Hasselblad HTS 1.5 Manual

Hasselblad Ikke kategoriseret HTS 1.5

Læs gratis den danske manual til Hasselblad HTS 1.5 (8 sider) i kategorien Ikke kategoriseret. Denne vejledning er vurderet som hjælpsom af 22 personer og har en gennemsnitlig bedømmelse på 5.0 stjerner ud af 11.5 anmeldelser. Har du et spørgsmål om Hasselblad HTS 1.5, eller vil du spørge andre brugere om produktet?

Download PDF

Side 1/8

www.hasselblad.com

USER MANUALS

HTS 1.5 – 3043400 – 2011 – v3

Item no.: 3043400

HTS 1.5

1/8

HTS 1.5

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

Scheimpug principle 34

Specications 36

FAQ 39

Terminology 40

What is it ?

The HTS 1.5 is an accessor y for H-sys tem cam eras that great ly

expand s their usabilit y both technically and creatively. It works

by allowing a lens to be moved in tw o diff erent way s to meet

some ch allenges t ypically found in professional photog raphy. It

is compact, simple to use and can prove to be an invaluable aid

in cert ain situations.

The HTS 1.5 adapter is mounted between the lens and the cam-

era body and, by wa y of the dat abus connections, aut omatically

conveys d ata to ens ure the optimum in convenience and a ccu -

racy of exposure. This infor mation is nally st ored as metadat a

with each le tha t can then be accessed in P hocus.

And it is in P hocus th at DAC cor recti ons autom atica lly take into

account all tilt, shift a nd rotational m ovement s as well as a

long list of speci c lens data. This ability, unique to Hasselblad,

ensures the except ional quality produced by the HTS 1.5.

What does it do?

The HTS 1.5 primar ily solves problems but equally well pro-

motes cr eative oppor tunit ies to provide the photog rapher with

an almost i nvaluab le tool.

Problem solving would be m ost obviously benecial in architec-

tural work, close-up prod uct photogr aphy and c ert ain kinds of

docum entat ion, for exa mple.

Creative opportu nities would cover almost any ar ea of phot og-

raphy where a fresher app roac h is requir ed regar ding selective

focus and/or perspective manipulation.

How does it work?

It exploits established optical principles familiar to view camera us-

ers, namely ‘ ’ and ‘ ’. These capabilities are further exploittilt shift -

ed by being able to rotate the whole unit. Only basic explanations

are included here as In-depth technical descriptions are beyond

the scope of this m anual. A search on the Internet under headings

such as ‘camera movements’ and ‘Scheimpug Pr inciple’, for

example, can provide much m ore insig ht into the concepts.

To be able to allow such moveme nts using a lens from t he sta n-

dard r ange, an opt ical converter that increases lens coverage is

integr ated int o the design. In this way the ada pter expa nds the

use of a num ber of lens es that m any users a lready have ther eby

avoiding t he need for dedicated lenses.

Very sim ply put , tilting t he lens moves the orientation of the

plane of sharp focus while shifting the lens moves th e projected

image cir cle inside the cam era.

What problems does it solve?

There a re basically two ar eas that can be helped by tilt and

shift:

· Tilt is used when you w ant to change the orientation of the

plane of sharp focus.

· Shift is used to change the area selected for coverage of a

scene while retaining par allel lines in the image. It can also

used to create panorama s when used horizontally.

Although tilt is typically us ed in close-up product or lan dscap e

photography a nd shift is typically used in ar chitectural ap plica -

tions, it w ould be wr ong to hig hlight t hese areas too much .

There a re many sit uations w here some tilt or some shift or

both would go a long way in producing a competitive ed ge on an

other wise normal sh ot.

How is it creat ive?

The actions tha t produce pr actic al solut ions to problems cr eate

effects th at can also be classi ed as creative, dependent on

the intention. For example, it might be said that “st itchin g” (the

digit al combining of several ima ges) creativ ely exploits the ‘cor-

rect ’ use of movements w hile selective de-f ocusing creati vely

exploits the ‘incorrect’ use.

Hasselblad HTS 1.5 – Introduc tion

Compatibility

The HTS 1.5 was specically designed for use with the HCD

4/28mm and HC 2.8/80mm lenses, and these should be seen

as the pr imar y choice for maximum performance. However, the

HC 3.5/35mm, HC 3.5/50mm and HC 2.2/100mm lenses can

also be used with excellent results. Th e 13mm, 26m m and

52 mm extension tubes are also compat i ble with a ll of these

lenses. The HC 3.2/150, HC 4/210 and HC 4.5/300 can also

be used but handli ng and performanc e are compromised and

are therefore not recommended for crit ical work.

Please note that t h e HTS 1.5 is not compat ible wit h the

H1.7x conver t er, CF lens ad apter, HC 3.5-4/50-110mm, HCD

4-5.6/35-90mm, or the HC 4/120mm M acro.

The autofocus and focus conrm at ion features on t he camera

are also au tomati cally de-activ ated for a ll lenses.

Tilt

Tilt changes the orientation of the

plane of sharp focus. This creates

the appearance of an ‘increase’ or

‘decrea se’ in depth of ﬁeld.

Shift

Shift allows perspective control

by preserving parallel lines in the

image. It also allows ‘stitched’

panoramas.

The integral converter in th e HTS 1.5 alt ers the an gle of view

(in eff ect, extending the focal leng th) of each lens and causes

some loss of speed. For example, a HC 2.8/80mm - HTS 1.5

combin ation will produce an image you mig ht expect from a

4.5/128 mm lens on its own, as a roug h guide. Please see

under for full d etails. Specications

For the H TS to function correctly, the rmware in the ca mera and Pho cus soft-

ware must be recent. Ple ase ensure yo u have the latest versions installed. You

can download them free of charge fro m:

http: //ww w.ha sselb lad.c om/se rvic e--suppo rt /te chnic al-suppo rt/softw are-d ownloads

Rotation

Allows the whole unit,

at any tilt and shift set-

tings, to be rotated for

further control.

20º

total

180º

total

36mm

total

TILT

– a basic explanation

A classic problem in close- up product

photography and similar areas, is the lack

of depth of eld.

Using tilt can solve many such problems

as well as offering creative solutions.

With a basic understanding o f the principles behind

tilt and shift, you will gain mor e conﬁdent contro l of

the HTS 1.5 and be able to exploit i ts potent ial to the

optimum.

The function of a camer a lens is to project an image o nto a sen-

sor. The senso r, being effectively two dimensional and lying in a

specic plane, can only r ecord a t wo dime nsional  at plane, in

the sam e orient ation, in the subject.

In pra ctice we norma lly perc eive so me areas in front an d behind

this at plane in the subjec t as “sharp” and t his is t erm ed the

depth o f eld (which in its tur n expan ds or cont rac ts acco rding

to aper ture set tin g and subject dis tanc e).

Tilt

The lens is normally set per pendicular to t he image p lane and

there fore is ef fect ively in parallel with th e sensor as well. This

provides three planes t o consider – the sensor, the lens an d the

subject – all par allel. They a re also interrelat ed, so moving one

will have an e ffect on the others. This is where tilt is int roduced.

In the diag ram below, the imag e plane, lens plane an d subject

plane ar e parallel. This creates an ar ea of acc eptable sharp -

ness t he dept h of eld. In t his case, not all of the subject –

lies wit hin the bo undar ies of the dept h of e ld and tho se par ts

there fore appear unsharp. By tilt ing the lens it is possible to

includ e more of t he objects in th e depth o f eld wit hout having

to use a smaller aper ture.

Basic explanation of tilt

Tilt

Original scene

from camera

viewpoint In this case, the lens is

focused in front of the

yellow object.

At the given ap erture

settin g, the yellow object

is covere d by the depth

of ﬁeld, the red object

partly covere d and the

blue object not covered

at all. The yellow object

will therefore be accept-

ably sharp, the red object

partly sharp and the blue

object un sharp.

Lens plane

Image (sensor) plane

Depth of ﬁeld

Subject plane

www.hasselblad.com

USER MANUALS

HTS 1.5 – 3043400 – 2011 – v3

Item no.: 3043400

HTS 1.5

2/8

Camera angle and lens movement

Original scene

TILT

In this diagra m, if di stanc e C is now altered so that

the blue object i s sharp, then di stanc e D will be

altered acco rding ly. Likewi se E and F.

Only mi llimeters of d ifference in distance are r equir ed

from len s to sen sor to cre ate gr eat changes in subject

to lens focus distance and thi s is why tilt bec omes a

possibility.

When ti lting the lens, distance D is decrea sed, al low-

ing foc us for the longer distance C. Si milarly, F has

now increased allowing focus for the sho rter d istan ce

E. Con seque ntly, the red object has the required se n-

sor to len s distance fo r corre ct focus and so has the

blue object, thereby allowing them to be both sha rp at

the same focus setting with out any nee d to alte r the

aper ture se tting.

In this diagra m, a focus set ting has been made for

the yellow objec t at distance A. This in turn produce s

a speci ﬁc ‘len s to sensor’ distance B.

The relationship between these two distance s is

reciprocal ; alter on e and you must alter the other to

maintain sharp focus.

Fig. 1

Fig. 2

Fig. 3

continued overleaf



continued overleaf



continued overleaf



ResultInside the camera

Only the yellow objects are shar p

All the objects are now much sharper

Fig. 1 Fig. 1

Fig. 2 Fig. 2

Fig. 3 Fig. 3

In this diagram, the lens is focused on the yellow ob-

jects. At the widest apertu re only the yell ow objects are

covered by the depth of ﬁel d.

This situation illustrates that producing sharpn ess in

certain par ts of the subject can produce unsharpness

in other parts of the image.

Note that the vertical objects show a vary ing amount

of sharpne ss according to height as well, not only dis-

tance from the camera as might normally be expected.

You should be aware of this possibility occurring. In

this particular case, if the yellow objects were one solid

object, it might hide the unsharp section of the blue

object to produce app arent sharpness over the whole

image.

Sharp

Sharp Unsharp

Unsharp

Sharp

Unsharp

Fig. 4

Sharp

Unsharp

Sharp

In this diagram, the lens is focused on the yellow

objects. At the wide st aperture only the yellow

objects are covered by the depth of ﬁeld.

When the lens is tilted, the plane of the depth of

ﬁeld tilts. The left side of the blue object is now

sharp and the right side unsharp. The left yellow

object is unsharp while the right yellow obj ect

remains sharp.

Note that in this case, as opposed to the previous

situation illu strated, the sharpne ss of each object

is not affected by its height.

Unsh arp

Sharp

Unsh arp Sharp

Sharp

Fig. 5

SHIF T

– a basic explanation

A classic problem in architectural work

and similar is the preservation of parallel

elements in the subject when the camera

angle has to be moved.

Shift also allows the creation of ‘stitched’

panoramas.

Shift

The image from t he lens is focused and proje cted inside t he

camera onto th e sensor. Nor mally, this so called ‘image c ircle’

is just lar ge enoug h to cover t he sensor. However, the integ ral

conver ter in t he HTS 1.5 en larges t he image c ircle. This a llows

par ts of the image to be projected out side of t he sensor a rea.

These part s would not normally be rec orde d but would never the -

less remain accessible.

If the le ns is shifted, the projected ima ge will consequen tly

move, allowing the previousl y unrecorded par ts of the im age to

project ont o t he sensor and ther eby be recorded.

Shift ing t h e lens allow s the cam era (image plane and lens

plane) to rem ain parallel to the subject. This pr events any paral-

lels in the subjec t from co nverg ing as would normally be t he

case if t he camera was jus t pointe d upwards.

View of inside the camer a

(In reality the proje cted image would be

inverted)

The enlarged image circle is projected onto the

sensor (repre sented by the grey rect angle).

In this ca se, par t of the image lie s outside the

sensor.

Tilting the camera upwards to include t he top

of the blue object would make the parallels in

the yellow objects converge.

Shift

Basic explanation of shift

Produkt Specifikationer

Mærke:	Hasselblad
Kategori:	Ikke kategoriseret
Model:	HTS 1.5

Har du brug for hjælp?

Hvis du har brug for hjælp til Hasselblad HTS 1.5 stil et spørgsmål nedenfor, og andre brugere vil svare dig

Dit navn*

Din email*

Skriv dit spørgsmål her

Ikke kategoriseret Hasselblad Manualer

Hasselblad 2000 FC Manual

7 Juli 2025

Hasselblad 2003 FCW Manual

7 Juli 2025

Hasselblad 205 TCC Manual

7 Juli 2025

Hasselblad CF 22 Manual

7 Juli 2025

Hasselblad 903 SWC Manual

7 Juli 2025

Hasselblad 1000 F Manual

7 Juli 2025

Hasselblad 503 CXi Manual

7 Juli 2025

Hasselblad 500 ELX Manual

7 Juli 2025

Hasselblad 553 ELX Manual

7 Juli 2025

Hasselblad 2000 FCW Manual

7 Juli 2025

Ikke kategoriseret Manualer

Nyeste Ikke kategoriseret Manualer

Yamazen RS-14734CJH Manual

11 Juli 2025

Prima Prostate Test-PSA Manual

11 Juli 2025

Yamazen NUMF-E306 Manual

11 Juli 2025

Philips Sonicare 5500 Series HX7111 Manual

11 Juli 2025

Microchip USB5926C Manual

11 Juli 2025

Yamazen MNR-12874CJ Manual

11 Juli 2025

Yamazen YWC-193SFK Manual

11 Juli 2025

Blustream AD11AU Manual

11 Juli 2025

RGBlink Q16pro Manual

11 Juli 2025

Yamazen CV-1825 Manual

11 Juli 2025