Hasselblad HTS 1.5 User Guide
HTS 1.5
TILT AND SHIFT ADAPTER
Item no.: 3043400
HTS 1.5
Hasselblad HTS 1.5 – Introduction
What is it ?
The HTS 1.5 is an accesso ry for H-system camer as that greatly
expands their usabili ty both technically and creat ively. It works
by allowing a lens to be moved in t wo different ways to meet
some challenges ty pically found in professional p hotography. It
is compact, simple to us e and can prove to be an invaluable aid
in certain situations.
The HTS 1.5 adapter is mou nted between the lens and the ca mera body and, by way of th e databus connections, auto matically
conveys data to ensure t he optimum in convenience and ac curacy of exposure. This in formation is nally stored as met adata
with each le that ca n then be accessed in Phocus.
And it is in Phocus that DAC c orrections automaticall y take into
account all tilt, shif t and rotational movements as w ell as a
long list of specic le ns data. This ability, unique to Hasselbl ad,
ensures the exception al quality produced by the HT S 1.5.
What does it do?
The HTS 1.5 primarily s olves problems but equally well p romotes creative opp ortunities to provide the p hotographer with
an almost invaluable too l.
Problem solving wou ld be most obviously benecial in ar chitectural work, close -up product photograp hy and certain kinds of
documentation, f or example.
Creative oppor tunities would cover almost any are a of photography where a fresh er approach is required regard ing selective
focus and/or perspecti ve manipulation.
How does it work?
It exploits establis hed optical principles fam iliar to view camera users, namely ‘tilt’ and ‘shif t’. These capabilities are fu rther exploited by being able to rotat e the whole unit. Only basic explan ations
are included here as In -depth technical de scriptions are beyond
the scope of this manu al. A search on the Internet unde r headings
such as ‘camera moveme nts’ and ‘Scheimpug Principle’, for
example, can provide m uch more insight into the conc epts.
HTS 1.5
4
To be able to allow such movement s using a lens from the standard range, an optica l converter that increases le ns coverage is
integrated into the d esign. In this way the adapter expan ds the
use of a number of lenses t hat many users already have there by
avoiding the need for d edicated lenses.
Very simply put, tilt ing the lens moves the orientat ion of the
plane of sharp focus w hile shifting the lens moves the p rojected
image circle inside th e camera.
What problems does it s olve?
There are basically t wo areas that can be helped by tilt an d
shift:
· Tilt is used when you want to change the orientat ion of the
plane of sharp focus.
· Shift is used to change the area sele cted for coverage of a
scene while retaining parallel l ines in the image. It can also
used to create panoramas when u sed horizontally.
Although tilt is t ypically used in close-up p roduct or landscape
photography and shi ft is typically used in arc hitectural applications, it would be wron g to highlight these areas too much.
There are many situat ions where some tilt or some shif t or
both would go a long way in pr oducing a competitive edge o n an
otherwise nor mal shot.
How is it creative?
The actions that pr oduce practical solutio ns to problems create
effects that c an also be classied as creative, dep endent on
the intention. For exam ple, it might be said that “stitching” (th e
digital combining o f several images) creatively exploi ts the ‘correct’ use of movemen ts while selective de-fo cusing creatively
exploits the ‘incor rect’ use.
1
Contents
Introduction 1
Basic explanation of tilt 3
Basic explanation of shift 9
Getting started 14
Tilt – in practice 19
Shift – in practice 23
Creative opportunities 28
Appendix 32
General points 33
Scheimpug principle 34
Specications 36
FAQ 39
Terminology 40
20º
total
Tilt
Tilt changes the orientatio n of the
plane of sharp focus. This cr eates
the appearance of an ‘incre ase’ or
‘decrease’ in depth of field.
Compatibility
The HTS 1.5 was speci cally designed for use with the H CD
4/28mm and HC 2.8/80mm lenses, and t hese should be seen
as the primary ch oice for maximum perfor mance. However, the
HC 3.5/35mm, HC 3.5/50mm and HC 2.2/100mm le nses can
also be used with excellen t results. The 13mm, 26mm and
52 mm extension tubes are a lso compatible with all of these
lenses. The HC 3.2/150, HC 4/210 and HC 4.5/300 can also
be used but handling an d performance are comp romised and
are therefore not recommended for critical work.
Please note that the HT S 1.5 is not compatible with the
H1.7x converter, CF lens adapter, HC 3.5- 4/50-110mm, HCD
4-5.6/35-90 mm, or the HC 4/120mm Macro.
The autofocus and fo cus conrmation features on t he camera
are also automatical ly de-activated for all le nses.
36mm
total
Shift
Shift allows perspe ctive control
by preserving parall el lines in the
image. It also allows ‘stitched ’
panoramas.
USER MANUALS
5
180º
total
Rotation
Allows the whole unit,
at any tilt and shift settings, to be rotated for
further control.
The integral conve rter in the HTS 1.5 alters the ang le of view
(in effect, exte nding the focal length) of each le ns and causes
some loss of speed. Fo r example, a HC 2.8/80mm - HTS 1.5
combination will pr oduce an image you might expect f rom a
4.5/128 mm lens on its own, as a rough guid e. Please see
under Specications for full details.
For the HTS to function c orrectly, the rmware in the came ra and Phocus soft-
ware must be recent. Please en sure you have the latest versions inst alled. You
can download them free of char ge from:
http://www.hasselblad.com/service--support/technical-support/software-downloads
2
TI LT
– a basic explanation
A classic problem in close-up pro duct
photography and similar areas, is the lack
of depth of eld.
Using tilt can solve many such problems
as well as offering creative solutions.
3
Basic explanation of tilt
With a basic understan ding of the principles behind
tilt and shift, you will ga in more confident control of
the HTS 1.5 and be abl e to exploit its potential to the
optimum.
The function of a ca mera lens is to project an image onto a s ensor. The sensor, being effec tively two dimensional and lyin g in a
specic plane, can o nly record a two dimensional at p lane, in
the same orienta tion, in the subject.
In practice we nor mally perceive some areas in fr ont and behind
this at plane in the sub ject as “sharp” and this is termed the
depth of eld (which in it s turn expands or contracts a ccording
to aperture set ting and subject distance).
Original scene
from camera
viewpoint
Tilt
1/8
Subject plane
Depth of field
Tilt
The lens is normally se t perpendicular to the image plan e and
therefore is eff ectively in parallel with the se nsor as well. This
provides three pl anes to consider – the sensor, the lens and th e
subject – all paralle l. They are also interrelated, so movin g one
will have an effect o n the others. This is where tilt is intr oduced.
In the diagram below, th e image plane, lens plane and subjec t
plane are parallel. Th is creates an area of acceptable s harpness – the depth of el d. In this case, not all of the subject
lies within the bound aries of the depth of eld and those p arts
therefore appea r unsharp. By tilting the lens it is pos sible to
include more of the ob jects in the depth of eld witho ut having
to use a smaller aper ture.
In this case, the lens is
focused in front of the
Image (sensor) plane
Lens plane
4
yellow object.
At the given aperture
setting, the yellow objec t
is covered by the depth
of field, the red object
partly covered and the
blue object not covered
at all. The yellow object
will therefore be acceptably sharp, the red object
partly sharp and the blue
object unsharp.
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HTS 1.5 – 30 4340 0 – 2011 – v3
HTS 1.5
Item no.: 3043400
USER MANUALS
Fig. 5
Inside the camera
A
C
E
C
E
Fig. 1 Fig. 1
B
Fig. 2 Fig. 2
F
D
Fig. 3 Fig. 3
F
D
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TILT
Original scene
Fig. 4
Sharp
Sharp
Unsharp
Unsharp
Camera angle and lens movement
Fig. 1
In this diagram, a f ocus setting has been mad e for
the yellow object at di stance A. This in turn pro duces
a specific ‘lens to s ensor’ distance B.
The relationshi p between these two dist ances is
reciprocal; alt er one and you must alter the other t o
maintain sharp focus.
Fig. 2
In this diagram, i f distance C is now altered so t hat
the blue object is sh arp, then distance D will be
altered accordi ngly. Likewise E and F.
Only millimeter s of difference in dista nce are required
from lens to sensor t o create great changes in sub ject
to lens focus dis tance and this is why tilt beco mes a
possibility.
Fig. 3
When tilting the le ns, distance D is decrea sed, allowing focus for the lon ger distance C. Similarly, F ha s
now increased allow ing focus for the shorter di stance
E. Consequent ly, the red object has the requi red sensor to lens distanc e for correct focus and so has t he
blue object, the reby allowing them to be both shar p at
the same focus set ting without any need to alter t he
aperture sett ing.
5
In this diagram, the lens is foc used on the yellow objects. At the widest aper ture only the yellow objects are
covered by the depth of field.
This situation illustrates t hat producing sharpness in
certain parts of t he subject can produce unsharpness
in other parts of the image.
Note that the vertical obje cts show a varying amount
of sharpness according to he ight as well, not only distance from the camera as migh t normally be expected.
You should be aware of this possibili ty occurring. In
this particular case , if the yellow objects were one solid
object, it might hide the unsharp s ection of the blue
object to produce apparent sh arpness over the whole
image.
Sharp
Unsharp
Sharp
Sharp
Unsharp
continued overleaf
continued overleaf
continued overleaf
Unsharp
Result
Only the yellow objec ts are sharp
All the objects ar e now much sharper
In this diagram, the lens is foc used on the yellow
objects. At the widest ape rture only the yellow
objects are covered by the de pth of field.
When the lens is tilted, the plan e of the depth of
field tilts. The left sid e of the blue object is now
sharp and the right side unsharp. The le ft yellow
object is unsharp while the right ye llow object
remains sharp.
Note that in this case, as oppo sed to the previous
situation illustrated, the shar pness of each object
is not affected by its he ight.
Sharp
Unsharp
Sharp
Unsharp
Sharp
Unsharp
Unsharp
7
SHIFT
– a basic explanation
A classic problem in architectural work
and similar is the preservation of parallel
elements in the subject when the camer a
angle has to be moved.
Shift also allows the creation of ‘stitched’
panoramas.
9
Basic explanation of shift
Shift
The image from the le ns is focused and projected insid e the
camera onto the sen sor. Normally, this so called ‘image circle’
is just large enough to c over the sensor. However, the integral
converter in the H TS 1.5 enlarges the image circle. This allo ws
parts of the ima ge to be projected outside of the s ensor area.
These parts wo uld not normally be recorded bu t would nevertheless remain accessible.
If the lens is shifte d, the projected image will conse quently
move, allowing the previ ously unrecorded part s of the image to
project onto the se nsor and thereby be recorded.
Shift
Tilting the camera upwards to in clude the top
of the blue object would make the par allels in
the yellow objects converge.
2/8
8
Shifting the len s allows the camera (image plane and l ens
plane) to remain parallel to t he subject. This prevents any pa rallels in the subject fr om converging as would normally b e the
case if the camera w as just pointed upwards.
View of inside the ca mera
(In reality the projecte d image would be
inverted)
The enlarged image circle is pr ojected onto the
sensor (represented by the grey r ectangle).
In this case, part of the i mage lies outside the
sensor.
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HTS 1.5
Item no.: 3043400
USER MANUALS
SHIFT
Original scene
Camera angle and lens movement
Fig. 6
Camera is levelled an d aimed
directly at subj ect.
No lens movement.
Fig. 7
Camera aimed up at sub ject. No lens movement.
Fig. 8
Camera is levelled an d aimed directly at subjec t.
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continued overleaf
continued overleaf
Lens shifted up wards.
continued overleaf
Inside the camera
Fig. 6 F ig. 6
The enlarged image c ircle
is projected ont o the sensor (grey rectangle).
Part of the image lie s
outside the sens or.
(In reality the pro jected
image would be inverted)
The top of the blue obje ct
is now projected on to the
sensor but the vert icals
have converged.
After returnin g the camera
to the level positio n and
shifting the len s upwards,
the projected inverted
image moves upwards , allowing the top part of t he
subject onto the se nsor.
The verticals remain paral-
lel in the result .
Fig. 7 F ig. 7
Fig. 8 F ig. 8
12
Result
Getting Started
The HTS 1.5 is very simple to use. The
high level of integration within the system
makes it almost seamless in operation.
Getting started
User parts and components
1. Lens alignment index 7. Alignment index
2. Tilt lock 8. Shift scale
3. Tilt adjustment kn ob 9. Shift scale indicator
4. Shift lock 10. Til t scale
5. Shift adjustm ent knob 11. Tilt scale indicator
6. Lens release button 12. Mount extender
Attaching and removing
The HTS 1.5 is attach ed to the camera in the same mann er as
mounting a lens, matchi ng the alignment index 9 with the in dex
on the camera bod y. The lens is mounted onto the adapter in
the same manner, matching t he alignment index 1. The lens and
adapter can be mount ed singly or combined. Removal is eit her
singly or combined usi ng the lens lock (6) on the adapter and the
lens lock on the camer a body in the conventional mann er.
Attaching the HTS 1 .5 displays a new screen on the camer a
grip to indicate the HT S button. When pressed, it w ill bring up
the HTS screen on the d isplay showing the movements’ data,
namely, shift in mm, tilt and r otation in degrees.
➡
HTS 1.5 settings
Shift and tilt movem ents have click stops for zero sett ings and
are lockable. Rotati on has clickstops for each 15º but can be
set at any angle up to 90º cl ockwise or 90º counter- clockwise.
The shift and tilt ad justment knobs are released by r otating the
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1 2 3 4 5
7
8
9
15
14
locks (2 and 4) in a counter-clo ckwise direction. The adju stment
knobs are then rota ted in either direction until the d esired position is achieved and the n secured in place by rotating th e locks
in a clockwise direc tion.
The amount of shift a nd tilt adjustment can be read of f the
scales (7 and 10) by the indicat ors or the camera grip display.
Note that settings m ade according to the clickstops o r the
scales are very clo se but approximate. For example, wh en tilt
has been zeroed by the cli ckstop, the reading on the grip may
be displayed as 0.4°. Please note theref ore:
For critical use, always che ck the settings on the camer a grip display.
All movements data is au tomatically stored with eac h individual
le and can be later viewe d in Phocus.
It is good practice t o ensure that both shift and tilt h ave been
6
10
11
12
zeroed before you st art work. There is no indicat ion in the viewnder display regardi ng the amount of movement set and it is
not always obvious just by l ooking at the image in the view nder. Also, check the orientat ion of the adapter, making sure it is
capable of tilting or s hifting the lens in the desired d irections. In
the case of architec tural/documentary photogr aphy or similar it
would also be advisabl e to level the camera in all planes befo re
work begins.
Remember when using sh ift that the equipment in us e will have an effect on
results. Smaller sen sor models will allow more m ovement and lm magazines
(because the lm area is greate r) will allow less less moveme nt to exploit
before vignetting becomes noticeable.
A 90° clockwise rotation is not possible i f a GIL (GPS accessory) unit is at tached.
Camera settings
There is no need to make any sp ecic camera settings. You
may, however, wish to make a new user prole f or the sake of
convenience. For examp le, you might want to set the button s at
the rear of the grip to Sto p Down and Mirror Up for easier thumb
access (see following se ction for details). Autofocus and fo cus
aid are automatically inactivated.
3/8
Lens settings
Focus is manually cont rolled while shutter and aper ture settings
are controlled in the c onventional manner from the ca mera (or
Phocus, if tethered).
Exposure settings
For optimum accur acy, exposure should be measured wit h shift
and tilt set at 0mm and 0°. You will note tha t when movements
are more than 1mm or 1°, the exposure inf ormation is no longer
visible in the viewf inder. This information immediate ly returns,
however, when the movement s are zeroed again.
The preferred met hod is therefore Manual or using Au to and
then locking the rea ding. Shift and tilt changes c an be made
without altering t he exposure settings again as the H3 D II takes
such movements into ac count. If, however, lighting is altered,
then for accurate ex posure readings, movements will hav e to be
set back to zero and a new rea ding taken.
Particular at tention to consistent exposure set tings should be
shown when using shif t to 'stitch’ shots, in order to avoid post–
production problems.
Technically, any alteration of se nsor to lens distance demands
a corresponding exp osure compensation (as takes plac e during
tilting) but the cam era assesses the data from t he HTS 1.5 and
makes the necessary compensation automatically.
Mount extender
The mount extender i s attached to the camera foo t by inserting
the positioning pin on t he extender into the recess in t he quick
coupling plate on the c amera and rotating the retai ning screw
clockwise into pla ce. The mount extender creates cl earance
from the tripod/stand he ad to allow for free rotation of the un it.
Storage and transportation
It is recommended t hat you store the HTS with zero movem ents
in the supplied case. Avoid l eaving the HTS for long periods w ith
extreme movement s ettings, particularly in v ery hot conditions,
for example, in a closed car in t he sun. Occasionally check the
optics for dust or mar ks, treating the glass surfa ces with the
customary precautions.
16
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