – accessed by the rear control wheel. is time-saving
function is a form of presetting that restricts the scanning range of
the lens to prevent it searching across the whole focus scale. Simply
make a rough assesment of the approximate focusing distance and
then choose the most suitable of the three ranges. e lens will
then be able to nd the critical focus much faster.
HC 3.5 – 4.5 / 50 – 110 Zoom lens
Please read the advice that is included with this lens before use
regarding how it should be placed or stored.
27
1
2
A
B
A
Landscape orientation Portrait orientation
HC 3.5 / 300
HC 4 / 120 (Macro)
Full scan = 0.39 m – ∞
Inf. scan = 0.9 m – ∞
Near scan = 0.39 m – 1m
Page 28
5
General overview of
sensor unit
� 3 operating and storage modes
� Direct shooting to 3FR
� FlexColor worklow eciency
� Instant Approval Architecture
H system cameras were designed with digital photography in mind
right from the outset so the H3D is a natural development within
the world famous H system.
Seamless integration and consequently increased efficiency and
improved workflow are the results of such a design that features
shared information visible on the LCDs/ OLED as well as a shared
battery, for example.
FlexColor, the image processing software that is included with an
H3D, can take advantage of the information that is stored with
each capture both for future reference and for enhanced processing to ne-tune optical characteristics, for example.
FlexColor also provides for tethered use allowing digital capture
control directly from the computer.
HC lenses were also formulated to meet the very high demands
made by digital sensors, which they do with ease.
28
Page 29
In very simple terms, a sensor unit holds a light sensitive sensor in place at the lm plane.
The electronic signals from the sensor are then processed and stored as a digital le.
As an electronic colour image is made up of three components − red, green and blue which
combine to form a so-called RGB image − the sensor’s task is to convert a multi spectrum
light image into three digital les (red, green and blue) for combination later on.
The H3D uses a CCD (Charged Couple Device) type sensor that has millions of 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 les as a package into a Hasselblad 3FR le which
in turn is processed in FlexColor to produce Hasselblad 3F les or various other formats such
as DNG, TIFF, JPEG etc.
The three components of the image le are later recombined on the computer screen to
produce the familiar full colour image.
•
The captured image can be temporarily stored internally with a CF card, on a Hasselblad
Imagebank or the hard disk on a computer via FlexColor. When using the camera tethered
in a studio you can control all the digital aspects of camera operation from a computer using FlexColor. See the separate FlexColor manual for further details.
As the H3D is a purely electronic device, attention to power supply is vital. When working
untethered it is therefore important to plan either battery loading or battery replacement
to ensure continued workow.
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 protected by a glass IR lter but take great care when handling. If you need to clean the lter, see later section for specic details. When storing separated from the camera, always ensure you have replaced the protective cover.
If you scratch or mark the lter in any way, it will show up on every shot. Replacements are
expensive so treat the glass surface with at least as much care as you would a lens.
The sensor itself is not accessible for any kind of cleaning or maintenance by a user. Do not
attempt any such action as you will almost certainly damage it irreparably.
As is the case with all electronic devices pay extra care when working in damp environments
and avoid damp conditions for storage.
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A
B
C
D
E
F
G
H
I
J
Parts, components & control panel buttons
The control panel with its bright OLED screen is the main graphical interface for image checking and sensor unit setting changes when not connected
to a computer. However, the grip LCD is still the interface for focus and exposure settings.
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 conrms settings when using the menus).
OLED screen A
Displays preview images and the menu system even in bright light
and from acute angles.
Microphone B
Function currently not used.
MENU / (EXIT) button C
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 D
Steps through the various view modes for the preview
image: standard, histogram overlay, image details, screen
o and full-screen.
Busy-light (back) E
Flashes green to indicate that the digital back is performing an
operation (such as saving a new capture) and is not available for
new commands.
Zoom-in button / SELECTION (+ button) F
Zoom-in button (to make the view larger) for the preview image.
Also acts as a selection button when viewing
K L M N O P Q R S
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available image batches, media (e.g., compact-ash, ImageBank,
and value setting on the menu.
Zoom-out button / SELECTION (– button) G
Zoom-out button (to make the view smaller) for the
preview image. You can continue to zoom out to view
several small images at once and nally to view and select batches
and media. Also acts as a selection button for value setting on
the menu.
Approve / (OK) button H
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). Also acts as a conrmation button (OK button) for some types of menu operations, such
as deleting images; indicated by a label beside the button on the
preview screen.
Busy-light (card) I
Flashes red to indicate that a le is being loaded onto a card.
Navigation button J
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).
Flash-card slot K
Flash-card removal button L
Flash-card slot cover M
Safety catch N
Used when removing the sensor unit.
CCD and IR lter O
is is the light-sensitive element, which is positioned behind a
permanently mounted IR lter. Usually, this assembly will either
be inside the camera or protected by the cover. Always be very
careful not to touch or scratch the surface of the lter when it is
exposed and to replace the plastic cover whenever the digital back
is not mounted on a camera.
WARNING: never attempt to remove the glass lter—you will
probably ruin the CCD if you do so.
See Cleaning the CCD section for cleaning.
Databus connectors P
For digital communication with camera body.
Flash sync input Q
Flash synch connector (protected behind a rubber cover) for when
the sensor unit is used with a view camera.
Flash sync output R
Flash synch connector (protected behind a rubber cover) for when
the sensor unit is used with a view camera.
FireWire connector S
Insert a FireWire 800 cable here to connect the sensor unit to a
computer or ImageBank-II.
General
Using the menu on the H3D 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 conrmation buttons, according to
where you are on the menu.
Time & Date settings on the back (which are included with les and batch labels) are
updated automatically through a FireWire/FlexColor connection. These settings are
retained for about two consecutive weeks by a small rechargeable cell that is automatically recharged by the main battery or Firewire with regular use. If problems occur,
charge the cell by leaving the back turned ON for around 12 hours.
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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 conrm 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.
Simple introductory overview of menu access, navigation and settings choice.
After pressing the MENU button, the main menu list appears.
The blue frame highlights where you are on the menu. Press
on the ‘up’ and ‘down’ symbols on the navigation button to
move up and down the list.
You can return to the standard image view by pressing either on the ‘left’ symbol on the navigation button or on the
EXIT/MENU button again.
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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33
BROWSE
Sets the approval status
(classication) lter for
easier and quicker image
browsing.
MENU
MEDIA
Determines where les
will be stored (ash card,
ImageBank-II).
ISO
Sets the light sensitivity of
the sensor. Equivalent to
‘lm speed’.
WHITE
BALANCE
Set to match the color temperature of light used.
DELETE
For single or multiple deletion of images.
FORMAT
Used to format compact
ash cards and ImageBankIIs for optimum use.
BATCH
Used to create new storage
folders (batches) and name
them.
USER INTERFACE
Sets menu language,
power down, sound, date
& time and several other
custom settings.
STORAGE
SETTINGS
DEFAULT
APP LEVEL
Assigns a default approval
status (classication) to all
new images.
By using the buttons on the control panel you
can navigate down through the various levels
in the menu. It provides the source of information about image les and also provides a way
of making custom settings so the digital back
suits your way of working.
Below is a simple overview of what is available
and where it is situated on the menu.
Overview
of menu
structure
DEFAULT
Resets all custom settings
back to the original factory
settings.
ABOUT
Displays serial number and
rmware version.
CAMERA
Sets which type of camera
body is being used with the
digital back.
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6
1 2
3 4
5 6
The initial general setting is language choice. This choice is retained but
can be changed at any time. You can choose between:
ENGLISH
GERMAN
FRENCH
ITALIAN
SPANISH
JAPANESE
CHINESE
Before each photographic session, 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. This is for your convenience regarding the appearance of the image on the OLED and monitor though; it will not aect the raw le.
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.
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.
Setting the menu language
Proceed as follows:
1. Press the
MENU/EXIT ( ) button to open the menu.
2. Press the
NAVIGATOR button ( and ) to select the
SETTINGS sub-menu.
3. Press the
NAVIGATOR button () to open the SETTINGS
menu.
4. Press the
NAVIGATOR button () to select the USER
INTERFACE sub-menu.
5. Press either
ZOOM button ( or ) to choose a new lan-
guage (in this case, Spanish).
6. Press the
MENU/EXIT ( ) button again to close the menu.
Initial General
Settings and
Preparation
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Storage & Shooting
Image storage modes / shooting
e H3D can store captured images in three ways:
1. Untethered / Compact ash card mode
In this mode the H3D acts independently of other connections. Images are stored on the
internal, removable compact-ash card.
• The main advantage with this mode is the freedom of cables and extra equipment.
• 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 oer 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 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 H3D 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.
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5
43
2
1
A
B
ere are two ways of selecting the current storage medium:
• See “Selecting the Current Storage Medium” for details.
• Use the zoom-out button to zoom all the way up to the top
level, which shows all connected media, and then zoom in
on the appropriate medium and batch.
See “Navigating Media and Batches” for more information
about selecting media and batches in this way.
Using compact ash memory cards
When shooting to a compact-ash card, the H3D is completely
self-contained. No additional wires or connectors need to be
attached.
e H3D is shipped with a 2GB (or larger) compact-ash card,
which is able to hold over 40 shots. Lossless compression is applied
to the images, so the actual size of each capture can vary, thereby
aecting the total number of shots you can t on the card. You can
purchase additional, possibly larger-capacity, cards and change
them as each card becomes full.
Inserting a card
1. Open the CF card slot cover on the sensor unit.
2. Behind the cover, you can see a slot for the card (A), possibly
with a card already inside, and a release button (B) below the
slot. (If a card is already installed, then remove it as described
in “Removing a Card”, below).
3. Hold the compact-ash card so that the connector holes face
into the slot in the sensor unit, with the brand label facing in
the same direction as the sensor unit preview screen, as in the
illustration. Gently press the card into the slot. If you encounter resistance, it might be because you are holding the card
backwards or upside down.
4. When the card is able to drop very easily nearly all the way
into the sensor unit, then you are doing it right. Once you
have achieved this, press the card rmly into place until it
sinks another couple of millimeters into the sensor unit and is
held fast.
5. Snap the slot cover shut again.
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3
4
1
2
Removing a card
1. Open the CF card slot cover on the sensor unit. Behind the
cover, you can see the bottom edge of the card in its slot and
a release button immediately below the card.
2. Press the release button a little way in to release it into the
active position.
3. Press the now extended release button all the way back into
the sensor unit again. Some force is required. As you do this,
the card will be pushed out a few millimeters.
4. Grasp the card between your thumb and forenger and pull it
away from the sensor unit. (Insert a new card as described in
“Inserting a Card”, if required).
5. Snap the slot cover shut again.
Working with an ImageBank-II
ere are no practical dierences 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.
Older digital backs in the ‘ixpress’ line used a dierent external
disk and controller called simply the “ImageBank”. This older
version is not compatible with the H3D. Only use the Hasselblad
ImageBank-II with an H3D.
To use an ImageBank-II with the H3D, 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 ash card (if available).
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Tethered to a computer
When tethered to a computer, you can control many camera functions using the FlexColor
soware. Even if you never shoot while connected, you will probably connect the camera to your computer each time you want to download your images, though you might
instead use a compact-ash card reader and/or connect your ImageBank-II or FireWire
disk directly.
Connecting to a computer
To connect to a computer, simply attach a FireWire cable from the FireWire port on
your computer to the port on the side of the sensor unit. e port is protected behind a
sliding cover.
Shooting with FlexColor running
When you are connected to a computer, the following rules apply:
• The destination medium and location are controlled from FlexColor.
• All exposure settings, including ISO, aperture and exposure time, are controlled
from FlexColor if you choose to expose from FlexColor.
• Focus is controlled only from the camera . You must therefore set the focus (manually or automatically) before making an exposure from FlexColor.
• The screen and menu system on the sensor unit are disabled.
• The sensor unit will take power from the FireWire cable if it is available (not all
computers supply power here, notably laptops). This will help conserve the battery
power of the H3D. However, you must still have a charged battery connected as
the camera body requires this battery in order to operate.
When initiating a shot from FlexColor, the computer sends a signal to the sensor unit,
which triggers the shutter and strobe/ash (if any). e sensor unit then sends the image
back over the FireWire connection to the computer, where it is displayed on the computer
screen and saved as a 16-bit 3F le in the currently selected folder of the computer hard
disk.
3FR 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, amongst other things. is 3FR le is converted
into a 3F le (denoted by each le now bearing the sux “.f”) that furthermore stores a
complete history of the FlexColor settings that you have applied to each image and stores
meta-data such as camera settings, image name, photographer, copyright, etc. If you prefer
not to correct and adjust your captures in FlexColor, then you can export converted 3F les
from FlexColor directly to DNG, TIFF or PSD and use Adobe Photoshop, for example.
Please refer to the FlexColor Soware Reference manual for further instructions about
using FlexColor.
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7
General
Whichever way you choose to store your images, they should be led in batches for efcient workow.
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 subfolder on the destination disk.
• When deleting multiple images, you are able to restrict your delete command so
that it aects 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.
• 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.
Storage overview–
working with media
and batches
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Medium- type icon (Comp act Flash)
Medium n ame
Number o f green, yellow a nd red shots
curren tly stored on the medium
Medium c apacity in bytes and shot s in the batch
Medium- type icon (Fi reWire disk)
Batch na me
Date rt he batch was cr eated
Number o f green, yellow a nd
red shot s in the batch
The MEDIA list.
In this example a CF card and a
FireWire disk are illustrated and therefore connected.
The blue frame around the CF card
symbol tells you that captured images
will be saved to the CF card and not the
FireWire disk. This is the Current Medium
The BATCH list.
The blue frame around a folder tells
you that it is the Current Batch.
You work your way deeper into the menu branching o the selected item (framed in blue) each time you
press the button to view media, batch, thumbnail view etc.
Conversely, you work your way back out of the menu each time you press the button.
Media list Batch list 9-Thumbnail view 4-Thumbnail view Normal view Zoomed
Continue to pr ess (+)
to zoom fur ther
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1a 1b
2 3
4 5
6 7
8 9
To select the current medium and view batches using the browse
controls:
1. Press the zoom-out (
) button repeatedly until you are
all the way at the top zoom level. If you start with the singleimage preview view, then you pass through the following
views to get there:
• Single-image preview (as in g 1a)
• Four-thumbnail view
• Nine-thumbnail view (as in g 1b)
• Batch list (as in g 3)
• Media list (as in g 4)
2. Each medium shows a name, total size and an estimate for
how many images will t on it. To the right of the medium
name is a set of three coloured numbers in parentheses.
These indicate the total number of images of each approval
status (green, yellow and red) that currently exist on that
medium. For example, if you see a card that shows (18 / 5
/ 3), then that card contains a total of 26 images: 18 green
(APPROVED), 5 yellow (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 dierence between ‘selecting’ a medium and
‘browsing’ a batch. Each new image will automatically be saved
in the latest created batch only on the selected medium. You
cannot ‘select’ a batch for storage.
Creating new batches
You can create any number of batches on each medium. To create
a new batch, rst make sure you have selected the correct current
medium (see Navigating Media and Batches) and then choose
MAIN MENU > STORAGE > BATCH to create the new batch. See
Creating Batches for a detailed procedure.
41
Example: nine-thumbnail view
Page 42
Using Instant Approval Architecture
e Instant Approval Architecture system helps you to evaluate 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 ‘trac light’
principle) is that you should assign the levels as follows:
•
GREEN for your best shots.
•
YELLOW for images that need closer inspection.
•
RED for images that you are unlikely to use
Please note, when the current storage medium is full, red-status images will be de-
leted (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 dierent actions of pressing (or quickly clicking) the approve but-
ton to change the status and pressing and holding to change the browse lter!
One of the greatest advantages of digital photography compared to lm is that it costs
no more to shoot 100 images than 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 workow
e standard method of working with the Instant Approval Architecture is as follows:
1. Take a shot.
2. The camera analyzes the shot to nd out if it seems to be over- or underexposed. If it
suspects a problem, it does the following:
• Provides audio feedback (if this option has been chosen) by making a warning
sound, which immediately alerts you to a possible problem even if you are not
looking at the screen. The warning sound is a rapid string of notes going up the
musical scale if the image is judged as overexposed or 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’).
Current approval stat us (green) and
browse -lter setti ng (show all)
Press t he approve but ton to
change t he status of t he currently s elected ima ge
Press a nd hold the ap prove button to ch ange the stat us of the
curren tly selecte d image
Show all
Show gre en and yellow onl y
Show gre en only
Show yello w only
Show red only
Image Fil e Name
Green i mages star t with “A”
Yellow imag es start with “B”
Red ima ges star t with “C”
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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. This
feature can be turned o.
3. If no problem is detected, then the image is saved with green status.
If you set Approval to ‘Auto’, all images will be stored as Green if judged as correct and
Yellow if judged as technically doubtful. No images are ever stored as Red automatically!
4. When you are browsing through your shots, keep an eye on the approval status of
each and consider whether you should promote or demote each shot based on its
appearance on the preview screen. You can also apply a browse lter to, for example, browse only red shots when looking for images to delete or to browse only
green shots to make sure you have a good version of each shot that you need.
5. When you begin working with the images on your computer, use the approval sta
tus as a guide for organizing your work. For example, you might begin by opening
and optimizing the green shots and then go to the yellow shots only if you still need
more images and then, nally, check the red shots as a last resort.
Note that the system is very exible so you can use it in any way that you like. For example, you can set the camera to assign all new images a yellow or green status regardless
of the exposure warning. Be careful when assigning red status because red images may
be deleted if the current storage medium becomes full.
Reading and changing the approval status
e current approval status of each shot is indicated in two ways:
• In most preview modes, the current status is indicated by a coloured dot in the
bottom-right corner of the screen.
• Each image is given a name that indicates its approval status. Approved (green)
image names start with “A” (e.g., “A0000043”); warning (yellow) images start
with “B” (e.g., “B0000043”); and images marked for delete (red) start with “C”.
Because of this naming convention, you will also be able to sort your image les
by status after you have copied them to your computer (e.g., by listing the folder
by le name).
See also the diagram showing where you can read the image name and approval status
on the screen.
By keeping an eye on the le name and/or coloured dot as you browse your images at
the single-image, four-thumbnail or nine-thumbnail level, you can easily see the current
approval status of each of them.
To change the approval status of the currently displayed/selected image, simply press the
approval button until the desired approval status is shown.
Note that you can set the camera to lter by approval status as you browse, which
means that some images may be hidden (though they are still there). See “Browsing
by Approval Status”, below, for details about how to work with the lter.
Be careful when assigning red status because red images may be deleted if the current
storage medium becomes full.
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Browsing by approval status
You can set the camera to browse by approval status, which means, for example, that you
will see only green-status images as you browse a batch (or both green and yellow, or only
red, etc.). e current lter setting is indicated on-screen, as illustrated. Filtered images
are still there, but they will not be shown until you change the lter setting. Also, if you
change the status of an image, the image may ‘disappear’ if it no longer passes the lter.
For example, if you have set the camera to browse only green-status images and then
change an image to yellow status, that image will not be shown again until you change
the browse lter.
ere are many ways to make use of this feature. For example:
• Set the lter to show only yellow images. Then step through each image and decide
whether any of them should be promoted to green or demoted red.
• If you are running out of space, set the lter to show only red images and then step
through to nd shots you can delete.
• Set the lter to show only green images. Then step through to make sure you have
at least one ‘good’ example of each shot that you need.
ere are two ways to set the browse lter:
• Press and hold
until the lter you want to use is shown by the indicator.
• Choose MAIN MENU > Browse. See Setting the Browse Filter for a detailed
procedure.
Deleting by approval status
ere are many ways to delete images, including one-at-a-time and multiple delete by
batch, media and/or approval status. When deleting several images, you rst pick the medium or batch from which you want to delete and then choose MAIN MENU > STORAGE
> Delete 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 Workow, the camera 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 workow. 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.
•
Yellow: gives all new images a yellow status, regardless of the exposure warning.
Regardless of this setting, audio feedback will still be provided if an image is judged to
be badly exposed.
Choose MAIN MENU > Browse to make this setting. See also Setting the Default
Approval Status for a detailed procedure.
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8
Overview of
viewing,
deleting and
transferring images
Basic image browsing
e large, full-colour OLED display enables you to inspect your shots while you are still
on-location. e display oers full-screen previews, high-magnication zoom, two levels
of thumbnails and analysis tools including a full histogram and camera settings.
When you rst turn on the camera, the display opens in standard browse mode, showing
the last image taken (if any) for the current medium and batch. Likewise, 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 specic approval
levels from the current batch. You can use this, for example, to review all of your redstatus shots to make sure you don’t need them or to review all of your yellow-status shots
to decide whether they should be moved to green or red status. When you use the browse
lter, you will not see images excluded by the lter, but they are still there.
See Using Instant Approval Architecture for complete details about how to check and
set the browse lter.
Zooming in and out
As illustrated below, you can use the or button to see various levels of detail in
your images. You can furthermore zoom all the way out to view and select batches and
media.
Media list Batch list 9-Thumbnail view 4-Thumbnail view Normal view Zoomed
Continue to pr ess (+)
to zoom fur ther
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1
2
3
or
or
4
Zooming in for more detail
e preview display has a much lower resolution than your images. You can therefore
zoom very far into the images to inspect small details. To do this:
1. Browse to the image you wish to zoom into with the navigation button.
2. Press the zoom-in (
) button to zoom in one step. The screen updates to show
both a zoomed image and a thumbnail image that includes a red box outlining the
portion of the images currently shown.
3. You can now do the following as needed:
• Use the navigator button to move the zoom area if you wish to inspect a dier ent part of the image.
• Zoom further by pressing the zoom-in (
) button more times.
• Zoom back out one step by pressing the zoom-out (
) button.
4. When you are nished, press and hold the zoom-out (
) button to return to brows-
ing at the standard zoom level.
Thumbnail views
Preview thumbnails are small versions of each preview, sized to t either four or nine
images on the screen at once. Use them to get an overview of your work so far and to
help nd specic shots.
To see the thumbnails, start with the standard preview display and press the zoom-out
button once to see four thumbnails or twice to see nine.
When viewing thumbnails, the selected image shows a blue border. When an image is
selected, you can zoom in on it using the zoom-in button or delete it using MAIN MENU >
STORAGE > Delete (see also MAIN MENU > STORAGE > Delete for a detailed procedure).
Use and to scroll the thumbnails when you have more shots than can be shown.
If you continue to zoom out beyond the nine-thumb view, you will come to the batch
list and then to the media list. You can use this to select the current medium and batch
for browsing and for storing new images. See Working with Media and Batches for
details.
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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 dierent modes:
• Standard preview:
shows a preview image surrounded by a display of few important settings.
• Histogram:
shows a preview image overlaid with a histogram.
• Histogram and full details:
shows a preview image overlaid with both a histogram and camera-setting details.
• Battery saver:
turns o the screen, but you can still use the menus and take pictures.
• Full-screen preview:
shows the preview only, with no frame or settings information.
To cycle through the various modes, press the view-mode button on the front panel. e
order is circular, as listed above. Each mode is described in detail in the sub-sections
below.
Regardless of the current mode, if you zoom in on the image or zoom out to the thumbnails,
the display reverts to showing the “standard” preview frame, which shows information
about the current image and camera settings around the edges. When you return to the
standard zoom level, however, you will then also return to your last-selected preview
mode.
Note that the screen can also operate in menu mode, which does not show a preview, but
enables you to make sensor unit settings. To enter menu mode, press the menu button.
See Working with the Menus for details.
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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 ne
for the intended eect (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.
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 setti ng
White balance
Current sto rage medium
Button lab el
Image le name
Storage capa city
(Shots taken / shots remaining)
Approval st atus and
browse lter setting
A
B
C
D
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There is also a one-button shortcut for toggling the overexposure marker on and o.
To use it, press and hold
until the indicator is working
as you would like (enabled or
disabled).
Overexposure
indicator shortcut !
Battery-saver mode
In this mode, the sensor unit is fully responsive, so you can take pictures but the screen
is not lit up, thereby saving battery power.
You can enter the menu system while shooting in this mode (which activates the screen
until you exit the menu system again) but the approval, zoom and navigator buttons
have no eect.
You can also save battery power by turning down the brightness and/or contrast of the
display using the entries of the MAIN MENU > SETTINGS > USER INTERFACE > DISPLAY
menu. See ‘Making Display Settings’ for details.
Other ways to save battery power include setting a display time-out and/or a power-
down time-out (each of these is disabled by default). Use MAIN MENU > SETTINGS >
USER INTERFACE > Power Down to set a power-down time out. Use MAIN MENU >
SETTINGS > USER INTERFACE > DISPLAY > Timeout to set a display time-out. See also
‘Entries of the USER INTERFACE Menu’ and ‘Making Display Settings’ for details about
these settings.
Full-Screen Mode 1
In full-screen mode, you can browse your images at standard preview resolution without
any distracting data surrounding them.
Because the current approval setting is not shown in full-screen mode, the approval
button has no eect. is will prevent you from accidentally assigning the wrong status
without knowing it.
Overexposure indicator 2
ough the histogram shows you when some of your pixels are overexposed, it does not
tell you which ones. In a shot with many bright areas, it can be hard to know whether
the key parts of your image are just bright or completely overexposed. To help you nd
them, the sensor unit can provide an overexposure indicator, which shows precisely
which areas of your shot are overexposed (i.e., pixels that are at maximum brightness,
thereby eliminating details).
When enabled, the overexposure indicator ashes the overexposed pixels from black
to white.
To enable or disable the overexposure indicator, choose MAIN MENU > SETTINGS >
USER INTERFACE > Mark Overexp. .
Please see Entries of the USER INTERFACE Menu for a detailed procedure.
1
2
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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 conrm-delete dialog
opens.
Delete shortcut !
Deleting images − general
e H3D enables you to delete images using any of the following techniques:
• Delete the currently selected image only.
• Delete all images from the current batch
• Delete all images from the current medium
• Delete all red-status images from the current batch
• Delete all red-status images from the current medium
• Delete all red- or yellow-status images from the current batch
• Delete all red- or yellow-status images from the current medium
Another way of working is to simply assign unwanted images as Red. In this way, you
retain the option (for a while) of changing your mind later while allowing the system
to automatically delete the unwanted images as the storage medium lls up.
You will always be asked to conrm 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-ash card to your computer, simply connect
the digital back to a computer using a FireWire cable and then run FlexColor, which will
automate the process. See your FlexColor manual for details.
See also Connecting to the Computer for details about how to connect to a computer.
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To set the browse filter
To toggle the overexposure indicator
To delete images
Press and hold until your preferred
filter is indicated.
See ‘Using Instant Approval
Architecture’ for full details.
Press and holduntil the display
begins to flash (or stops flashing)
its overexposed areas.
See ‘Overexposure Indicator’ for
full details.
Select the target image and then
press and holduntil the delete
dialog opens.
See ‘MAIN MENU > Delete’ for full
details.
Don’t forget the menu shortcuts!
To help you work faster, the digital back provides shortcuts to some of the most commonly used menu commands that do not
otherwise have a dedicated button on the front panel.
These are accessible by pressing and holding one of the front-panel buttons for a second or so. These are mentioned where appropriate elsewhere in this manual, but we summarize them here for your convenience.
Try to memorize these quick actions to save time and eort later!
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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.
Menu:
• ISO
• White Balance
• Media
• Browse
9
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 button to open the sub-
menu (or, in some ca ses a
dialogue win dow)
- button label
(Here shown as EXIT)
Current menu name
Selected item (indicated by b lue frame). The
+ and − signs indicate that you c an use the
(+) and (−) buttons to change t he value
-button label
(Here shown in active)
52
Navigating the menu system
To enter to the menu system, press the MENU button on the panel. Any image visible is
then replaced by the rst level of the menu. Use the navigator button to scroll through
the menu items and use the and buttons to change the selected setting. See also
The Control Panel for button diagrams and descriptions.
Any given menu may include both 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 eect.
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53
Menu structure
Items on the main menu
Page 54
1 2
3 4
5 6
3
1
2
54
Note that the default sensitivity of the CCD sensor is ISO 50.
Higher ISO settings result in progressively noisier images (just
as higher ISO lm becomes grainer). It is recommended that
you use the lowest ISO setting the lighting situation allows.
ISO
e digital back can be set to use a light-sensitivity rating equivalent
to ISO 50, 100, 200 or 400 lm. 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. Choose
MAIN MENU > ISO. 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 nd 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 but
ton or press the menu button to exit the menu system and
keep your setting.
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.
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 entries, the screen shows
a label for each of these buttons. In the text, we therefore give the
generic name for the button and the screen name. For example we
will refer to: the menu (MENU) button, the menu (EXIT) button,
or the approval (OK) button.
As a practical example, a MAIN MENU > SETTINGS > USER
INTERFACE > Language item instruction would involve the following 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.
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55
White Bal. Setting Setting desc ription
Daylight For general outdoor use in direct sunlight.
Cloudy For general outdoor use in cloudy weather.
Shade F or general outdoor use in shady locations out of direct sunlight.
Flash For general indoor use when using a normal ash/strobe system.
Fluorescent For use whe n using uorescent lighting (strip lights).
Tungsten For use when shooting indoors under standard tungsten /B lamps.
Manual For a manual set ting
There are seven ‘White Balance’ settings to choose from.
2a
3a
1
1
4a
1a
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 rst shot of a grey scale and make the adjustment in
FlexColor for that session. Alternatively, you might want to assign the User Button as a rapid white balance check in a mixed
lighting situation.
Please note that white balance settings are for your viewing
convenience only. They in no way aect the raw le 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:
1a. Choose
MAIN MENU > White Bal > Manual.
2a. Use the
button to call up the ‘Manual White Balance’ screen.
3b. Here, you can adjust the color temperature to a specic
numeral setting in degrees K with the or buttons.
Alternatively, you can position the central spot in the view
nder over an area that you consider should be rendered as
neutral in color in the image (a ‘grey card’ or even a sheet of
white paper is ideal) and make a test exposure (ensure the
exposure is approximately correct otherwise you will get a
warning message). A small rectangle appears on the 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 o the screen what the color temperature of the
light source has been judged to be in degrees Kelvin.
4a. Press the
MENU button to exit the menu system and keep
your setting.
New settings are retained even when the camera has been
turned o and re-activated, so don’t forget to make new settings when required.
Color temperature can be set
manually or read o after a
test exposure.
3b
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2
3
1
1
4
1
56
To make a rapid User Button white balance setting:
(Please note: this function works with a CF card or an ImageBankII only)
1. Assign the
User Button (or AE-L, STOP DOWN or M.UP
button) to activate Grey balance exp. (see later section
– Advanced Features / Customizable button function list – for
details).
2. While framing the centre spot in the viewnder over a neu
-
trally colored surface, press the assigned button.
A small rectangle appears on the OLED marking that particu
lar area. Calculations then take place automatically so that
the following shots use the area chosen as the new ‘white
balance’ standard.
Media
e storage setting controls where your digital back will store
new images and which stored images will be visible in the browse
window.
Oen, you have just one type of storage media available—the
internal compact-ash card. However, if you have several media
attached (e.g., a card and one or more external disks), then you
may need to switch between them.
If your selected storage medium has more than one batch (folder)
on it, then the batch selected when you use the storage menu 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 but
-
ton, 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.
White Balance Shot screen
appears after test exposure to
illustrate the area chosen for
white balance calculation.
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1
2 3
There is also a one-button shortcut for changing the browse
lter.
To use it, press and hold (do not
click!) the Instant Approval button until the approval status
colour appears. Browsing will
then only display the images
with that classication.
Browse shortcut !
57
Browse
e browse lter complements the instant-approval system by
enabling you to browse through images according to their approval
status. You have the following choices:
All: browses all of the images in the current batch, regardless
of their approval status. is is the default.
Red: browses only red-status images from the current batch.
ese are images that you have marked for likely deletion.
You might browse these images to make sure you have not
eliminated any usable images and/or to nd images that you
can delete to make room for new shots.
Green: browses only green-status images from the current
batch. ese are either new shots that did not trigger an exposure warning or shots that you manually assigned to green
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.
To set the browse lter using the menus:
1. Choose
MAIN MENU > Browse. The current setting is dis-
played here.
2. Use the
or button to step through the lter options
(described above) until you have selected the lter you wish
to use.
3. Either move on to another setting by using the navigator but
ton or press the menu button to exit the menu system and
keep your setting.
e appearance of the ‘Empty Browse Filter’ message signies that
there are no images with that particular approval status.
•
•
•
•
•
Page 58
Menu: Storage
This section describes file storage, le transference, storage organization, le classication and
related subjects.
10
58
Navigating the STORAGE settings
Page 59
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 conrm-delete dialog
opens.
Delete shortcut !
1
MAIN MENU > STORAGE
e Storage menu provides entries for working with storage me-
dia. Here, you can format media, copy images from the camera to
a computer and create new batches on available media. You can
also set the initial approval status (green or yellow) assigned to
new pictures.
e rst item on the storage list is le deletion. e great advantage
of digital capture is 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
but-
ton 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 conrm 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.
5
6
2
3
4
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Deleting several images from a batch
To delete several images from a selected batch:
1. Starting at the single-image preview display, Select
MAIN
MENU > STORAGE > Delete. (See also Navigating the
Menu System for details about how to nd this setting.)
2. Use
to enter the Delete submenu.
3. Use the
or button to select:
A. This image - deletes the current image only
B. All red in batch - deletes all red images in the current
batch
C. All yellow/red in batch - deletes all yellow and red
images in the current batch
D. All in batch - deletes all images in the current batch
4. Press
OK to conrm the delete (to exit without delete, press
EXIT).
1
2
3
4
A.
B.
C.
D.
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 (unclassied) and 3 red (marked for probable delete).
3. Select MAIN MENU > STORAGE > Delete. (See also
Navigating the Menu System for details about how to nd
this setting.)
4. Press
to open the Delete Image dialog.
6
1
2
4
3
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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 conrm the delete.
7. • To conrm, press the button to change the status to Yes
and then press the OK 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 OK 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.
5
6
7
8
Menus for deleting
several images from
all batches from a
selected storage
medium.
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2
3
1
FORMAT
e camera is only able to read and write to media that have been
formatted.
However, new cards or disks sometimes arrive without any formatting, or you might want to convert media that are currently using
a format that the camera cannot read.
Each time you get a new compact-ash card, it is recommended
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 eciently.
The digital back is capable of formatting any type of medium
connected to it, including compact ash cards and ImageBankII units. When you do this, all data contained on the target
medium will be erased.
You can also use the format command to delete all images on
a disk. This is sometimes faster than using the delete function,
but it is not as exible because all data from all batches will
always be erased.
To format media:
1. If you have more than one type of medium connected (e.g. a
compact-ash card and ImageBank-II), then start by selecting the medium you wish to format by choosing Storage (see
also Selecting the Current Storage Medium ).
2. Select
MAIN MENU > STORAGE > Format. (See also
Navigating the Menu System for details about how to nd
this setting.)
3. Press the
to open the Format Card dialog.
4. You are now asked to conrm the operation.
• To conrm, press the
OK button. This will carry out the format
and delete all data on the current medium.
• To cancel, press the
EXIT.
5. You now return to the
STORAGE menu. Either move on to
another setting by using the navigator button or press the
menu (EXIT) button to exit the menu system.
4
5
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2
BATCH
Batches help you to organize your work. ey are very similar to
folders on a computer hard disk. Use the Batch command of the
STORAGE menu each time you want to create a new batch.
For more information about batches, please see Working with
Media and Batches .
To create a new batch:
1. Press the
MENU button.
2. Press
to navigate down and select the Storage dialog.
Press
and then to navigate down and select Batch.
3 Press
to open the Batch dialog. The new batch name will
always begin with a three-digit number, which automatically
increments by one with each new batch. Following this is ve
letters, which you can assign yourself to help make the batch
easier to identify. To set the letters:
Use
and to select one of the ve letters. Then use the
or button to step the currently selected letter up or
down the alphabet until you have found the letter you want.
Continue working until you have set the name you want.
4. Press the approve (
OK) button to save the new batch with the
name you selected.
5. You now return to the
BATCH menu. Either move on to
another setting by using the navigator button or press the
menu (EXIT) button to exit the menu system.
Remember that all new images are stored automatically in
the latest batch. It is not possible to store new images in older
batches.
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4
5
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3
4
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 conguration, 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 details
about working with the approval system.
To change the default status assigned to each new image:
1. Press the
MENU button.
2. Press
to navigate down and select the Storage level.
Press
and then to navigate down and select Default
Appr. level. Press to open the Default Appr. level dialog.
3. Use the
or button to step through the available settings until the default status you wish to use (auto, green or
yellow) is shown.
4. Either move on to another setting by using the navigator but
ton or press the menu (EXIT) button to exit the menu system
and keep your setting.
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Menu: Sett in gs
There are a number of settings
gr ou pe d u nde r th e ge nera l
‘Settings’ heading which are:
• User Interface
• Camera
• About
• Default
11
Navigating the
USER INTERFACE
settings
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MAIN MENU > SETTINGS > User Interface
By altering the User Interface settings, you can control the way the digital back interacts
to suit you and your preferred way of working. It also includes date and time settings.
USER INTERFACE menu items
e user interface menu includes both items and sub-menus. e following items available here are:
•
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 specied period of inactivity. e eect is exactly the same as though
you had pressed the o button on the camera. Once it has powered down, you
must turn the H3D 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 dierence between Display ‘timeout’
and Power Down.)
•
Mark Overexp.:
is feature helps draw your attention to areas of your images that are overexposed. When this feature is enabled, the single-image preview display will
highlight each overexposed pixel by ashing it white and black.
Set this item to On to enable the feature; set to O to disable it.
•
Sound:
e H3D uses audio feedback to help let you know if each new image is exposed
correctly. is is described in Standard Instant Approval Workow.
is menu item has Volume (choose between High, Low and O ), Key Click
(choose between On and O) and Exposure Warning (choose between On
and O).
•
Date & Time:
e H3D 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. (See note under ‘General overview of sensor unit’ about keeping the
internal battery charged to maintain Date & Time settings).
•
Display:
is feature sets the Timeout (2-30 seconds) on the display, which behaves
very much like a screen saver on a computer.When the timeout is reached, the
display will be turned o, but the back will still be running, so it will immediately respond to a press of the buttons. (Note the dierence between Display
‘timeout’ and Power Down.)
is feature also sets the level of Contrast (on a scale of 1-10) on the display.
Usually, you should leave this set to the default level of 5; however in some
viewing environments and/or with some types of images you may wish to
increase or decrease this value. A value of 10 provides maximum contrast; a
value of 0 provides no contrast (a black screen). You can also help save battery
power by using a low value here.
is feature also sets the Brightness (on a scale of 1-10) on the display. is
sets the brightness shown on the screen. Usually, you should leave this set to
the default level of 5, however in some viewing environments and/or with some
types of images you may wish to increase or decrease this value. A value of 10
provides maximum brightness; a value of 0 provides minimal brightness. You
can also help save battery power by using a low value here.
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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 nal choice.
Proceed as follows:
1. Press the menu (
MENU) button to open the menu.
2. Use
and to select the SETTINGS sub-menu.
3. Press
to open the SETTINGS menu.
4. Press
to select the USER INTERFACE sub-menu.
5. Use
and to select the required item.
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.
6. Press the
EXIT button again to save the new settings and close
the menu.
MAIN MENU > SETTINGS > Camera
e H3D sensor can also be used with view cameras (with the appropriate adapter and cables).
e exposure time set on the H3D 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 through 1/2000sec. 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 the H3D 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
When using the H3D with dierent models you should make the
appropriate setting change accordingly. Don’t forget to change the
setting again if you change camera model!
e three options are:
• H3D
• Pinhole
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 the
H3D uses the exposure time (as well as other required stages
in a capture sequence) set in the Capture Sequence dialog.
e back can be triggered either via the START (MENU/EXIT)
button or from FlexColor (see later section for full description of Capture Sequence settings procedure).
• Flash sync
For use with view cameras and a Hasselblad adapter.
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Navigating the
CAMERA settings
Connectivity diagram
Any shutter
with X sync
Rollei electronic
shutter with
lens control
View camera
adapter for
Hasselblad H
cameras
(not available
from Hasselblad)
Any view camera with
Hasselblad H adapter
H3D
sensor unit
Horseman ISS electronic shutter with lens
control
Flash sync
input cable
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1 2
3 4
5 6
7 8
9
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 EXPOSURE TIME or CAPTURE SEQ.
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.
Initial delay: Controls the amount of time required to elapse
before the rst exposure.
Delay: Controls the amount of time required between each exposure.
Count: Controls the total number of exposures required.
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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.
1 2
3 4
5 6
7 8
9
10
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11. Press either the or button to make an INITIAL DELAY
setting.
This setting controls the amount of time that elapses
before the rst exposure in the sequence.
12. Press
to select DELAY.
13. Press either
or to make a DELAY setting.
This setting controls the amount of time between each
exposure in the sequence.
14. Press
to select COUNT.
15. Press either
or to make a COUNT setting.
This setting controls the number of exposures in the
sequence.
16. Press
OK to conrm all the settings.
17. The CFH is now ready for sequence start. Note that the
MENU/
EXIT button now diplays START instead:
18. Press
START to set the sequence running.
19. Note that the
EXIT button now displays STOP. The sequence
can be stopped at any time by pressing this button and the
standard menu display returns.
11 12
13 14
15 16
17 18
19
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MAIN MENU > SETTINGS > About
The About box
Occasionally, Hasselblad releases updates to the internal soware
(“rmware”) of the digital back. ese updates may x small errors and/or add new features. You will probably receive additional
assistance from Hasselblad technical support if and when a new
update is available. In this case, it may be important to know the
serial number and current rmware vision of your digital back.
To nd this out:
1. Select
MAIN MENU > SETTINGS > ABOUT. (See also
Navigating the Menu System or details about how to nd
this setting.)
2. Press
to open the About dialog, which shows the serial
number and rmware version. 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 DEFAULT setting will reset all custom settings you have made
back to the original default / factory settings.
To reset all settings:
1. Select the
MAIN MENU > SETTINGS > DEFAULT entry.
2. Press the
OK button and then the EXIT to return.
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Don’t forget the
menu shortcuts!
To help you work faster, the digital
back provides shortcuts to some
of the most commonly used menu
commands that do not otherwise
have a dedicated button on the
front panel.
These are accessible by pressing
and holding one of the front-panel buttons for a second or so. These
are mentioned where appropriate
elsewhere in this manual, but we
summarize them here for your
convenience.
Try to memorize these quick
actions to save time and eort
later!
To set the browse filter
To delete images
To toggle the overexposure indicator
Press and hold until your preferred filter
is indicated.
See also ‘Using Instant Approval
Architecture’.
Select the target image and then press
and holduntil the delete dialog
opens.
See also ‘MAIN MENU > Delete’.
Press and holduntil the display begins
to flash (or stops flashing) its overexposed areas.
See also ‘Overexposure Indicator’.
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� Three metering methods
� Five exposure methods
� Extremely accurate light metering
Light Metering
& Exposure Control
The light metering system of the HVD90X is capable of selective sensitivity producing three reective metering methods:
Average, CentreSpot and Spot. All methods are measured in
increments of 1/12 EV. Information transfer is rapid and automatic ensuring consistently correct exposure settings even
in dicult and changeable lighting situations.
Light measurement is made through the lens (TTL) and exposure is controlled manually or automatically by the control wheels and/or settings. The information is visible on
both the grip LCD and the viewnder LCD.
A great deal of control is available ranging from 100%
manual through to sophisticated fully automatic by way of
the various exposure methods: Manual, Aperture priority,
Shutter priority, Program and Program variable.
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Light metering and exposure control
Two primary factors have to be considered when making exposure control choice, namely, metering method and exposure method:
Metering method determines in which manner the light measurement is made and how much
of the image is taken into account( Centre Weighted, CentreSpot and Spot).
Exposure method involves the parameters and deciding factors about how the light measurement is translated into aperture and shutter speeds. Here the choice is about the camera controls and their eect on the result or suitability for the subject. Included in this choice is the type
of automation too (Manual for 100% user control, Aperture priority, Program, etc for automated
control).
Some methods and modes are much more suited to various situations and applications than others, while some depend to a greater degree on personal preference and ways of working. A discussion of the points to consider in this context is beyond the scope of this manual. If you are not sure
about choice, please check in other general photographic literature for a fuller explanation. Also
check our website occasionally – www.hasselblad.com – for articles and discussions concerning
such matters.
Remember that all exposure congurations are only applicable to the ISO setting in use!
Since the light measuring system is TTL, lter factors, lens extension / extension ring factors, etc,
are automatically taken into account for average purposes. However, some combinations of
methods and equipment can cause slight discrepancies for various reasons and therefore for critical work you should make alternative exposures to suit personal preference.
Exposures are displayed on the grip LCD to within 1, 1/2 and 1/3 EV tolerances (depend-
ent on setting). This means that ‘half-stops’ are shown in a form that can dier from
more traditional displays. For example, the position between f/ 8 and f/11 is displayed
as f9.5 and likewise the position between 1/30s and 1/60s is displayed as 45. Therefore
a display showing ‘f 9.5 45’ simply means ‘f/9.5 at 1/45 second’. The appearance of an
‘s’ after the shutter speed signies whole seconds so, for example, ‘45s’ on the display
signies an exposure time of 45 seconds, not 1/45.
Metering method
There are three metering methods available. All three are reective methods (measuring the light
reected o various selected parts of the subject according to method) and are through the lens
(TTL). These have the following designations (with their respective LCD symbols):
— Centre Weighted
— CentreSpot
— Spot
Centre Weighted: Commonly used for ‘average’ light situations where there is no particular
dominance of light or dark areas across the tonal range. Takes into account approximately 25% of
the image seen in the viewnder.
CentreSpot: Emphasises the central section of the focusing screen equivalent to approximately
25% of the image. This provides a balanced assessment and is a typical choice where the main
subject is in the centre of the image.
Spot: The sensitive area is equivalent to approximately 2.5% of the image area (the central spot
on the viewnder screen). Any parts of the image outside of this area will not aect the exposure
reading. This provides a very accurate measurement of specic tones.Typically used in the zone
system and similar light measuring situations where maximum control is required. Also excellent for tonal comparison measurements. The spot mode can display ‘zones’ instead of EVs in the
viewnder LCD (see Camera Options).
76
Centre Weighted
(23 x 20 mm) ≈ 25%
CentreSpot
(23 x 20 mm) ≈ 25%
Spot
(diameter 7.5mm) ≈ 2.5%
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Selecting metering method
Proceed as follows with the camera in active mode:
1. Press the
EXP button on the viewnder.
2. Turn the rear control wheel (in either direction 2a) to succes
sively access the three choices: Average, Centre Weighted,
and Spot 2b.
3. Press
Save (DRIVE button) to retain the setting.
Exposure method
Exposure can be controlled either manually or by using one of
four automatic modes. ese have the following designations on
the grip LCD:
M – Manual
A – Aperture (priority)
S – Shutter (priority)
P – Program
Pv – Program variable
In each mode you can see both the aperture and the shutter speed
information on the grip LCD and on the viewnder LCD.
In manual mode, aperture is set by the front control wheel and
the shutter speed by the rear control wheel.
In the automatic modes, the aperture and shutter speed settings are
controlled by the camera, either partially or completely according
to setting. Within this mode there are four choices.
(Please see the Appendix for P and Pv mode charts that describe
the aperture and shutter speed setting combinations).
MANUAL EXPOSURE — M 1, 2, 3, 4
Manual mode will provide total user control of the shutter and
aperture settings.
To set the Manual mode, proceed as follows with the camera in
active mode:
1) Press the
EXP button on the viewnder.
2) Turn the front control wheel (either direction 2a) until you
reach M (Manual) 2b.
3) Press
Save (DRIVE button) to retain the setting.
In this mode the shutter speed and aperture settings are manually
chosen by turning the front and rear control wheels.
e standard exposure setting is obtained when the pointer over
the exposure scale is positioned above the central index (in the
viewnder LCD).
Any deviation from this standard setting is displayed by:
• the pointer appearing elsewhere than above the central index
and
• by figures above the scale representing the amount of
adjustment in EVs.
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EXP
EXP
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A ‘+ 0.7’ above the scale in the display, as in illustration 4 for example, would indicate a ‘0.3 EV overexposure’ setting. Conversely,
a ‘-2’ , for example, would indicate a ‘2EV underexposure’ setting.
Note that the appearance of a +/- symbol on the grip and viewnder
LCDs in manual mode means that a change has been made to the
exposure compensation setting. See later section on ‘Exposure
compensation’.
e actual aperture settings and shutter speeds are indicated to the
right of the exposure scale in the conventional manner. (Note: ‘fullstops’, ‘half-stops’ and ‘third-stops’ are also displayed, according
to setting (see ‘increment setting). For example, a setting between
f/8 and f/11 will appear as f/9,5 if ‘half-stop’ is chosen).
AUTOMATIC EXPOSURE — A, S, P, Pv 1, 2, 3
Automatic exposure provides a choice of two ways of controlling
shutter speed and aperture settings semi-automatically and two
ways fully automatically:
Aperture priority: A - e aperture is manually chosen by
you by turning the front control wheel, and the shutter speed is
automatically chosen by the camera.
Shutter priority: S - e shutter speed is manually chosen by
you by turning the front control wheel, and the aperture is automatically chosen by the camera.
Programmed: P - In this mode, an aperture / shutter combination is chosen by the camera according to the EV measured
(metering method remains as your choice), though only within
pre-set appropriate limitations to suit various requirements and
applications.
Programmed variable: Pv - is mode is very similar to
Programmed, except with the additional parameters of lens focal length being automatically taken into account. For example,
long shutter speeds will automatically be avoided with a long focal
length lens.
To set one of the modes, proceed as follows with the camera in
active mode:
1) Press the
EXP button on the viewnder.
2) Turn the front control wheel (either direction) until you reach
the required setting.
3) Press
Save (DRIVE button) to retain the setting.
In Automatic mode the front control wheel selects alternative
combinations while maintaining the same EV and the rear control
wheel alters the amount of exposure compensation. e compensation appears as a +/- symbol on the grip LCD and viewnder
LCD. Other combinations that are outside the parameters oered
by the Pv mode (but nevertheless still provide correct exposure)
are signied by a double arrow symbol appearing between the
aperture and speed settings on the grip LCD.
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EXP
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6
5
4
3
New metered area is 1.8 EV lower than the area metered
when the AE-L button was pressed.
AE-L button pressed to call the metered area ‘Zone 5’.
Metered area reads ‘Zone 8’.
Metered area above ‘Zone 10’.
AE- L button 1, 2, 3, 4, 5, 6
is button has two main functions that can be incorporated in
various working methods involving exposure locking. It also has
an extra function for the ash meter capability (see AE-L section
under Flash). e AE-L button can:
a) lock an EV setting in manual and automatic modes.
b) be used as a brightness range checking facility in standard
terminology or Zone System terminology.
a) When the button is pressed (g 1), the light metering facility is
locked to the EV setting at that moment. An L (= locked) symbol
appears between the shutter speed and the aperture indication
(g 2) on the grip LCD and viewnder LCD to conrm the status.
Press the AE-L button again to unlock (toggle function).
In the locked setting, the aperture and shutter speed become interlocked. In this way, a new aperture/shutter combination that
still represents the same EV, can be rapidly chosen. For example,
if you set the shutter at 1/125s and the aperture at f/8 and lock
them together, you can access new EV-equivalent combinations
of, for example, 1/30s a f/16 or 1/500s at f/4 just by moving the
front control wheel.
In practice this means you could, for example, in auto mode, position the metering area (spot setting) over an area in the subject
that you determine to be equivalent to a mid-grey and lock it with
the AE-L button. You can then recompose the picture with the
metering zone positioned over an area much brighter or darker
while still retaining the original exposure setting and choose a
new combination of aperture and shutter speed settings.
b) e AE-L button also allows the spot metering function to make
tonal comparison readings and brightness range checks. When the
AE-L button is pressed, the metered area is saved as a mid-grey.
When the spot area is then placed over another part of the scene,
the new area is then compared to the saved area and the dierence
can be read o the scale seen in the viewnder. For example, in
a landscape situation you could meter the foreground, lock the
reading with the AE-L button (thereby locking that area to be
reproduced as the equivalent to a mid-grey 18%), point the camera
at some rocks to see by how much darker they are compared to the
foreground by the EV dierence read o the scale (illus 3).
If you have chosen Spot together with Zone display (see ‘Custom
options’ for settings and ‘Zone’ in the Appendix for further information about the zone system.) as well as one of the automatic
modes A, S, P or Pv, point the spot marking at an area that you
decide should be a Zone 5 and click the AE-L button (illus 4). e
meter will now display dierent parts of the subject as zone values
(illus 5) in the viewnder LCD, instead of EV deviations, as you
move the spot marking over the subject. (Included are Lo and Hi
(illus 6)to signify areas beyond the range of the sensor).
Alternatively you can choose to re-classify an area as another zone
and then check the rest of the subject to see how other areas fall on
the zone scale. Do this by following the above procedure and then
turning the rear control wheel until you see the new desired zone
value in the viewnder LCD. You will also see the new exposure
that will now produce that new zone. For example, you might have
measured a rock at zone 5 but wish to make it darker. By moving the
rear control wheel you could re-classify it as zone 4. You will then
be able to see, for example, whether white clouds are now falling
within the exposure range by their new Zone classication.
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Alternatively, you can also pre-set the initial zone reading in order
to save time and eort where there is no freely available ‘zone 5’
subject for light measuring. For example, you might be on a sandy
beach where you know that sand is normally classied as zone 6.
You can pre-programme the zone placement by holding down
the AE-L button while choosing the new zone value and turning
the front control wheel until zone 6 appears. Pointing the camera
at other parts of the scene will now display their zone values (in
relation to the initial setting of sand at zone 6) to see whether they
still lie within the sensitivity range and how they might appear
in the result.
Exposure compensation 1, 2, 3, 4, 5
e exposure compensation facility, for both manual and automatic
modes can be set from -5 to +5 EV, in 1/3 EV increments. is
facility will adjust the exposures by the set amount until changed
and the setting is visible above the scale in the viewnder and as
a ± symbol on the grip LCD.
To make a xed exposure compensation setting, proceed as follows with the camera in active mode:
1) Press the +/- button on the viewnder.
2) Turn either the front or rear control wheels to increase or
decrease the amount of compensation in 1/3 EV steps.
3) The amount is displayed in the viewnder as both an EV g
ure complete with a ‘minus’ or ‘plus’ prex (A in illustration) ,
and as a marker above a ‘minus’ to ‘plus’ scale with a central
index signifying zero compensation (B in illustration).
4) Press
Save (DRIVE button) to retain the setting.
5) A ‘±’ symbol is then displayed between the aperture and shut
-
ter speed setting as conrmation of the setting.
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+/-
A
B
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� Manual and autofocus modes
� Two drive modes
� Quick adjust wheel
� Proles
General Functions
This section describes the basic and general functions used in
most situations.
By understanding the capabilities of the H system you will be able
to gain a great deal of control of how you work in the future. By
taking advantage of the many features available, you might well
nd your normal practices changing for the better. As all features
are user controllable, you tailor the way the camera works according to your preferences.
Features such as the Quick adjust wheel and Profiles, for example, do not have to be used of course, but you are advised to read
about them and see if they might suit your way of working.
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Power
The camera can be set at two active power modes − ON or
Standby
− as well as
OFF
. In active
modes, battery consumption is least in
Standby
mode and most in ON mode. The camera enters
Standby
mode automatically after 10 seconds (default) to preserve battery consumption but
this interval can be changed in Custom Options. Also, after 10 seconds, the display on the OLED on
the sensor unit is dimmed and after 30 seconds the display is turned o completely. After 3 minutes
the sensor unit enters the Standby mode. Settings can only be made when the camera is in the ON
mode (the sensor unit has its own Standby setting).
ON
To activate the camera press the red ON.OFF button until you see the start-up H3D
logo appear on the grip LCD. e logo is automatically followed by the main screen.
e camera is now in ON mode.
Aer a set period of inactivity (programmable in Custom Options) the camera automatically enters Standby mode, signalled by the appearance of the H3D logo again.
Standby
In this mode the camera is in a mainly inactive ‘standby’ mode and is ready to be immediately reactivated to the ON mode by:
• pressing the shutter release button half way
• pressing the Stop down button
• clicking the ON.OFF button
• pressing the Mirror up button.
In this mode, signalled by the standby H3D logo appearing on the grip LCD, the demand on the batteries is very low. It is ideal for general use where intervals between
shots exceed a few seconds.
Standby mode is automatically set from the ON mode aer 10 seconds (default) of
inactive use (programmable in Custom Options).
OFF
From the active screen, press (not click !) the red ON.OFF button for a half second. All
buttons (except the ON.OFF button) remain ineective, producing minimal demand
on the batteries. is is the normal mode when transporting or storing the camera or
where there might be a risk of inadvertently activating the camera. (However, remove the
batteries if you are going to store the camera for a period of more than a few weeks).
In this mode neither the viewnder LCD nor grip LCD information is available. e
magazine LCD, however, will continue to display information as it is independently powered. OFF mode is automatically set aer one hour of inactivity in Standby mode.
Manual focus
There is both a Manual Focus mode setting and a Manual Override capability. Manual
Focus is a specic setting that you actively make, whereas Manual Override is always available
as a temporary override of an autofocus setting.
In Manual Focus mode, focusing is carried out by rotating the focusing ring in the conventional
manner. The focus setting remains until changed as with a conventional non-autofocus lens. This
means that pressing the shutter release button will not activate a focus setting change as it does in
autofocus. To change back to autofocus, you must make a new setting (by pressing the AF button
and choosing AF S or AF C).
With Manual Override, you can manually alter a focus setting that has been made in the autofocus mode, by rotating the lens barrel in the conventional manner and without having to change
modes. As long as the shutter release button is kept at the half-press position, the new focus setting is maintained. By releasing the pressure on the shutter release button and pressing again, the
autofocus function is immediately reactivated.
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Manual focus mode
The Manual focus mode is set by the front control wheel on the grip in the following manner:
In camera active mode:
1) Press the
AF button on the grip.
2) Turn the front control wheel to: Manual
3) Press
Save to store the setting.
You can also use the shutter release button ‘half-press’ function to save a new setting
and automatically return to the main screen.
Natural friction is inherent in the design to purposely reproduce the secure feel of a completely manual lens.
Please note that when focusing manually, the innity and closest distance marks on the
lens scale can appear to be positioned beyond the central index. is is only an apparent
eect and does not change the focusing range of the lens.
Autofocus override in Manual mode
See Autofocus section for a description of how to use the advantages of a rapid autofocus
check while remaining in Manual mode.
Autofocus
Autofocus mode can be either Single Shot or Continuous and is activated by pressing the shutter release to the half-press position. Its operative range from EV1 - 19 at ISO100. The point of focus
is determined by the area within the central rectangular zone on the focusing screen. When light
levels are too low or the contrast of the subject is too low, auxiliary illumination (situated on the
top of the grip) is automatically activated if desired. The operative distance is approximately six
metres from the camera. Alternatively, a suitable attached ash unit that has a similar facility ( a
Metz 54/70, for example) can also be used instead. This feature can be altered in settings; see under
Custom options/AF assist light.
The autofocus range on the HC 4/120 Macro lens can be limited by a specic setting
on the camera allowing for near range, far range or full range. This only appears on
the grip LCD together with this particular lens.
Single Shot
In Single Shot setting (AF S), the shutter release will be blocked until the camera nds
the optimum focus setting. is ensures that no exposures can be made that are not
nely focused. However, this delay will normally be only a fraction of a second in good
lighting conditions with a clear focusing pattern.
Note though that in this mode the lens will focus at a distance and will remain focused
at that distance while pressure remains on the shutter release button. In this way, you
can focus on a nearby object for example, temporarily positioned within the focusing
zone on the viewing screen and then without releasing pressure on the shutter release
button, recompose knowing that the focus remains on the object chosen even though
it is now outside the focusing zone. Releasing the pressure on the shutter release button
and pressing again half way would now change the focus setting to the distance of the
object within the focusing zone.
See under ‘Manual override in autofocus mode’ for a useful way of working with manual
and autofocus settings in a combined manner.
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AF
Continuous
At Continuous setting (AF C), the shutter can be released rapidly
before the lens is focused in order to capture a split-second shot (in
Single Shot, an exposure cannot be made until the camera has
had time to focus). However, the camera will continue to focus if
a moving subject is within the focusing zone or if you recompose,
even though the shutter release button is half pressed.
One method to exploit this feature when photographing in a rapidly changing situation such as photojournalism, for example, is
to keep the shutter release button pressed down. In this way the
lens focuses constantly (according to the focusing zone) and by
momentarily releasing the pressure on the shutter release and then
immediately pressing again, you minimize the amount of time
needed for the lens to check focus, thus ensuring a split-second
shot at optimum focus.
Autofocus mode
Autofocus is set via the control wheels in the following manner:
In camera active mode:
1) Press the
AF button on the grip.
2) Turn the front control wheel to:
Single Shot or
Continuous as required.
3) Press
Save (DRIVE button) to store the setting.
Manual override in autofocus mode
Manual override is always possible in automatic focus mode without any need to make a new setting; just rotate the focusing ring
in the conventional manner. As the lens barrel does not rotate in
autofocus mode, you can hold the focusing ring for instant manual
adjustments as you would with a conventional lens. However, to
retain the new manual focus adjustments, you must maintain the
pressure on the shutter release button. You can instantly return
to the automatic focusing mode by releasing the pressure on the
shutter release button rst and then pressing the release button
halfway again.
e instant manual override facility produces a convenient way of
working. You can take advantage of autofocus while retaining an
instantly adjustable manual focus check if preferred for pin-point
accuracy without making any changes in the settings.
Another method for users who prefer more manual focus control
while maintaining the benets of the accuracy of autofocus is
to set the camera to Manual focus and the User button to AF
(Single) drive (see ‘User button function list’).
Focus is then adjusted manually with the focusing ring as
normal but when the User button is pressed, the autofocus
facility temporarily operates in AF S mode. After the new focus
adjustment has been made automatically, the camera reverts
immediately to manual focus control when the User button is
released. Therefore, you can recompose the picture without
having to maintain pressure on the release button in order to
retain the newly automatically made focus setting.
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Drive
There are two drive modes, Single and Continuous, accessed by pressing the DRIVE button on the grip.
Single
In
Single
mode, an exposure is made when the shutter release button is pressed and the camera is made ready for the next exposure.
To make the next exposure however, you must rst release the
shutter release button and then press again.
In camera active mode:
1) Press the
DRIVE button on the grip.
2) Turn the front control wheel to:
Single
3) Press
Save to store the setting.
Continuous
In Continuous mode, the camera automatically makes exposures
and makes ready for the next exposure in a continuous manner as
long as you maintain pressure on the shutter release.
In camera active mode:
1) Press the
DRIVE button on the grip.
2) Turn the front control wheel to:
Continuous
3) Press
Save to store the setting.
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Proles
The proles feature allows rapid access to pre-determined combinations
of settings that increase the speed and security of workow. One example might be in a social situation where there might be a need for formal
outdoor portraiture followed by informal indoor handheld ash-assisted
wide-angle shots, both situations requiring very different settings in a
stressful environment. By predetermining the relevant settings required
beforehand for each situation, they can be saved collectively as a prole.
By calling up the prole, you can then be assured that all the settings are
correct at the press of one button.
For example, you might choose – autofocus single, bracketing, programmed exposure, etc – for outdoors. Once set, you would click on the
red PROFILES button, select a profile name and press SAVE. A new
name can be entered for the new prole - ‘Outdoors’, for instance - and
saved again. New settings are made for the indoor shots changing to
flash, Pv setting, etc and the procedure repeated. By simply accessing
‘Outdoors’ or ‘Indoors’ in the prole list, all the relevant settings will be
instantly and correctly implemented to match the situation.
There are four proles: Standard, Full auto, Studio and Fill ash. All
except Standard can be changed and renamed.
The pre-set proles feature the following:
Standard: normal ash sync, autofocus (single), single drive, autoexposure (aperture priority), average metering, user button -None
Full auto: normal flash sync, autofocus (single), single drive, programmed exposure, centre weighted metering, user button -None
Studio: normal ash sync, manual focus, single drive, manual exposure,
spot metering. user button - AF drive
Fill ash: normal ash sync (adjusted output -1.7EV), autofocus (single),
single drive, autoexposure, average metering.
All user proles can be restored to default values again simply by removing the battery and holding down the MENU and DRIVE buttons together and while keeping them depressed, replace the battery. There will
be an audible signal that denotes the restoration.
All settings are stored when a prole is created. This includes
the ISO, white balance and color temperature settings that
were current at the time the prole was created. These prole
settings will override the settings in use at the time the prole
button was pressed. In other words, remember to check for
unintentional ISO, white balance or color temperature changes
when using proles.
Making a prole
1) Activate the camera and go through the various settings
(for example, autofocus, aperture priority, ll ash exposure
compensation, etc.) you require for the particular purpose
and save them as you go.
2) When all the required settings have been made, click (not
press!) the PROFILES button (ON.OFF button) on the grip
and the prole screen will appear.
3) Use either the front or rear control wheel to scroll through the
list of proles. Choose a prole name (except Standard). You
can either save the new settings under this name or change
the name you want to change.
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4) Press Save (DRIVE button).
The Prole name screen is then displayed where you can
rename the prole to what suits you (see section Imprint /
Text 4.2.2 further on in this manual for procedure details).
5) Press Save (DRIVE button) to keep the combination of settings
with the new name.
To use a prole from the main screen, press the PROFILES button
to reach the proles screen again. Scroll down the list to the prole
you want and then press the Load (AF) button. All the saved settings will then be automatically implemented.
If you decided to change the settings but nevertheless keep
the Prole name on the list, the new set of parameters will be
retained under that name. That is to say, the settings will not
be the same as listed here, despite the name. It might be safer
practice to always change the prole name to avoid later
confusion.
Using proles
1) From the main screen, click PROFILES (ON.OFF button) on
the grip and the prole screen will appear.
2) Use either the front or rear control wheel to scroll through the
list and highlight the desired prole.
3) Press
Load (AF button). The camera is now set according to
all the parameters stored according to the name.
Changing a prole name
You can change a prole name (except ‘Standard’) at any time.
Proceed as follows:
1) From the main screen, click
PROFILES (ON.OFF button) on
the grip and the prole screen will appear.
2) Use either the front or rear control wheel to scroll through the
list and highlight the desired prole.
3) Press
Load (AF button).
4) Click
PROFILES (ON.OFF button) again.
5) Press
Save (DRIVE button)
6) The Prole name screen is then displayed where you can
rename the prole to what suits you (see section Imprint /
Text 4.2.2 further on in this manual for procedure details).
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� Programmable self timer
� Programmable bracketing
� Programmable interval setting
� Over 30 custom options
� Data and text imprinting with lm magazine
Advanced Features
This section describes the features that might not need to be used
on every occasion but can be exploited wisely to obtain the optimum from the system.
Some features are a little more special, bracketing for example.
This is fairly normal practice for many photographers using lm
and the H3D can provide a good deal of control and ne tuning of
this particular feature.
The custom options are designed to work for you in the background, ensuring security and also helping to bring down the
barriers between you and capturing the image. Each one can be
changed to suit your preferences so that the whole camera becomes a reection of the way you like to work.
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General overview of
camera menu
Self timer options
Bracketing options
Interval options
Settings
options
Info
options
Text
options
Accessible only when
a lm magazi ne is
attach ed.
Accessible only when t he sensor un it is
attach ed.
Digital
options
Custom Settings
All 32 options are available when a lm magazine is
attached. Only 30 options are available with the sensor
unit attached. See later secton for more details.
With lm m agazin e only !
With lm m agazin e only !
Custom Settings
All 32 options are available when a lm magazine is
attached. Only 30 options are available with the sensor
unit attached. See later secton for more details.
Page 90
There are a number of more advanced features that while not necessarily used every day still remain
immediately accessible through the menu system. They provide the integral nesses that make the
H3D a powerful and sophisticated tool to satisfy a variety of professional demands.
There are four main functions:
1. Self timer
2. Bracketing
3. Interval timer
4. Settings
5. Digital
An important point to remember is that certain options are only available when the relevant screen
has been accessed. For example, in Self Timer the choice of ‘delay/mirror up’ or ‘mirror up/ delay’ is
only available (by turning the rear control wheel - lower row on display) when the relevant function
has been chosen (by turning the front control wheel - upper row on display)
1 Self timer
e self timer allows a delay in the activation of the shutter and a change in sequence of
the mirror movement. Normally the mirror is raised before the shutter is tripped creating a pause between the two actions to minimize camera vibration. However, during
this pause there will be no image in the viewnder and no light metering available for
any eventual exposure change. erefore the Self timer function can be set to a sequence
where the delay is followed by the mirror being raised instead. Normally the mirror will
instantly return aer an exposure but you can also choose a setting where the mirror
remains raised. e Self Timer can be set to provide virtually vibration-free shutter
release. It can be used instead of a remote release cable/cord/device when split-second
timing is not critical. e camera’s exposure settings (Manual or Auto) will be according
to the light metering requirements just prior to the mirror being raised so choose your
method accordingly with long delays in very changeable lighting conditions.
2 - 60 s
MIRROR G OES DOWN
or
MIRROR R EMAINS UP
DELAY / MIRRO R UP
or
MIRROR U P / DELAY
options available
options available
options available
Self Timer
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On
Self timer setting
The Self timer function is set in the following manner:
1) Press the MENU button on the grip.
2) Turn the front control wheel until
Self Timer appears.
3) Press
ENTER (DRIVE button) on the grip.
4) Turn the front control wheel to access the options, that are:
Delay
Mirror sequence
Mirror Up / Mirror Goes Down
(A drop shadow will be displayed beneath the selected symbol,
for example
)
5) When
Delay is highlighted - - turn the rear control wheel
to choose a delay range from 2 - 60s in 1s intervals.
6) Turn the front control wheel again to choose
Delay / Mirror
Up, Mirror Up/ Delay sequence - . When highlighted
turn the rear control wheel to choose.
Delay / Mirror Up sequence =
Delay for set amount of time — mirror raised — exposure
made.
Mirror Up/ Delay sequence =
Mirror raised — delay for set amount of time — exposure
made.
7) Turn the front control wheel again for
Mirror goes down
/ Mirror remains up - .- choice.
Turn the rear control wheel to choose.
Mirror goes down =
Mirror returns to its normal position and the camera is made
ready for the next exposure.
Mirror raised =
Mirror remains in raised position. No image is visible in the
viewnder until M UP button pressed.
8) Press
On (AF button). Note that this now reads O and the
line of text at the bottom of the screen reads ‘Self timer on’.
9) Press
SAVE (DRIVE button) to save the setting.
10) Press
ENTER (DRIVE button) again from the Self Timer
screen to activate the function.
11) Click
On (AF button).
12) Half-press the shutter release button to standby mode for this
function (press the shutter release button again (full press)
for activation) or full-press the shutter release for immediate
activation.
Check the lower text-row on the screen for ON or OFF status.
You can halt the sequence by clicking the ON / OFF ( ESC )
button.
‘Delay’ highlighted with drop
shadow. 10 seconds chosen.
Mirror sequence highlighted.
‘Delay rst, then mirror raised’
chosen as option.
Mirror down /up highlighted.
‘Mirror down after exposure’
chosen as option.
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options available
options available
options available
2 frames
or
3 frames
or
5 frames
1/3 EV
or
1/2 EV
or
1 EV
Bracketing
2 Bracketing
e bracketing facility provides an automatic series of exposures; one at the standard
exposure setting (Manual or Auto) and the others with pre-determined deviations in
EV from the standard exposure. is is particularly useful for images containing a very
wide tonal range, for example.
Firstly you make an assessment concerning the number of extra frames required, the
order in which they should be taken, and by how much EV deviations there should be
and the setting made accordingly. e rst metered exposure (Manual or Auto) is the
EV that determines the calculations for the bracketing sequence.
Note the dierence in operation between Single and Continuous drive settings:
• In Single you must press the shutter release button separately for every separate
exposure until the sequence is nished.
• In Continuous you can either maintain the pressure on the button to take all frames
without stopping or you can release the pressure on the button and press again to continue
to the end of the sequence without losing any frames within the set sequence.
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Bracketing setting
The Bracketing function is set in the following manner:
1) Press the MENU button.
2) Turn the front control wheel until Bracketing appears
3) Press Enter (DRIVE) button on the grip
4) Turn the front control wheel to access the options, that are:
Number of Exposures (the number of exposures required
in the sequence)
Seque nce (the s eque ntia l order of the over- or
under- exposures)
Step (the amount of EV variation from the standard
exposure setting)
(A drop shadow will be displayed beneath the selected symbol, for
example )
5) In turn the rear wheel to choose the number of frames
required: 2, 3, 5, 7 or 9.
6) In turn the rear wheel to choose one of four sequences:
A: Standard, Over, Under
B: Standard, Under, Over
C: Over, Standard, Under
D: Under, Standard, Over
7) In turn the rear wheel to choose the amount of EV variation
required: 1, 1/2, 1/3 EV.
8) Press SAVE (DRIVE button) to save the setting.
9) Press ENTER (DRIVE button) again from the Bracketing screen
to activate the function. Press On (AF button). Note that this now
reads O and the line of text at the bottom of the screen reads
‘Bracketing on’.
Half-press the shutter release button to standby mode for this
function (press the shutter release button again (full press) for
activation) or full-press the shutter release for immediate activation.
To escape from this mode press MENU, then Enter (DRIVE but-
ton on the Bracketing screen, then O (AF button).
Check the lower text-row on the screen for ON or OFF status
The default setting is a shutter speed change in a bracketing
sequence. However, if the camera is set in Manual mode, you
can choose an aperture change instead (Custom Options
- Bracket param. in Manual - 25).
See note at the beginning of this section regarding the dierence between Single and Continuous drive settings. In both
cases, the bracketing function is automatically reset for a new
sequence.
A bracketing sequence can be stopped mid-sequence by press-
ing the ESC (ON.OFF) button.
As an example, a 5 frame sequence with an EV 1 variation set-
ting at ‘Standard, Over, Under’ would produce: Standard (O EV
variation), +1EV, -1EV, +2EV, -2EV.
Number of exposures highlighted.
3 frames chosen as option.
Sequence highlighted. ‘Standard,
over, under’ chosen as option.
Step highlighted.
1/3 EV variation chosen as option.
Screen after Bracketing setting activated indicating 3 frames remaining
in a Standard, Over, Under, sequence
with no adjustment to the next frame.
Viewnder display indicating no
adjustment to next frame and three
frames left in the sequence.
EXAMPLE EXAMPLE
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options available
2 frames −
255 frames
options available
1 second −
1 hour
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Interval
3 Interval
By using the interval setting, you can allow the camera to take a series of
exposures automatically over a set period. This is often required for time
and motion studies, security surveillance, nature study, etc. The exposure
and focus settings (Manual or Auto) will be according to the camera settings at the time of exposure.
Interval setting
1) Press the MENU button on the grip.
2) Turn the front control wheel until Interval appears.
3) Press the DRIVE (Enter) button on the grip.
4) Turn the front control wheel to access the options, that are:
Number of exposures
(the number of exposures required)
Interval duration
(the time interval between the exposures)
(e chosen symbol is indicated by a drop shadow)
5) In Number of exposures, turn the rear wheel to choose the
number of exposures required: 2 – no limit
6) In Interval duration, turn the rear wheel to choose:
1 second – 1 hour
7) Press SAVE (DRIVE button) to save the setting.
8) Press
ENTER (DRIVE button) again from the Interval screen
to activate the function. Press On (AF button). Note that this
now reads O and the line of text at the bottom of the screen
reads ‘Interval on’.
Half-press the shutter release button to standby mode for this
function (press the shutter release button again (full press)
for activation) or full-press the shutter release for immediate
activation.
In Custom Options #27 you can select an initial delay of None,
2, 10, 60 seconds or the interval time.
Check the lower text-row on the screen for ON or OFF status.
An Interval setting can be stopped mid-sequence by pressing
the ESC button.
Number of exposures highlighted. 2
frames variation chosen as option.
Interval duration highlighted. 5 seconds variation chosen as option.
Screen after Interval setting activated
indicating 3 shots remaining at 30
second intervals.
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options available
CUSTOM OP TIONS
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Settings / Custom Options
4 Settings
From the Settings screen you can access three main sub-settings:
Custom options, Image Info and System status by turning the front
control wheel. From each of these three sub-settings you can access further screens. Custom options has more than 24 screens, Image info
has two more screens each with more choices and System status has
two more screens. Look at the main menu chart to get an idea of where all
the options are on the menu tree
4.1 Custom options
1) Press the MENU button on the grip.
2) Turn the front control wheel until Settings appears.
3) Press the DRIVE (Enter) button on the grip.
4) Turn the front control wheel to access 4.1 Custom options.
5) Press the
DRIVE (Enter) button to access the more than 25
choices available.
6) Turn the front control wheel to the desired Option.
7) Turn the rear control wheel to the desired Setting.
8) Press
Save
As a shortcut to the Custom Option level, press MENU and
then the USER button. After making any changes, press the
shutter release button to save the new setting.
In the following list, the options marked in red are the default settings. So,
in the case of the User button, for example, as None is the default there
will be no reaction from the camera until you make a specic choice and
save it.
If you want to reset the sensor unit to the default setting for all options,
press the ON.OFF button quickly to enter Profiles, select Standard
and then press Load.
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Standby timeout 1/1
• 5s • 10s • 15s • 30s
Determines the amount of time the camera remains active before it automatically
reverts to standby mode (indicated on the
grip LCD by the H3D logo).
Minimises battery consumption.
EV increment 2/
2
• 1 Step • 1/2 Step • 1/3 Step
Determines the amount of EV change
applied (per click of either the front or
rear control wheels) to either aperture
or shutter speed.
Exp adjust increment 3/
3
• 1 Step • 1/2 Step • 1/3 Step
Determines the amount of EV change applied (per click of the rear control wheels)
when making xed exposure adjustment
settings.
Please Note
The H3D can accept a lm magazine and to cater for that it oers two
extra Custom Options for lm magazine use only. Consequently the
H3D will display a total of 32 Custom Options when a lm magazine
is attached and only 30 Custom Options when the sensor unit is attached.
In the description below all 32 Custom Options are listed. This means
that when using a sensor unit, the ‘Options # 9 Magazine exposure
lock’ and ‘Option #18 Film wind-on’ screens will not appear on the
camera display.
As these two options are situated within the list, the numbering of the
options will consequently dier according to whether a lm magazine is tted or not. For example, Lens Exposure lock will normally be
#10 but it will appear as #11 when a film magazine is attached because the additional option of Magazine exposure lock is listed after
Option #8.
The description of the option displayed on the camera, however, remains correct; it is only the gure that diers. In practical terms this
simply means when searching for a description of an option in the
following list, you might want to check for the descriptive title instead
of the number or use:
• the figures shown in
BLACK here illustrate when the sensor unit is
attached.
• the figures shown in
GREEN here illustrate when the film maga-
zine is attached.
User button function 4/4
• None • Standby (enters standby) • Stop
Down• Flash Measure • Interval timer •
Self Timer • Bracketing • AF drive (lens in
MF or AF) • Mirror up • B mode • T mode
• Histogram (displays last histogram) •
Grey balance exposure • Cycle LM mode
• Delete last image • Dig. foc. check
Sets which function will be immediately
activated when the User button is pressed
(you cannot alter the setting in this mode
though, only use it). e button has a toggle function so that by pressing it again
the new setting will be de-activated.
AE-Lock button function 5/
5
• AE-lock
but can be reassigned to:
• None • Standby (enters standby) • Stop
Down• Flash Measure • Interval timer •
Self Timer • Bracketing • AF drive ( lens in
MF or AF) • Mirror up • B mode • T mode
• Histogram (displays last histogram) •
Grey balance exposure • Cycle LM mode
• Delete last image • Dig. foc. check
Stop down button function 6/
6
• Stop Down
but can be reassigned to:
• Flash Measure • Interval timer • Self
Timer • Bracketing • AF drive ( lens in
MF or AF) • Mirror up • B mode • T mode
• Histogram (displays last histogram) •
Grey balance exposure • Cycle LM mode •
Delete last image • Dig. foc. check • None
• Standby (enters standby)
M.UP button function 7/
7
• Mirror up
but can be reassigned to:
• B mode • T mode • Histogram (displays
last histogram) • Grey balance exposure
• Cycle LM mode • Delete last image •
Dig. foc. check • None • Standby (enters
standby) • Stop Down• Flash Measure •
Interval timer • Self Timer • Bracketing
• AF drive ( lens in MF or AF)
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Page 97
Control wheel direction 8/8
• Clockwise • Counter clockwise
Determines the eect the direction of the
controls wheels have on a setting.
For example, by moving the front control
wheel to the le you can alter the aperture
setting from f/8 to f/6.8 to f/5.6 and so on.
By changing the wheel direction setting
however, the same action of turning the
wheel to the le would then produce the
opposite eect, that is, the aperture settings would change from f/ 8 to f/ 9.5 to
f/ 11, and so on.
Flash ready exposure lock 9/
9
• Yes • No
Allows you to make an exposure before
the ash is fully charged. For use with
integral ash unit or other TTL compatible ash units connected to the hot-shoe.
Not valid for ash units connected by the
PC connector.
Yes blocks the shutter until f lash is
ready.
No allows shutter release before ash is
ready.
Magazine exposure lock (Magazine only)
10
• Yes • No
Allows you to release the camera without
a lm loaded in the magazine.
Yes blocks the shutter if there is no lm in
the magazine and also displays a message
on the grip LCD: No lm.
No allows the shutter to be released with
no lm in the magazine.
Lens exposure lock 10/11
• Yes • No
Allows you to release the camera without
a lens attached.
Yes blocks the shutter if there is no lens
attached and also displays a message on
the grip LCD: No lens.
No allows the camera to perform a release
operation without a lens.
Out of range exposure lock 11/12
• Yes • No
Allows you to release the camera when either the aperture or shutter speed setting
is beyond the working range (indicated
on the LCDs by “—”).
Yes blocks the shutter if beyond the working range.
No allows the shutter to be released if
beyond the working range.
True exposure 12/
13
• On • O
Determines whether the exposure is
automatically adjusted to create a true exposure setting. (See Appendix, Glossary
of Terms for full explanation).
On allows the adjustment.
O retains the normal setting.
Spot mode 13/
14
• Normal • Zone
Determines how the camera behaves
when set to Spot Mode.
Normal makes the camera behave in the
same fashion as when set to Average or
Centre Weighted.
Zone makes the camera behave in the
same fashion as the Hasselblad 205FCC.
at is, the central spot is placed over a
particular area of the subject and the AE-L
button is pressed. e exposure is then calculated assuming that the metered area is
18% grey or Zone 5 and is indicated on the
LCD as Zone 5 (see Appendix / Glossary
of Terms). Alternatively, the area can be
reassigned to another zone by turning the
rear control wheel.
en, when the camera is moved, the areas
within the central spot are indicated by
their zone values.
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Page 98
Focus aid in MF 14/15
• Half press • Always • O
Sets how the focus aid arrowhead LED
symbols appear in the viewnder display
in manual focus mode.
Half press makes them visible when
the shutter release button is pressed half
way.
Always makes them visible all of the time
when camera is active.
O disables them completely.
AF assist light 15/
16
• Camera • Ext ash • O
Allows projection of light pattern to assist
the autofocus system in poor light or low
contrast situations.
Camera sets the integral AF assist illumination to be always active.
External ash activates the AF assist illumination projected by a suitable attached
external ash unit. When detached, however, the integral system is automatically
used.
O sets the AF assist illumination to remain always inactive.
Rear wheel quick adjust 16/
17
• Yes • No
Allows rear control wheel to make a rapid
EV adjustment (or EV compensation) in
auto-exposure mode.
Yes turns the setting on. By turning the
rear control wheel, the adjustment is made
and appears on both LCDs as a ± symbol
between the shutter speed and aperture
values. e amount of deviation also appears above the scale to the le of the aperture value on the viewnder LCD.
No turns the function o completely.
Control lock 17/18
• All controls • Wheels • O
Sets the amount of locking used when the
Control Lock button is pressed.
All controls locks control wheels and buttons.
Wheels locks only control wheels. ey remain operable in any setting mode, however.
O disables lock function.
Film wind-on (Film magazine only)19
• Direct • Half press
Sets when the lm will be advanced to
the rst frame.
Direct advances lm automatically to the
rst frame when the lm holder is inserted
or when the magazine is attached.
Half press advances the lm only when
the shutter release is pressed to half press
position.
Beeper 18/20
• On • O
Sets the audible beeper signal.
On enables the signal.
O disables the signal.
Show histogram 19/
21
• Yes • No
Sets whether a histogram of a digital
exposure appears on the LCD aer exposure. Only for use together with digital
backs that support this feature.
Yes enables the setting.
No disables the setting.
Interval & Self Timer 20/
22
• Exit • Stay
Allows either the Interval or Self Timer
mode to remain active aer an exposure
or immediately return to standard setting.
Exit clears the setting and produces an
automatic return to standard setting aer
an exposure.
Stay retains the setting aer an exposure.
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Page 99
AE lock / Quick adjust 21/23
• Exp reset • Saved
Allows either the AE-Lock or Quick adjust mode to remain active aer an exposure or immediately return to standard
setting.
Exp Reset clears the settings and produces
an automatic return to standard setting
aer an exposure.
Saved retains the AE-Lock or Quick adjust settings aer an exposure.
Show EV 22/
24
• Yes • No
Allows the display of EV settings on the
grip LCD.
Yes enables the display.
No disables the display.
Show ISO 23/
25
• Yes • No
Allows the display of ISO settings on the
grip LCD
Yes enables the display.
No disables the display.
Bracket param. in Manual 24/
26
• Shutter speed • Aperture
Selects either the shutter speed or the
aperture as the parameter which changes
in a bracketing sequence when in Manual
exposure mode.
Shutter speed selects changes in shutter speed.
Aperture selects changes in aperture
settings.
Aperture control in Manual 25/
27
• Front wheel • Rear wheel
Selects which control wheel changes the
aperture setting when in Manual exposure mode.
Front wheel selects the front control
wheel to change the aperture setting.
Rear wheel selects the rear control wheel
to change the aperture setting.
Low ash warning 26/28
• On • O
Controls the display of the ‘Low ash’
warning message and triangle.
ON enables the function.
OFF disables the function.
Interval timer initial delay 27/
29
• None • 2s •10s • 60s • Interval time
Allows an initial delay before the rst
exposure of an interval timer function
operation.
Aperture indication 28/
30
• Normal • Light meter
Allows choice of aperture indication
display (in Manual mode only).
Normal selects conventional display (f5.6,
f8, etc)
Light meter selects ‘ light meter’ type
display (f5.6⁰, f8.⁵, etc)
Extra mirror-delay 29/
31
• None • 5 ms • 10 ms • 20 ms • 50 ms • 100
ms • 200 ms • 400 ms
Extends the delay period between the
mirror being raised and the opening
of the lens shutter thereby reducing the
eect of vibration on longer exposure
times.
ISO / WB menu 30/32
• Menu • Flash • AF • Drive
Re-assigns the Flash, AF or Drive button
on the grip to directly access the ISO
/White balance setting screen.
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Image Info / Imprint type
4.2 Image Info (lm magazines only!)
The Imprint facility controls the text that will appear along the edge of
each frame on a lm. It is possible to imprint approximately 40 characters
at one time.
Imprint Type records technical information automatically created by
the camera. Text records information created by the user.
4.2.1 Imprint type
The following can be chosen as an option:
• Imp. Type 1 prints the relevant information: aperture, shutter, meter-
ing mode, exposure mode, exposure compensation and
ash compensation.
• Imp. Type 2 prints the relevant basic information only: aperture, shut-
ter, and exposure correction.
• Date & Time prints date & time only (the correct date and time is set
through the Settings menu under ‘Date & Time’.)
• Text & Date prints text plus date
• Text & Info prints text plus basic info
• Text prints text only (that you have created in 4.2.2 Text)
Imprint type setting
1) Press the MENU button on the grip.
2) Turn the front control wheel until Settings appears.
3) Press Enter (DRIVE button) on the grip.
4) Turn the front control wheel to access 4.2 Image info.
5) Press
Enter (DRIVE button) to 4.2.1 Imprint type.
6) Press
Enter (DRIVE button) again and turn the front control
wheel to select the desired option.
8) Press Save (DRIVE button) on the grip.
5
6
7
$2)6%
%NTER
1 2
3
4
-%.5
&
$2)6%
%NTER
&
$2)6%
3AVE
Applicable only when film magazine attached.
&
$2)6%
%NTER
100
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