Hasselblad Car Video System CF22 CF39 User Manual

User Manual

Language version: English

Manual version: 1

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Welcome to Hasselblad!

The Hasselblad CF line of digital backs oﬀers 22 and 39 Mpix digital capture at a professional

level for unbeatable results. Together with the option of an i-Adapter, Hasselblad’s inter-

changeable camera interface, this capability extends beyond medium format into the world

of large format too. In addition, the option of true color multi-shot capture provides the pos-

sibility of moiré free captures in world class exhibiting stunning quality. The CF line matches

the functionality of the Hasselblad H2 camera perfectly, giving you access to the H System’s

range of high performance, central shutter-based lenses, and extended digital features such

as Digital APO Correction technology and Instant Approval Architecture.

In short, the Hasselblad CF line brings unprecedented ﬂexibility to the professional photog-

rapher, and enables you to take full advantage of all that leading edge digital photography

can oﬀer.

22 or 39 million pixels

The CF line uses a 22 or 39 megapixel sensor that is more than twice the physical size of today’s 35mm sen-

sors. This sensor holds more and larger pixels, which guarantees superior image quality and provides moiré

free color rendering without gradation break-ups in even the ﬁnest lit surfaces. Images shot with a CF dig-

ital back have unsurpassed clarity and sharpness. The 39 Mpix sensor produces the largest digital ﬁles cur-

rently available for professional photography, making them ideal for the most demanding, high resolution

printing applications and give the photographer increased ﬂexibility and creative control when cropping or

enlarging. The ﬁnest image capture quality is possible when used on an H System camera as Hasselblad’s

unique Digital APO Correction lens optimization techniques are accessible. In addition, Hasselblad’s Natural

Color Solution optimizes color reproduction.

In a studio environment, the CF line enables you to increase the color resolution of your captures by means of

a unique multiple-exposure technique controlled by the optional Multi-Shot Module (patent pending). The

result is unsurpassed color resolution and absolutely moiré free images. The Hasselblad CF can be upgraded

with the 4*Res module at any time. The Hasselblad CFMS comes with the Multi-Shot Module already built in.

Today’s photographers demand higher resolution, less noise, and improved composition, all of which the

CF digital backs provide. Every feature and aspect of their performance represents the superior quality and

design that go into each Hasselblad product.

H2 platform for Digital APO Correction

In conjunction with an H2, CF backs capture an extended set of metadata and then perform an automated

correction for color aberration eﬀects with every shot. This means that your digital captures are automati-

cally optimized to provide the ﬁnest detail that a given lens can resolve. We have named this feature “Digital

APO Correction” (DAC), signifying the digital, APO chromatic correction of the images that takes place.

Implementation of this feature includes detailed mapping of each H system lens model, ensuring that each

image represents the best that your equipment can produce. We are conﬁdent that the image quality you

achieve as a result of the DAC functionality will make you - and your customers - look twice.

Unique Hasselblad Natural Color Solution

In the past, color management solutions have imposed limitations on professional digital photographers,

because of the need to choose a speciﬁc color proﬁle to suit a speciﬁc job in order to capture various skin

tones, metals, fabrics, ﬂowers, etc. Hasselblad has helped solve this dilemma, with the development of a

new, powerful color proﬁle to be used with its FlexColor imaging software. Working with the new Hasselblad

Natural Color Solution enables you to produce outstanding and reliable out-of-the-box colors, with diﬃcult

colors reproduced easily and eﬀectively.

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We have developed a new Hasselblad raw ﬁle format called 3F RAW (3FR) to help implement our new unique

color system. The new 3FR ﬁle format is designed to ensure that images captured on Hasselblad digital prod-

ucts are quickly, eﬀectively and safely stored on the available media (CF card, Imagebank, etc). The ﬁle format

includes lossless image compression, which reduces the required storage space by 33%. Combined with the

architecture of the Hasselblad backs, this allows you to capture up to 35 shots per minute.

The 3FR ﬁle deﬁnes the colors in the Hasselblad RBG color space with its out-of-the-box quality, and used in

FlexColor it removes both the need for experimenting with diﬀerent color proﬁles to obtain optimal colors and

the need for selective color corrections.

DNG File Format

3FR ﬁles can be converted directly into Adobe’s raw image format DNG (‘Digital NeGative’), bringing this new

technology standard to the professional photographer for the ﬁrst time. The DNG ﬁle format enables raw,

compressed image ﬁles to be opened directly in Adobe Photoshop. This enables photographers to operate

quickly and eﬃciently, reducing the ‘downtime’ taken to process image data and enabling ﬁnal images to

reach the customer more quickly. Hasselblad image ﬁles carry a full set of metadata, including capture condi-

tions, keywords and copyright, facilitating work with image asset management solutions. For specialist com-

mercial photographers, the full productivity and creative freedom oﬀered by Hasselblad’s FlexColor workﬂow

software is also available when importing the DNG ﬁle.

Capable of working with multiple cameras

Hasselblad CF digital backs can be attached to most of the professional medium-format SLR and large-for-

mat view cameras on the market with a simple 4-screw attached adapter plate, enabling you to bring digital

capture to your favorite cameras and lenses with one convenient digital back.

Instant Approval Architecture

Limitless digital image capture loses some of its potential if the photographer cannot quickly review and select

the best images to present to the client. Building on the success of its Audio Exposure Feedback technology,

Hasselblad has created Instant Approval Architecture (IAA), an enhanced set of feedback tools, designed to

liberate the photographer to focus on the shoot rather than the selection process. IAA triggers audible and vis-

ible signals for each image captured, telling the photographer immediately whether the image has a red, am-

ber or green light status. The information is recorded both in the ﬁle and in the ﬁle name, providing a quick and

easy way to classify and select images, in the ﬁeld or in the lab. CF backs are fully integrated with Hasselblad’s

Instant Approval Architecture, bringing automated image classiﬁcation into your digital workﬂow from the

split second of capture. IAA is a Hasselblad trademark and Hasselblad has a patent pending on the invention.

A larger, enhanced OLED display in the new Hasselblad products provides a realistic, high quality and perfect

contrast image view, even in bright sunlight, to allow instant on-site image approval.

FlexColor workﬂow for professional photographers

FlexColor oﬀers an image processing workﬂow with the highest degree of control for the studio photogra-

pher. In tethered operation, tools like live video and overlay masking help bring productivity to advanced set

composition. The newest FlexColor version allows the photographer to manipulate color temperature and

compare image details across multiple images for precise image selection. FlexColor works on the basis of the

raw 3FR ﬁles generated by the CF backs. FlexColor runs natively on both Macintosh and Windows computers

and is licensed to allow you to provide free copies for all your co-workers and production partners.

Three modes of operation and storage

Optimum portability and image storage are critical for the professional photographer. CF backs enable you

to choose between portable CF card storage, the ﬂexible Firewire drive, or tethered operation with extended,

special capture controls. With these three operating and storage options, the photographer is able to select a

mode to suit the nature of the work at hand, whether in the studio or on location.

‘Instant’ user interface

The CF backs are operated via an easy-to-use user interface, utilizing a series of ‘instant’ one-button-click op-

erations including instant capture, instant browse, instant approval, instant zoom, and instant image info.

All in all, the Hasselblad CF line of digital backs provides the discerning photographer the opti-

mum in freedom for professional level digital capture, so remember —

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

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Computer system requirements

Digital ﬁles naturally end up on a computer for processing. Image-storage and correction

requires a certain minimum standard regarding computer capabilities. Large images

will require a high-performance computer with plenty of memory, advanced graphics

capabilities and a recent operating system. In most cases, the computer should include

a FireWire 800/400 connector, which will enable you to load images directly from the

camera or Imagebank. To load images stored on the removable compact-ﬂash card,

you could instead use a compact-ﬂash card reader, but FireWire is recommended for

maximum ﬂexibility.

A CF digital back saves images as 3FR ﬁles which are Hasselblad raw digital-camera

capture standards. From FlexColor, you can optimize and then export the ﬁles to DNG

or TIFF or JPEG formats instead if you wish. A CF digital back includes the Hasselblad

FlexColor image-capture and editing application and native versions of FlexColor are

provided for both Macintosh and Windows platforms. Please see the FlexColor manual

for complete system requirements.

Warnings and restrictions

•

Keep the digital back (and all computer equipment) away from moisture wherever

possible. If your camera becomes wet, disconnect from power and allow it to dry

before attempting to operate again.

•

Always take great care when you remove the sensor back for cleaning—the ex-

posed CCD sensor is vulnerable to damage.

Keep all cables connected to or from your camera and computer out of the way

where they will not be tripped over.

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

Before you start

Leave protective covers on as much as possible. A CF digital back, in line with all Hasselblad

products, has a robust construction and is capable of withstanding fairly rough treat-

ment but nevertheless is a precision instrument and will serve you longer if treated with

respect from the beginning.

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

In addition to the digital back itself, a CF User Manual CD, the FlexColor sofware CD and a FlexColor user manual CD, the items illustrated below

are also included. If anything is missing or seems faulty in any way then you should contact your Hasselblad dealer immediately.

Flash sync input cable

Flash sync output cable

CF-Flash card (2 GB)

E-wipes

Grey Card

Nylon Case

FireWire cable

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General overview

In very simple terms, a CF digital back holds a light sensitive sensor in place at the

ﬁlm plane. The electronic signals from the sensor are then processed and stored as

a digital ﬁle.

As an electronic colour image is made up of three components − red, green and blue

which combine to form a so-called RGB image − the sensor’s task is to convert a

multi spectrum light image into three digital ﬁles (red, green and blue) for combina-

tion later on.

A CF digital back uses a CCD (Charged Couple Device) type sensor that has 39 million

light sensitive areas on its surface each of which creates a pixel.

Each pixel in the sensor is ﬁltered to create the three separate red, green and blue

ﬁles. Software then processes these electronic ﬁles as a package to produce the vari-

ous formats − RAW, TIFF, JPEG etc.

The three components of the image ﬁle are later recombined on the computer screen

to produce the familiar full colour image.

The image ﬁle can be temporarily stored either in a CF digital back with a CF card, on

a Hasselblad Imagebank or the hard disk on a computer. Processing of these images

is carried out in conjunction with the included FlexColor software. See the separate

FlexColor manual for further details

•

The Hasselblad CF digital back is designed for use with most professional SLR medi-

um format cameras as well as view cameras on the market. Attachment is made by

way of an adapter plate that is screwed to the camera. Please see the Ixpress Adapter

Kit user manual for full details.

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A CF digital back is an electronic device and consequently attention to power ac-

cess is vital. When working untethered it is therefore important to plan either battery

loading or battery replacement to ensure continued workﬂow.

Likewise, image storage is limited, particularly when using ﬂash cards and appropri-

ate 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 sen-

sor area. The sensor itself is covered and therefore protected by the glass IR ﬁlter but

take great care when handling. If you need to clean the ﬁlter, see later section for

speciﬁc details. When storing separated from the camera, always ensure you have

replaced the protective cover.

If you scratch or mark the ﬁlter in any way, it will show up on every shot. Replacements

are expensive so treat the glass surface with at least as much care as you would a

lens.

The sensor itself is not accessible for any kind of cleaning or maintenance by a user.

Do not attempt any such action as you will almost certainly damage it irreparably.

As is the case with all electronic devices pay extra care when working in damp en-

vironments and avoid damp conditions for storage.

The menu can be displayed in one of seven diﬀerent languages:

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

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Parts, components & control panel buttons

The control panel has an OLED screen that provides a bright, high- The buttons are used for browsing images and navigating the menu

contrast view even in bright surroundings and at fairly acute angles. system. Two of the buttons, located at the bottom-right and -left of

The panel is the main graphical interface for image checking and set- the screen, are given an on-screen label that changes according to the

tings changes when not connected to a computer.

current context (e.g., the bottom-right button sets the approval rating

when browsing images, but conﬁrms settings when using the menus).

commands within the menu system indicated by a label beside

the button on the preview screen.

Ventilator

Ensures the sensor is kept cool.

Display button

OLED preview screen

Displays preview images and the menu system even in bright light

and from acute angles.

Steps through the various view modes for the preview image:

standard, histogram overlay, image details, screen oﬀ and

full-screen.

Menu / (Menu Exit) button

ON /OFF button

Opens and closes the menu system. Also used for vari-

ous other tasks (Exit button, for example) as you issue

Powers the digital back.

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Camera communication port

Ready light indicator

Used with certain camera models only. See adapter user manual

for details.

Flashes green to indicate that the digital back is performing an

operation (such as saving a new capture) and is not available for

new commands. Flashes green when the back is ready.

Flash sync OUT terminal

Navigation button

Used when working with studio / strobe ﬂash units. Allows con-

nection to the lens sync contact via the ﬂash sync cable to ensure

correct synchronisation

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, leﬅ, right or down).

FireWire connector

Allows the connection to a computer or Imagebank. e digital

back requires an 800 connecter whereas the computer can be

either an 800 or 400.

Zoom-out button / SELECTION (– button)

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

image. You can continue to zoom out to view several small

images at once and ﬁnally to view and select batches and media.

Also acts as a selection button for value setting on the menu.

Digital back retaining hook slots

Accepts digital back/magazine retaining hooks on camera body.

Zoom-in button / SELECTION (+ button)

CCD and IR ﬁlter

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

image. Also acts as a selection button when viewing available

image batches, media and value setting on the menu.

is is the light-sensitive element, which is positioned behind a

permanently mounted IR ﬁlter. Usually, this assembly will either

be inside the camera or protected by the cover. Always be very

careful not to touch or scratch the surface of the ﬁlter when it is

exposed and to replace the plastic cover whenever the digital back

is not mounted on a camera.

Instant Approval / (OK) button

is button steps through the three approval levels,

thereby assigning an approval status to the image

currently displayed (or selected) in the preview screen (part of

the Instant Approval Architecture system). e colour coding is

based on the traﬃc signal convention of green, amber (yellow)

and red.

Also acts as a conﬁrmation button (OK button) for some types

of menu operations, such as deleting images; indicated by a label

beside the button on the preview screen.

 WARNING: never attempt to remove the glass ﬁlter—you will

probably ruin the CCD if you do so.

See ‘Cleaning the CCD’ section for details.

Databus connectors

For communicating with a Hasselblad ELD model camera body or

with a modiﬁed Hasselblad 202/203/205 model camera body.

Flash sync IN terminal

Digital back support slots

Used when working with studio / strobe ﬂash units. Allows con-

nection to the unit via the ﬂash sync protector cable to ensure

correct synchronisation as well as providing protection for the

digital back.

Accepts digital back/magazine support hooks on camera body.

CF card slot cover

Protects card slot.

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Initial setup

A CF digital back is delivered with a protective cover in place. This must be removed in order to ﬁt the

i-Adapter and re-attached if the digitalback is to be stored or transported separately as protection

for the CCD/ﬁlter.

To remove the cover, use the TORX T10 screwdriver supplied to unscrew all four screws (illus A). You

can then ﬁt the i-Adapter that suits your camera model.

 CAUTION

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

always attach the protective cover for transportation or storage..

Fitting an i-Adapter

Aﬅer removing the protective cover, check that the adapter is facing the correct way (so

that it will connect with the camera body) and position it in place on the back (illus B).

Depending on model, there may be a data connector to be aligned and inserted into the

back too. Take very grerat care when placing the adapter to ensure that no part of it touches

the CCD/ﬁlter. When correctly positioned, the adapter is held in place by the four TORX

T10 screws supplied. Make sure the screws are ﬁrmly tightened but not overly tight.

Powering the digital back

As with all digital products, it is essential that you maintain a constant check on battery condition

and preferably have a fully-charged reserve battery with you at all times when not tethered to a

computer. A CF digital back requires power either from the battery (7.2V Sony InfoLithium L type −

NP-F550 for example) or from a computer via a FireWire cable.

To attach a battery:

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

and charger).

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

3. Position the battery as in the illustration D.

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

retaining catch.

4. Slide the battery into the ﬁnal position ensuring the contact prongs on the camera

are inserted into the battery. The battery retaining catch will now return to the safe-

ty position

To remove a battery:

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

freely removed.

FireWire connection:

1. Simply connect the FireWire cable between the FireWire connector on the digital

back and the USB port on the computer (illus E).

ON / OFF button

With a fully charged battery ﬁtted or when tethered to a computer, press the ON/OFF

(

) button to activate the digital back. An audible signal will be heard and a Hasselblad

logo splash screen will appear on the OLED. e back will enter standby mode aﬅer the

preset time to save the battery. Press the ON/OFF button again to turn the digital back

oﬀ. An audible signal will be heard again to conﬁrm this.

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Shooting/image storage modes

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

1. Untethered / Compact ﬂash card mode

In this mode a CF digital back acts independently of other connections. Images are stored

on the internal, removable compact-ﬂash card.

•

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

ment.

•

The main disadvantages with this mode in the ﬁeld are the battery power capacity

and the size of the card’s holding capacity.

Please note that the recommended types of CF cards are Sandisk Extreme-III or Lexar

Professional 133x. Other cards will work but oﬀer a reduced capture rate.

2. Semi-tethered / Imagebank mode

is mode enables you to attach the camera to a portable Hasselblad Imagebank via a

FireWire cable. e Imagebank features massive storage capacity and high-speed data

transfer. It is small, lightweight, battery powered and easily clips to your belt, so the

solution is just as portable as the untethered option.

•

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

stored without a pause.

•

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

that might restrict mobility in some cases.

3. Tethered / Studio mode

is mode enables you to connect your CF digital back directly to a computer and to

operate the system using Hasselblad FlexColor soﬅware 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-ﬂash card), then this medium

is automatically selected.

However, if you are working away from your computer and have several media attached

(e.g., both a card and an Imagebank, then you may need to select a medium explicitly if

you want to browse its contents and store images new to it.

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

•

See “Selecting the Current Storage Medium” for details.

•

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

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

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

and batches in this way.

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Using compact ﬂash memory cards

When shooting to a compact-ﬂash card, a CF digital back is com-

pletely self-contained. No additional wires or connectors need to

be attached.

A CF digital back is shipped with a 1GB compact-ﬂash card, which

is able to hold over 45 shots. Lossless compression is applied to

the images, so the actual size of each capture can vary, thereby

aﬀecting the total number of shots you can ﬁt on the card. You can

purchase additional, possibly larger-capacity, cards and change

them as each card becomes full.

 Note that the camera can copy the contents of its compact ﬂash

card to an Imagebank even when no computer is attached. This

enablesyoutobackupyourshotsandthenclearspaceonthecard

to keep on shooting. See section on “Transferring Images”.

Inserting a card

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

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2. Hold the CF card so that the connector holes face into the

slot, with the brand label facing in the same direction as the

preview screen. Gently press the card into the slot.

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

ing the card backwards or upside down.

When the card is completely inserted, swing the cover shut

again.

Removing a card

1. With the CF card cover open, press gently on the card removal

button (1a) and then release it. It will now extend out from its

original position, as in the illustration (1b).

2. Press ﬁrmly on the card removal button (2a) to eject the card

for removal (2b).

Working with an Imagebank

ere are no practical diﬀerences between storage on the internal

CF card or on an Imagebank. However, when several media are

mounted, you must be sure to select the correct destination medium

(see also “Working with Media and Batches”).

Working with a Hasselblad Imagebank

e Imagebank is an optional add-on for your digital camera

system. It is essentially an external FireWire hard disk optimized

for digital photography, providing extensive storage space and

high-speed data transfer. It is small, light and battery powered. You

can easily clip it to your belt, so the solution is nearly as portable

as the stand-alone camera.



Older digital backs in the ‘ixpress’ line used a diﬀerent external

disk and controller called simply the “Image Bank”. This older

Image Bank is not compatible with a CF digital back. Only use

the Hasselblad Imagebank with a CF digital back.

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To use an Imagebank with a CF digital back, simply assemble it as described in its manual

and connect the two with a standard FireWire 800 (IEEE 1394b) cable. See the Imagebank

manual for complete details.

To remove the Imagebank, simply disconnect the FireWire cable. e back will then

revert to saving and browsing images on the internal ﬂash card (if available).

Tethered to a computer

Even if you never shoot while connected, you will probably connect the camera to your

computer each time you want to download your images, though you might instead use a

compact-ﬂash card reader and/or connect your Imagebank or FireWire disk directly.

Connecting to a computer

To connect to a computer, simply attach a FireWire cable from the FireWire port on your

computer to the port on the side of a CF digital back. e port on a CF digital back is

protected behind a sliding cover.

Removing from a computer

To remove the camera from a computer, simply disconnect the FireWire cable when all

image loading activity has ﬁnished.

Shooting with FlexColor running

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

•

The destination medium and location are controlled from FlexColor.

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

A CF digital back will take power from the FireWire cable if it is available (please

note that not all computers supply power here, notably PC laptops).

When initiating a shot from FlexColor, the computer sends a signal to a CF digital back,

which in turn triggers the shutter and ﬂash/strobe lights (if any). A CF digital back then

sends the image back over the FireWire connection to the computer, where it is displayed

on the computer screen and saved as a 16-bit-per-colour 3F ﬁle in the currently selected

folder of the computer hard disk.

3F is a proprietary Hasselblad format for storing raw captures. It contains the complete

raw image exactly as it was captured by the camera, plus technical details that enable

FlexColor to process and display the image correctly. It furthermore stores a complete

history of the FlexColor settings that you have applied to each image and stores meta-

data such as camera settings, image name, photographer, copyright, etc. When you load

images into FlexColor from the camera or external media, the 3FR ﬁles are converted

into the 3F format. If you prefer not to use FlexColor, then you can export ﬁles directly

to DNG or other format and use Adobe Photoshop, for example.

Please refer to the FlexColor Soﬅware Reference manual for further instructions about

taking pictures using FlexColor.

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Initial general settings

General

Using the menu on a CF digital back is very similar to using a menu on a cell phone or similar. When

you enter the menu (by pressing the MENU /

button) you will be see an initial list:

ISO

White Bal.

Media

Browse

Storage

Settings

The ﬁrst four items are immediately accessible for changes, indicated by the appearance of a plus

and minus sign in the highlight frame meaning the settings can be altered by the Zoom in / Zoom

out buttons. Storage and Settings are more detailed and therefore require further navigation.

It is advisable to quickly skim through this section of the manual initially to see build up a picture of

the menu structure with its various sections

On the following pages you will see an illustration of the philosophy behind the menu, its structure

and how changes in settings are made and stored.

Some of the buttons have a double function while others remain single function. For example, the

navigation button always leads you through the menu in the direction that the arrowhead illus-

trates. The Zoom in/out buttons though, for example, act as image enlargers and reducers as well

as conﬁrmation buttons, according to where you are on the menu.

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By using the buttons on the control panel you

can navigate down through the various levels

in the menu. It provides the source of infor-

mation about image ﬁles and also provides a

way of making custom settings so the digital

back suits your way of working.

Overview

of menu

structure

Below is a simple overview of what is avail-

able and where it is situated on the menu.

ISO

WHITE

BALANCE

Sets the light sensitivity of

the sensor. Equivalent to

‘ﬁlm speed’.

Set to match the colour tem-

perature of light used.

MEDIA

BROWSE

Determines where ﬁles

will be stored (ﬂash card,

Imagebank).

Sets the approval status

(classiﬁcation) ﬁlter for easier

and quicker image browsing.

STORAGE

DELETE

FORMAT

COPY

For single or multiple dele-

tion of images.

Used to format compact

ﬂash cards and Imagebanks

for optimum use.

Used for oﬀ-loading images

from a ﬂash card to an

Imagebank.

DEFAULT

BATCH

APP LEVEL

Assigns a default approval

status (classiﬁcation) to all

new images.

Used to create new storage

folders (batches) and name

them.

USER INTERFACE

CAMERA

SETTINGS

Sets menu language, power

down, sound, date & time

and several other custom

settings.

Sets which type of camera

body is being used with the

digital back.

DEFAULT

MISCELLANEOUS

Resets all custom settings

back to the original factory

settings.

Sets the way the camera/

digital back appears to a

computer. Also displays

ﬁrmware version.

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

The menu is structured in a manner similar to cell phones

and similar electronic devices.

Various branches within the tree system are accessed by

pressing the navigation button until you reach the point

where a choice has to be made.

The OK (Approve) button or SELECTION (Zoom-in/Zoom-

out) buttons are then used to conﬁrm 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 ei-

ther on the ‘left’ symbol on the navigation button or on the

EXIT/MENU button again.

The need to continue further into the menu is indicated by

the arrow symbol beside the menu item.

Press the ‘right’ arrow symbol on the navigation button to

access the next part of the menu.

When you reach the final destination of your choice (this

might take several moves), PLUS and MINUS symbols ap-

pear to the right in the frame round the item.

You then press the Zoom-in /Zoom-out /SELECTION but-

tons 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 /Zoom-

out /SELECTION buttons as well as the navigation button.

You can then confirm your choice with the OK (Approve)

button or revert to the previous status by pressing the EXIT/

MENU button.

See later sections for more comprehensive information.

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In this manual you will see the following kind of description

regarding settings changes (as opposed to general viewing and

browsing etc).

e method is the same for all changes, some stages taking a little

longer than others and being a little more involved.

ꢁ

ꢃ

ꢀ

ꢂ

ꢄ

e following is an example of a setting change :

Setting the menu language

e menu is available in English, French, German, Italian,

Spanish, Japanese and Chinese.

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

1. Press the MENU/EXIT (

) button to open the menu.

2. Press the NAVIGATOR button (and ) to select the

SETTINGS sub-menu.

3. Press the NAVIGATOR button () to open the SETTINGS

menu.

4. Press the NAVIGATOR button () to select the USER

INTERFACE sub-menu.

5. Press either ZOOM button ( or ) to choose a new lan-

guage (in this case, Spanish).

6. Press the MENU/EXIT (

) button again to close the menu.

Menu Shortcuts !

To help you work faster, the digital back provides shortcuts to some pressing and holding one of the front-panel buttons for a second or so.

of the most commonly used menu commands that do not otherwise These are mentioned where appropriate elsewhere in this manual, but

have a dedicated button on the front panel. These are accessible by we summarize them here for your convenience.

To toggle the over-

exposure indicator

Press and hold until the display begins

to ﬂash (or stops ﬂashing) its overexposed

areas.



See ‘Overexposure Indicator’ for full details.

To set the browse ﬁlter

To delete images

Press and hold until your preferred ﬁlter is

indicated.

See ‘Using Instant Approval Architecture’ for

full details.

Select the target image and then press and

hold until the delete dialog opens.

See ‘MAIN MENU > Delete’ for full details.

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Storage overview –

Working with media

and batches

General

With a new CF card (or a newly formatted CF card) inserted or with an Imagebank, a

new folder (called a batch) is created automatically aﬅer the ﬁrst image has been captured.

More batches can be created whenever you choose and named for easier sorting. You

should name them straight away though as they can only be changed later on (if required)

when they have been transfered.

Organizing your work with batches

Batches help you to organize your shots as you work. ey function just like folders on

a computer. Batches have the following properties:

•

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

•

When you copy images from a compact-ﬂash card, each batch is saved as a sub-

folder on the destination disk.

•

When deleting multiple images, you are able to restrict your delete command so

that it aﬀects just a single batch.

•

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

You can change between batches by using the navigation controls of the digital

back front panel.

•

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



Please note that each new image will be saved in the latest created batch only. You

cannot select any other batch to save a new image in.

Navigating media and batches

e camera always works with a current medium and a current batch. is is the location

at which the camera will save all new shots and the location in which you can browse

using the navigator button on the front panel. ere are two ways of selecting the current

medium and/or batch:

•

Using the zoom and navigator buttons of the front panel. This method enables

you to select any existing batch and is therefore useful even when only one type

of medium is attached. This method is explained in the procedure below.

•

Using the MAIN MENU > Storage entry of the menu system to choose a medium.

This is only relevant when more than one medium is attached (e.g., both a compact

ﬂash 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.

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Medium-type icon (Compact Flash)

Medium name

The MEDIA list.

Number of green, yellow and red shots

currently stored on the medium

In this example a CF card and a

FireWire disk are illustrated and there-

fore 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

Medium capacity in bytes and shots in the batch

Medium-type icon (FireWire disk)

Batch name

Date rthe batch was created

Number of green, yellow and

red shots in the batch

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 oﬀ the selected item (framed in blue) each time you

press the button to view media, batch, thumbnail view etc.

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

button.

Media list

Batch list

9-Thumbnail view 4-Thumbnail view Normal view

Zoomed

Continue to press (+)

to zoom further

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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 single-

image preview view, then you pass through the following

views to get there:

ꢁ

ꢃ

ꢅ

ꢇ

ꢀ

•

Single-image preview (as in ﬁg 1)

Four-thumbnail view

Nine-thumbnail view (as in ﬁg 2)

Batch list (as in ﬁg 3)

Media list (as in ﬁg 4)

ꢂ

3. Each medium shows a name, total size and an estimate for

how many images will ﬁt on it. To the right of the medium

name is a set of three coloured numbers in parentheses.

These indicate the total number of images of each approval

status (green, yellow and red) that currently exist on that

medium. For example, if you see a card that shows (18 / 5

/ 3), then that card contains a total of 26 images: 18 green

(approved), 5 yellow (unclassiﬁed) and 3 red (delete).

If more than one medium is listed, then use and to

highlight the medium you wish to use.

4. The currently selected medium shows a blue border.

5. Press the zoom-in ( ) button to zoom-in on the currently

highlighted medium.

ꢄ

6. A list of batches on this medium now appears. Each batch

appears as a folder icon with a name and the date on which

it was created. As with the media list, you can read the

number of shots of each approval status that are stored in

each batch.

7. As with media, use and to highlight the batch you wish

to view.

ꢆ

8. The currently selected batch shows a blue border.

9. Press the zoom-in ( ) button to zoom in on the currently

highlighted batch.

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

appears.



Please note the diﬀerence between ‘selecting’ a medium and

‘browsing’ a batch. Each new image will automatically be saved

in the latest created batch only on the selected medium. You

cannot ‘select’ a batch for storage.

Creating new batches

You can create any number of batches on each medium. To create

a new batch, ﬁrst make sure you have selected the correct current

medium (see Navigating Media and Batches) and then use the

MAIN MENU > STORAGE > BATCH entry of the menu system

to create the new batch. See Creating Batches for a detailed

procedure.

ꢀ0

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Using Instant Approval Architecture

e Instant Approval Architecture system helps you to classify your images as quickly

as you take them. It works by supplying immediate audio feedback, which tells

you instantly whether each new picture is exposed correctly or likely to be over- or

underexposed. ereaﬅer, the system enables you to assign each image one of three

status levels. ough you can use the system any way you like, the intention (based

on the ‘traﬃc light’ convention) is that you should assign the levels as follows:

•

GREEN for your best shots.

YELLOW ( AMBER ) for images that need closer inspection.

RED for images that should probably not be used.

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

deleted (one at a time) to make room for new shots. You can continue shooting

until no red-status images remain; if you then try to take additional new shots

you will get a medium-full message.

Image File Name

Current approval status (green) and

browse-ﬁlter setting (show all)

Green images start with “A”

Yellow images start with “B”

Red images start with “C”

Press the approve button to

Show all

change the status of the

currently selected image

Show green and yellow only

Show green only

Show yellow only

Show red only

Press and hold the approve

button to change the status of

the currently selected image



Please note the two diﬀerent actions of pressing (or quickly clicking) the approve

button to change the status and pressing and holding to change the browse

ﬁlter!

One of the greatest advantages of digital photography compared to ﬁlm is that it

costs no more to shoot 100 images that it does to shoot one. Photographers therefore

tend to take many more pictures when shooting digitally. By assigning approval

levels as you work, it can be much easier to sort through and select images when

you get back to your computer.

Standard Instant Approval workﬂow

e standard method of working with the Instant Approval Architecture is as

follows:

1. Take a shot.

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

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

•

Provides audio feedback (if this option has been chosen) by making a

warning sound, which immediately alerts you to a possible problem even

if you are not looking at the screen. The warning sound is a rapid string of

notes going up the musical scale if the image is judged as overexposed or

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

judged as underexposed

•

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

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

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

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

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

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

automatically!

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

each and consider whether you should promote or demote each shot based on its

appearance on the preview screen. You can also apply a browse ﬁlter to, for exam-

ple, 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, ﬁnally, check the red shots as a last resort.

Note that the system is very ﬂexible so you can use it in any way that you like. For exam-

ple, 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 ﬁles

by status after you have copied them to your computer (e.g., by listing the folder

by ﬁle name).

By keeping an eye on the ﬁle name and/or coloured dot as you browse your images at

the single-image, four-thumbnail or nine-thumbnail level, you can easily see the current

approval status of each of them.

To change the approval status of the currently displayed/selected image, simply press the

approval button until the desired approval status is shown.



Note that you can set the camera to ﬁlter by approval status as you browse, which

means that some images may be hidden (though they are still there). See “Browsing

by Approval Status”, below, for details about how to work with the ﬁlter.

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

storage medium becomes full.

Browsing by approval status

You can set the camera to browse by approval status, which means, for example, that

you will see only green-status images as you browse a batch (or both green and yellow,

or only red, etc.). e current ﬁlter setting is indicated on-screen, as illustrated. Filtered

ꢀꢀ

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images are still there, but they will not be shown until you change the ﬁlter setting. Also,

if you change the status of an image, the image may ‘disappear’ if it no longer passes the

ﬁlter. For example, if you have set the camera to browse only green-status images and

then change an image to yellow status, that image will not be shown again until you

change the browse ﬁlter.

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

•

Set the ﬁlter 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 ﬁlter to show only red images and then

step through to ﬁnd shots you can delete.

Set the ﬁlter to show only green images. Then step through to make sure you have

at least one ‘good’ example of each shot that you need.

ere are two ways to set the browse ﬁlter:

•

Press and hold

until the ﬁlter you want to use is shown by the indicator.

Use the MAIN MENU > Browse entry of the menu system. See SettingtheBrowse

Filter for a detailed procedure.

Deleting by approval status

ere are many ways to delete images, including one-at-a-time and multiple delete by batch,

media and/or approval status. When deleting several images, you ﬁrst pick the medium

or batch from which you want to delete and then use the MAIN MENU > STORAGE >

Delete entry to specify the status of the images to delete. You can choose to delete:

•

All red-status images from the selected batch or medium

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

All images from the selected batch or medium

See MAIN MENU > Delete for detailed procedures describing each of the delete op-

tions.

Setting the default status

As outlined in “Standard Instant Approval Workﬂow”, a CF digital back normally works

by assigning a green status to all images that pass a basic exposure test and a yellow status

to all images that fail the test. However, you can change this behaviour if you prefer an

alternative workﬂow. You have the following options:

• Auto: works as described in Standard Instant Approval Workﬂow.

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

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

Regardless of this setting, audio feedback will still be provided if an image is judged to

be badly exposed (if this option is chosen).

Use the MAIN MENU > BROWSE entry to make this setting. See also Setting the Default

Approval Status for a detailed procedure.

ꢀꢁ

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Overview of viewing,

deleting and copying

images

Basic image browsing

e large, full-colour OLED display enables you to inspect your shots while you are still

on-location. e display oﬀers full-screen previews, high-magniﬁcation zoom, two levels

of thumbnails and analysis tools including a full histogram and camera settings.

When you ﬁrst turn on the camera, the display opens in standard browse mode, showing

the last image taken (if any) for the current medium and batch. Likewise, aﬅer each new

shot, the display shows a preview of the shot.

To browse the images of the current batch, simply press the leﬅ

of the navigator button.



and right



arrows

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 zoom-

ing out to the batch or media level and then zooming in on the appropriate folder. See

Navigating Media and Batches for complete details about how to select the current

medium and/or batch.

Browsing by approval status

It is possible to set the camera to browse only images of one or more speciﬁc approval

levels from the current batch. You can use this, for example, to review all of your red-

status shots to make sure you don’t need them or to review all of your yellow-status shots

to decide whether they should be moved to green or red status. When you use the browse

ﬁlter, you will not see images excluded by the ﬁlter, but they are still there.

See Using Instant Approval Architecture for complete details about how to check and

set the browse ﬁlter.

Zooming in and out

As illustrated below, you can use the or button to see various levels of detail in your im-

ages. 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 press (+)

to zoom further

ꢀꢂ

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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 por-

tion 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 diﬀer-

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 ﬁnished, press and hold the zoom-out ( ) button to return to brows-

ing at the standard zoom level.

Thumbnail views

Preview thumbnails are small versions of each preview, sized to ﬁt either four or nine

images on the screen at once. Use them to get an overview of your work so far and to

help ﬁnd speciﬁc shots.

To see the thumbnails, start with the standard preview display and press the zoom-out

button once to see four thumbnails or twice to see nine.

When viewing thumbnails, the selected image shows a blue border. When an image is

selected, you can zoom in on it using the zoom-in button or delete it using MAIN MENU >

STORAGE > Delete (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.

ꢂ

ꢀꢃ

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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 diﬀerent modes:

•

Standard preview:

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

Histogram:

shows a preview image overlaid with a histogram.

Histogram and full details:

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

Battery saver:

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

Full-screen preview:

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

To cycle through the various modes, press the view-mode button on the front panel. e

order is circular, as listed above. Each mode is described in detail in the sub-sections

below.

Regardless of the current mode, if you zoom in on the image or zoom out to the thumbnails,

the display reverts to showing the “standard” preview frame, which shows information

about the current image and camera settings around the edges. When you return to the

standard zoom level, however, you will then also return to your last-selected preview

mode.

Note that the screen can also operate in menu mode, which does not show a preview, but

enables you to make digital back settings. To enter menu mode, press the menu button.

See Working with the Menus for details.

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The standard preview display

e standard preview display is the one shown when you ﬁrst turn on the camera. It

features a preview of your most recent shot and basic information about the digital back

settings and the image itself.

ISO setting

White balance

Current storage medium

Approval status and

Button label

browse ﬁlter setting

Storage capacity

(Shots taken / shots remaining)

Image ﬁle name

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 leﬅ 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 leﬅ or right

part of the scale, respectively.

For example:

Underexposure

A histogram that is cut-oﬀ at the leﬅ with few pixels elsewhere indicates a likely under-

exposure. Many details will be lost in the shadows.

Even exposure

A histogram that is spread across the full range indicates a likely good exposure. ere

may still be a few pixels at the extremes, indicating a few spectral highlights and saturated

shadows, but this is oﬅen normal in a good exposure.

Overexposure

A histogram that is cut-oﬀ at the right with few pixels elsewhere indicates a likely over-

exposure Many details will be lost in the highlights

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

ations in which a questionable histogram will match an exposure that is ﬁne for the

intended eﬀect (and vice-versa).

Full-details mode

In full-details mode, you can read a complete list of camera settings, plus see the histo-

gram 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 aﬅer you have loaded the image to your computer and stored it in your

archive.

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Battery-saver mode

In this mode, the digital back is fully responsive, so you can take pictures but the screen

is not lit up, thereby saving battery power.

You can enter the menu system while shooting in this mode (which activates the screen

until you exit the menu system again) but the approval, zoom and navigator buttons

have no eﬀect.



You can also save battery power by turning down the brightness and/or contrast of

the display using the 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

In full-screen mode, you can browse your images at standard preview resolution without

any distracting data surrounding them.

Because the current approval setting is not shown in full-screen mode, the approval

button has no eﬀect. is will prevent you from accidentally assigning the wrong status

without knowing it.

Overexposure indicator

ough the histogram shows you when some of your pixels are overexposed, it does not

tell you which ones. In a shot with many bright areas, it can be hard to know whether

the key parts of your image are just bright or completely overexposed. To help you ﬁnd

them, the digital back can provide an overexposure indicator, which shows precisely

which areas of your shot are overexposed (i.e., pixels that are at maximum brightness,

thereby eliminating details).

 Overexposure

When enabled, the overexposure indicator ﬂashes the overexposed pixels from black

to white.

indicator shortcut !

To enable or disable the overexposure indicator, use the MAIN MENU > SETTINGS >

USER INTERFACE > Mark Overexp. entry.

There is also a one-button short-

cut for toggling the overexpo-

sure marker on and oﬀ.

To use it, press and hold 

until the indicator is working

as you would like (enabled or

disabled).

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Deleting images − general

A CF digital back enables you to delete images using any of the following techniques:

 Delete shortcut !

•

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

There is also a one-button short-

cut for deleting single images.

To use it, select a target image

and then press and hold the 

until the conﬁrm-delete dialog

opens.

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

retain the option (for a while) of changing your mind later while allowing the system

to automatically delete the unwanted images as the storage medium ﬁlls up.

 You will always be asked to conﬁrm each delete operation.

For complete details about how to use the menu system to delete single or multiple im-

ages, please see MAIN MENU > STORAGE > Delete.

Transferring / Copying images − general

Transferring to a computer

To transfer images stored on the compact-ﬂash card to your computer, simply connect

the digital back to a computer using a FireWire cable and then run FlexColor, which will

automate the process. See your FlexColor manual for details.

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

Another way to transfer images to your computer is to remove the compact-ﬂash card

from the digital back and insert it into a compact-ﬂash card reader connected to a com-

puter. See Using Compact Flash Memory Cards for details about how to remove and

insert the card.

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

MENU > SETTINGS> Misc > Interface > Disk.

Images that you have stored on an Imagebank can also be transferred to a computer by

connected the external disk to the computer with a FireWire cable and then copying the

ﬁles using the ﬁle system. See your Imagebank or hard disk documentation for details.

For complete details see MAIN MENU > STORAGE > Copy.

Transferring to an Imagebank

A CF digital back enables you to work in the ﬁeld, shooting to the internal card, and

then transfer images to an external hard disk even if you do not have a computer with

you. In this way, you can combine the total ﬂexibility of shooting without any external

connections with the massive storage capacity of an external hard disk.

When the internal card gets full, just connect the camera to a Imagebank, transfer the

images, clear the card and return to shooting.

Images are not automatically deleted from the card aﬅer copying. If you want to delete

some or all images to free up some space, then use MAIN MENU > STORAGE > Delete.

See also MAIN MENU > STORAGE > Delete.

ꢀꢇ

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MENU –

•ꢀ ISOꢀ

•ꢀ Whiteꢀbalance

•ꢀ Mediaꢀ

•ꢀ Browse

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.

Entry name (in white) and

current setting in yellow

Selected entry (indicated by blue frame).

The + and − signs indicate that you can use

the (+) and (−) buttons to change the value

Sub-menus show a right-

pointing arrow, press the

right-arrow on the naviga-

tor button to open the sub-

menu (or, in some cases a

-button label

dialogue window)

(Here shown inactive)

- button label

Current menu name

(Here shown as EXIT)

Navigating the menu system

To enter to the menu system, press the MENU button on the panel. Any image visible is

then replaced by the ﬁrst level of the menu. Use the navigator button to scroll through

the menu items and use the and buttons to change the selected setting. See also The

Control Panel for button diagrams and descriptions.

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

•

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

current settings next to the entry name. To make an entry setting, use the naviga-

tor ( ) button to select the entry and then use the zoom ( and )buttons to

select the desired option for that entry

•

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

or dialog. Sub-menus show a right-pointing arrowhead () instead of a value.

To open a sub-menu, use the up/down arrowheads (and ) of the navigator

button to select the sub-menu and then press the right side of the button to open

it. There can be several levels of sub-menus.

•

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

left arrowhead () of the navigator button.

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

exit the dialog (e.g., to conﬁrm or cancel a delete command). The left arrowhead

will have no eﬀect.

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Menu structure

Entries of the main menu

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Language

1. Press the MENU button to open the menu.

ꢁ

ꢃ

ꢀ

ꢂ

ꢄ

2. Use and to select the SETTINGS sub-menu.

3. Press to open the SETTINGS menu.

4. Press to select the USER INTERFACE sub-menu.

5. Press either the or button to choose a new language (in

this case Spanish).

6. Press the MENU/EXIT button again to close the menu.

ISO

You are able to set the light sensitivity of the digital back to match

an equivalent ISO rating for standard ﬁlm.

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

To set the ISO:

1. Select the MAIN MENU > ISO entry. This is the top entry of

the top menu, so it will be selected by default when you enter

the menu system. (See also Navigating the Menu System for

details about how to ﬁnd this setting.)

2. Use the or button to step through the available ISO set-

tings until the setting you want is shown.

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

ton or press the menu button to exit the menu system and

keep your setting.

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

Higher ISO settings result in progressively noisier images (just

as higher ISO ﬁlm becomes more grainy). It is recommended

that you use the lowest ISO setting possible for the lighting

situation.

ꢀ

ꢁ

ꢁꢀ

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White balance

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

applied to the preview.

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

To select a preset white balance:

1. Select the MAIN MENU > White Bal entry. The current

setting is displayed here. (See also Navigating the Menu

System for details about how to ﬁnd this setting.)

2. Use the or button to step through the available white

balance settings until the setting you want is shown.

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

ton or press the menu button to exit the menu system and

keep your setting.

White Bal. Setting

Daylight

Cloudy

Setting description

For general outdoor use in direct sunlight.

For general outdoor use in cloudy weather.

For general outdoor use in shady locations out of direct sunlight.

For general indoor use when using a normal ﬂash system.

For use when using ﬂuorescent lighting.

For use when shooting indoors under standard tungsten lamps.

For a manual setting

Shade



Please note that white balance settings are for your viewing

convenience only. The setting is temporary for preview display

reasons and in no way aﬀects the ﬁle which remains neutral

awaiting further processing.

Flash

Fluorescent

Tungsten

Manual

To make a manual white balance setting:

1. Select the MAIN MENU > White Bal > Manual entry.

2. Use the button to call up the ‘Manual White Balance’

screen.

3. Here, you can set the color temperature as a ﬁgure with the

or buttons. Alternatively, you can position the central

spot in the viewﬁnder 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 expo-

sure (ensure the exposure is approximately correct otherwise

you will get a warning message). A small rectangle appears

on the LCD marking that particular area. Calculations then

take place automatically so that the following shots use the

area chosen as the new ‘white balance’ standard.

Media

e storage setting controls where your digital back will store

new images and which stored images will be visible in the browse

window.

ꢀ

Oﬅen, you have just one type of storage media available—the

internal compact-ﬂash card. However, if you have several media

attached (e.g., a card and one or more external disks), then you

may need to switch between them.

If your selected storage medium has more than one batch (folder)

on it, then the batch selected when you use the storage menu entry

will be the one you most recently created.

To select the medium to which to save new shots and from which

to browse previous shots:

ꢁ

ꢂ

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.

ꢁꢁ

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

Note that you can also select media using just the (+) and (-)

buttons while browsing images. This method also enables

you to select a batch as you zoom in from media to batch to

thumbnails to preview. See Navigating Media and Batches

for complete details about this method.

Browse



e browse ﬁlter complements the instant-approval system by

enabling you to browse through images according to their approval

status. You have the following choices:

•

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

of their approval status. is is the default.

ꢀ

ꢁ

•

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

ese are images that you have marked for likely deletion. You

might browse these images to make sure you have not eliminated

any usable images and/or to ﬁnd images that you can delete

to make room for new shots.

•

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

ese are either new shots that did not trigger an exposure

warning or shots that you manually assigned to green aﬅer

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 ﬁlter using the menus:

1. Select the MAIN MENU > Browse entry. The current setting

is displayed here.

2. Use the or button to step through the ﬁlter options

(described above) until you have selected the ﬁlter you wish

to use.

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

ton or press the menu button to exit the menu system and

keep your setting.

 Browse shortcut !

e appearance of the ‘Empty Browse Filter’ message signiﬁes that

there are no images with that particular approval status.

There is also a one-button short-

cut for changing the browse

ﬁlter.

To use it, press and hold (do not

click!) the Instant Approval but-

ton until the approval status

colour appears. Browsing will

then only display the images

with that classiﬁcation.

ꢁꢂ

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MENU –

•ꢀ Storageꢀ

This section describes ﬁle storage, ﬁle transference,

storage organization, ﬁle classiﬁcation and related

subjects.

Navigating the STORAGE settings

ꢁꢃ

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MAIN MENU > STORAGE

ꢁ

ꢂ

ꢀ

e Storage menu provides entries for working with storage me-

dia. Here, you can format media, copy images from the camera

to a hard disk or computer and create new batches on available

media. You can also set the initial approval status (green or yellow)

assigned to new pictures.

e ﬁrst item on the storage list is ﬁle deletion. e great advantage

of digital capture is course the ability to judge images on the spot,

delete them immediately if necessary and thereby make room for

more valuable captures. ere are several ways to delete images:

•

Delete a single image

Delete all images from a batch

Delete all images from a medium

Delete all images of a speciﬁed approval status (e.g., red)

from a batch or medium



DELETE

In this example, one image is to be deleted from a batch contain-

ing nine images.

To delete a single image:

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

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

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

delete. When you are viewing thumbnails, the selected image

has a coloured border around it. When you are viewing single

images, the selected image is the one currently shown. (You

can delete an image either from single image view or from

thumbnail view).

ꢃ

ꢄ

3. Select MAIN MENU > STORAGE

4. Press to open the Delete dialog.

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

and asked to conﬁrm the delete. Press OK.

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

image has now been deleted and the batch only contains the

three remaining images. Either move on to another image by

using the navigator button or press the menu button to exit

the menu system.

 Delete shortcut !

There is also a one-button short-

cut for deleting single images.

To use it, select a target image

and then press and hold the 

until the conﬁrm-delete dialog

opens.

ꢁꢄ

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Menus for deleting

several images from

a batch.

Deleting several images from a batch

To delete several images from a selected batch:

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

MENU > STORAGE > Delete. (See also Navigating the

Menu System for details about how to ﬁnd this setting.)

ꢁ

ꢀ

2. Use to enter the Delete submenu.

3. Use the or button to select:

This image - deletes the current image only

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

All yellow/red in batch - deletes all yellow and red images

in the current batch

All in batch - deletes all images in the current batch

4. Press OK to conﬁrm the delete. To exit without delete, press

EXIT.

ꢂ

ꢁꢅ

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

setting by using the navigator button or

ꢃ

ꢄ

6. Press the menu (EXIT) button to exit the menu system.

Deleting several images from a selected medium

To delete several images at once:

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

button until you reach the media list.

2. Use and to select the medium from which you wish to

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

item.



ꢁ

ꢀ

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

numbers in parentheses to the right of the medium name.

These indicate the total number of images of each approval

status (green, yellow and red) that exist on the medium. For

example, if you see a medium that shows (18/5/3), then the

medium contains a total of 26 images: 18 green (approved), 5

yellow (unclassiﬁed) and 3 red (marked for probable delete).

3. Select MAIN MENU > STORAGE > Delete. (See also

Navigating the Menu System for details about how to ﬁnd

this setting.)



ꢂ

4. Press to open the Delete Image dialog.

ꢁꢆ

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Menus for deleting

several images from

all batches from a

selected storage

medium.

5. You must now select the approval status that you wish to

delete. All images from the selected medium that are also of

the status that you select here will be deleted by the opera-

tion.

ꢃ

ꢄ

ꢅ

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

6. Then press to open the delete dialog for your selected sta-

tus.

You are now asked to conﬁrm the delete.



7. • To conﬁrm, press the button to change the status to Yes

and then press the approve button to execute the delete.

•

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

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

button to cancel.

ꢆ

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

setting by using the navigator button or

8. Press the menu (EXIT) button to exit the menu system.

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FORMAT

e digital back is only able to read and write to media that have

been formatted.

However, new cards or disks sometimes arrive without any format-

ting, or you might want to convert media that are currently using

a format that the camera cannot read.



 Each time you get a new compact-ﬂash card, we recommend

that you format it using the digital back as described below,

even if the digital back is already able to read it. This will enable

the digital back to use the card more eﬃciently.

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

connected to it, including compact ﬂash cards and Imagebank

units. When you do this, you will erase all data contained on

the target medium.

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

ing all images on a disk. This is sometimes faster than using the

delete function, but it is not as ﬂexible because all data from

all batches will always be erased.

ꢀ

ꢁ

To format media:

1. If you have more than one type of medium connected (e.g., a

compact-ﬂash card and Imagebank), then start by selecting

the medium you wish to format using the Storage entry of the

main menu (see also Selecting the Current Storage Medium

2. Select MAIN MENU > STORAGE > Format. (See also

Navigating the Menu System for details about how to ﬁnd

this setting.)

ꢃ

ꢂ

3. Press the to open the Format Card dialog.

4. You are now asked to conﬁrm the operation.

•

To conﬁrm, press the OK button. This will execute the format

and delete all data on the current medium.

•

To cancel, press the EXIT.

5. You now return to the STORAGE menu. Either move on to

another setting by using the navigator button or press the

menu (EXIT) button to exit the menu system.

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COPY

Usually, you will copy images from a card by connecting the cam-

era to a computer and using FlexColor. However, you might also

want to load images from a card to a portable FireWire hard disk

or Imagebank, allowing you to erase the card and keep shooting

even when you do not have a computer with you.

Aﬅer the copy, the destination disk will have a folder named

CARDXXX, where XXX is a number that increments with each

new copy operation (e.g., CARD001 for the ﬁrst copy, CARD002

for the next, etc.). Previous copies are therefore never overwritten

(provided you have fewer than 1000 folders of them). Within each

CARD folder is a sub-folder for each batch. You cannot use the

digital back to browse images copied in this way; you must connect

the disk to a computer to browse the copied folders. is operation

does not delete the copied images from the card—you must do this

manually if you want to free card space aﬅer the copy.



ꢀ

To copy images from the compact-ﬂash card to external media,

use a FireWire cable to connect the external media to a CF digital

back and then.

1. Press the MENU button.

2. Press to navigate down and select the Storage dialog.

ꢁ

ꢂ

3. Press and then to navigate down and select the Copy

dialog. Press to open the Copy dialog.



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

If you have more than one disk attached, then press to

select the From card to entry. Then use the or button to

select the name of the medium you want to copy to. Finally,

press to go back to the Are you sure? entry.

ꢃ

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

ﬁrm the operation.

•

To conﬁrm, press the button to change the status to Yes

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

To cancel, press the menu (EXIT) button to exit; or press the

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

(OK) button to cancel.

If you chose to conﬁrm, then the digital back now tracks the

progress of the copy operation, which can take a few min-

utes. You can stop the copy at any time by pressing and hold-

ing the menu (STOP) button.

5. You now return to the STORAGE menu. Either move on to

another setting by using the navigator button or press the

menu (EXIT) button to exit the menu system.

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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.



ꢀ

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

always begin with a three-digit number, which automatically

increments by one with each new batch. Following this is ﬁve

letters, which you can assign yourself to help make the batch

easier to identify. To set the letters:

•

Use and to select one of the ﬁve letters.

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.

ꢂ

ꢃ

ꢂꢀ

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DEFAULT APPR. LEVEL

e Instant Approval Architecture system helps you to evalu-

ate and mark each image based on how well it has come out. By

default, the system assigns an initial approval status for each new

shot based on an analysis of the distribution of exposure levels. In

the factory conﬁguration, the status of each new shot is assigned

as follows:



•

Green (approved):

e new shot seems to have been exposed correctly.

Yellow / Amber (unclassiﬁed):

•

ꢀ

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 as-

sign 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.

ꢂ

ꢂꢁ

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Menu: Settings

There are a number of settings grouped under the

general ‘Settings’ heading which are:

• User Interface

• Camera

• Miscellaneous

• Default

Navigating the

USER INTERFACE

settings

ꢂꢂ

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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.

Entries of the USER INTERFACE Menu

e user interface menu includes both entries and sub-menus. e following entries are

available here:

• Language:

e menu system can be displayed in any of seven languages. is menu entry

enables you to select your preferred language for the menus.

• Power Down:

To help preserve the charge of the battery, you can set the back to power down

aﬅer a speciﬁed period of inactivity. e eﬀect is exactly the same as though

you had pressed the oﬀ button on the camera. Once it has powered down, you

must turn the digital back on before you can continue working. Set this to

Never to disable this feature (this is the default setting). Set to a value between

3 and 99 minutes to establish a time-out. (Note the diﬀerence between Display

‘timeout’ and Power Down.)

• Mark Overexp.:

is feature helps draw your attention to areas of your images that are over-

exposed. When this feature is enabled, the single-image preview display will

highlight each overexposed pixel by ﬂashing it white and black.

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

• Sound:

A CF digital back uses audio feedback to help let you know if each new

image is exposed correctly. is is described in Using Instant Approval

Architecture.

is menu entry has Volume (choose between High, Low and Oﬀ), Key Click

(choose between On and Oﬀ) and Exposure Warning (choose between On

and Oﬀ).

• Date & Time:

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

is information is used to mark each shot with the date and time at which

it was taken. It is also used to label batches with the date on which each batch

was created.

• Display:

is feature sets the Timeout (2-30 seconds) on the display, which behaves

very much like a screen saver on a computer.When the timeout is reached, the

display will be turned oﬀ, but the back will still be running, so it will imme-

diately respond to a press of the buttons. (Note the diﬀerence between Display

‘timeout’ and Power Down.)

is feature also sets the level of Contrast (on a scale of 1-10) on the display.

Usually, you should leave this set to the default level of 5; however in some

viewing environments and/or with some types of images you may wish to

increase or decrease this value. A value of 10 provides maximum contrast; a

value of 0 provides no contrast (a black screen). You can also help save battery

power by using a low value here.

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

ꢂꢃ

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Setting the options under the User Interface menu

ꢁ

ꢃ

ꢀ

ꢂ

ꢄ

Each of the above entries can be set by similar menu navigation.

Language, Power Down and Mark Overex can be set immediately

by the

buttons while Sound, Date & Time and Display

require another move to sub menu for ﬁnal choice.

Proceed as follows:

1. Press the menu (MENU) button to open the menu.

2. Use and to select the SETTINGS sub-menu.

3. Press to open the SETTINGS menu.

4. Press to open the USER INTERFACE sub-menu.

5. Use and to select the required entry.

6. Press either the

button to make the new settings in

the case of Language, Power Down and Mark Overex or Press

again to access Sound, Date & Time and Display

7. Press the MENU/EXIT button again to save the new settings

and close the menu.

ꢂꢄ

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Navigating the

CAMERA settings

Please note that this

particular list is only

an illustration.

Camera choice

displayed will vary

according to adapter

ﬁtted.

MAINMENU>SETTINGS>Camera

The camera choices that appear on the menu are automatically restricted to the adapter you have

ﬁtted. So, if you have have ﬁtted an adapter speciﬁcally intended for Hasselblad models, then only

Hasselblad models will appear. The following is a description of settings and action needed when

working with the various Hasselblad models.

e exposure time set on a CF digital back sets the maximum length of exposure. e

default setting is 1/8 sec and this is the setting that can be kept for all exposures from 1/8

sec. However, this setting should be changed in accordance with the time required if it

exceeds 1/8 sec. Times of up to 32 seconds can be set.

If you prefer, you can connect the ‘Flash sync input cable’ between the lens PC socket

and a CF digital back which allows you to retain the default setting of 1/8 second while

still being able to use exposure times longer than 1/8 second. is method also allows

the use of the B setting.

Model setting variations

Exposure Cable 503

Look in the list below for the camera model you are using and make the appropriate set-

tings change. Don’t forget to change the setting if you change camera model!

Please note that certain connection cables /cords are only included as accessories to

certain adapters. Please see adapter manuals for further information.

Winder CW

For use with 503 CW models:

• Make a Winder CW setting.

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

between a CF digital back and the Winder CW.

• Do not use the winder at rapid sequence setting.

Hasselblad 503CW plus Winder CW with

Exposure cable 503 in place showing

connection from Winder to adapter.

ELD

For use with ELD models:

• Make an ELD setting.

• A B setting exposure can be made by choosing the “Bulb” in the “Exposure Time” setting.

The maximum exposure time remains at 32 seconds however.

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• Only the single shot function (A or AS mode camera settings) should be set on the camera.

Rapid sequence shots are not possible.

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

oftheELmodelsforbatteryattachment. ItisattachedtoaCFdigitalbackinthesamemanner

as a battery, and the battery itself is then attached to the adapter as in the illustration.

Exposure Cable EL

ELX

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

• Make an ELX setting.

• The Exposure Cable EL (supplied) should be connected.

• All exposures times, including the B setting, function correctly without having to alter

the “Exposure Time” setting.

• Rapid sequence shots are not possible.

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

oftheELmodelsforbatteryattachment. ItisattachedtoaCFdigitalbackinthesamemanner

as a battery, and the battery itself is then attached to the adapter as in the illustration.

All Hasselblad EL models except the ELD

require an Exposure Cable EL.

Illustrated here also is use of the Adapter EL to

hold the battery.

Pinhole

For use with lenses/cameras with no shutter. Intended primarily for use in a studio en-

vironment where complete darkness can be achieved and exposures made accordingly

(also useful for ‘light painting’). In this mode a CF digital back uses the exposure time (as

well as other required stages in a capture sequence) set in the Capture Sequence dialog.

e back can be triggered either via the START (MENU/EXIT) button or from FlexColor

(see later section for full description of Capture Sequence settings procedure).

Flash sync

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

• Make a Flash sync setting.

• A Flash sync input cable should not be used.

• All exposures times, including the B setting, function correctly without having to alter

the “Exposure Time” setting.

• Do not use a winder at rapid sequence setting.

500

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

• Make a 500 setting.

• Make an H setting.

Shutter Delay

ere can be diﬀerences in the amount of time required in preparation (raising the

mirror, opening/closing the shutter etc) for digital capture between various camera

models. is corrective feature adjusts the time a little to ensure the image is read out

from the sensor. e normal setting is Default and should only be changed if problems

are encountered.

Exposure Time

is setting should be changed for cable-free exposure times longer than 1/8 second, en-

suring that it matches the set shutter speed on the lens. e settings range from 1/8 second

to 32 seconds (1/8 second is the default setting). e ELD also has a “Bulb” setting.

ꢂꢆ

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Capture sequence

ꢁ

ꢃ

ꢅ

ꢀ

ꢂ

ꢄ

ꢆ

is feature functions in the same manner as an interval timer

and only works in conjunction with a motor or winder driven

camera model except in the case of the Pinhole setting where it is

the only way of controlling such exposures (see later section for

full details).

Initial delay: Controls the amount of time required to elapse before

the ﬁrst exposure.

Delay: Controls the amount of time required between each ex-

posure.

Count: Controls the total number of exposures required.

Setting CAMERA model and options

Proceed as follows:

1. Press the menu (MENU) button to open the menu.

2. Use and to select the SETTINGS sub-menu.

3. Press to open the SETTINGS menu.

4. Use and to select CAMERA.

5. Press to open the CAMERA menu.

6. Press either the or button to select camera model.

7. Use and to select SHUTTER DELAY or EXPOSURE

TIME if required.

8. Press either the or button to make new settings if

required.

9. Press the menu (EXIT) button to exit the menu system and

keep your settings.

ꢇ

ꢂꢇ

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Connectivity diagram

Hasselblad camera connectivity diagram

H1, H2

Hasselblad H adapter

Hasselblad ELD

555 ELD

Exposure cable

ELX

500 EL/ELM

500/553 ELX

Hasselblad EL, ELM,

ELX adapter

Hasselblad

CF-39

Exposure cable

503 CW

503 CW +

Winder CW

Hasselblad 503 CW

adapter

500 C/CM

501 C/CM

Hasselblad

CCFF-/3M9SMS

Flash sync

input cable

503 CX/CXi/CW

Single shot

mode only

SWC / SWC/M

903 SWC

Hasselblad

ELD adapter

905 SWC

2000 FC / FCM

2003 FCW

201 F / 203 FE

205 TCC / FCC

With C-type lens

FlexBody

ArcBody

ꢃ0

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Connectivity diagram

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Setting EXPOSURE TIME and CAPTURE SEQUENCE

Proceed as follows:

ꢁ

ꢃ

ꢀ

ꢂ

ꢄ

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.

ꢅ

ꢆ

7. Press or to select EXPOSURE TIME.

8. Press either or to make an exposure time setting.

ꢇ

9. Press to select CAPTURE SEQUENCE.

10. Press to open the CAPTURE SEQUENCE menu.

ꢃꢁ

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

setting.

1ꢀ

1ꢂ

1ꢄ

1ꢆ

This setting controls the amount of time that elapses

before the ﬁrst exposure in the sequence.

12. Press to select DELAY.

1ꢁ

1ꢃ

1ꢅ

1ꢇ

13. Press either or to make a DELAY setting.

This setting controls the amount of time between each

exposure in the sequence.

14. Press to select COUNT.

15. Press either or to make a COUNT setting.

This setting controls the number of exposures in the

sequence.

16. Press OK to conﬁrm all the settings.

17. The CF digital back is now ready for sequence start. Note that

the MENU/EXIT button now diplays START instead:

18. Press START to set the sequence running.

19. Note that the MENU/EXIT button now displays STOP. The

sequence can be stopped at any time by pressing this button

and the standard menu display returns.

ꢃꢂ

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Navigating the

MISCELLANEOUS settings

MAINMENU>SETTINGS>Miscellaneous

e MISCELLANEOUS menu contains two settings:

Selecting an interface

e interface setting controls the way the camera will appear to your

computer when you connect it. You have the following choices:

• Camera:



e camera will present itself to your computer as a

camera. Depending on the way you have conﬁgured

your computer, this may mean that when you connect

the camera, your computer will automatically launch

FlexColor, which may then begin importing images

and converting them to 3F format.

• Disk:

e camera will present itself to your computer as a mass

storage device. is means that it will look like a hard

disk, which you can navigate to, open and read using

the standard tools for your operating system (e.g., the

Finder in Mac OS or the File Explorer in Windows).

ꢀ

ꢁ

To set the interface presented by the digital back to your operat-

ing system:

1. Select the MAIN MENU > SETTINGS > MISCELLANEOUS >

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

Navigating the Menu System for details about how to ﬁnd

this setting.)

2. Use the or button to step through the available settings

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

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

ton or press the menu (EXIT) button to exit the menu system

and keep your setting.

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The About box

Occasionally, Hasselblad releases updates to the internal soﬅware

of the digital back (this is called “ﬁrmware”). ese updates may

ﬁx small errors and/or add new features. You will probably receive

additional assistance from Hasselblad technical support if and

when a new update is available. In this case, it may be important

to know the serial number and current ﬁrmware version of your

digital back. To ﬁnd this out:

1. Select MAIN MENU > SETTINGS > MISCELLANEOUS >

About. (See also Navigating the Menu System or details

about how to ﬁnd this setting.)



2. Press to open the About dialog, which shows the serial

number and ﬁrmware version.

3. When you are done reading the information, press the menu

(EXIT) button to return to the MISCELLANEOUS menu.

Either move on to another setting by using the navigator but-

ton or press the menu (EXIT) button again to exit the menu

system.

ꢀ

ꢁ

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MAINMENU>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.



ꢀ

Menu Shortcuts – memorize these quick actions to save time and eﬀort later!

To help you work faster, the digital back provides shortcuts to some pressing and holding one of the front-panel buttons for a second or so.

of the most commonly used menu commands that do not otherwise These are mentioned where appropriate elsewhere in this manual, but

have a dedicated button on the front panel. These are accessible by we summarize them here for your convenience.

To toggle the over-

exposure indicator

Press and hold until the display begins

to ﬂash (or stops ﬂashing) its overexposed

areas.



See ‘Overexposure Indicator’ for full details.

To set the browse ﬁlter

To delete images

ꢃꢅ

Press and hold until your preferred ﬁlter is

indicated.

See ‘Using Instant Approval Architecture’ for

full details.

Select the target image and then press and

hold until the delete dialog opens.

See ‘MAIN MENU > Delete’ for full details.

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Multishot

The Multishot facility is only available with

Multishot units.

Witha Multishot back, there are two extra modes available other than single shot;

namely Multi-shot and Micro-step. These virtually eliminate unwanted moire and

artefacts in studio type sets ups.

Multi-shot

e technology behind this mode is high precision piezo controlled movements of the

sensor in pixel sized increments. Four separate shots are taken in succession (one for

each color, but with green captured twice for extra sharpness)that are then combined

into a single, high-resolution image. Images taken in multi-shot mode will be sharper

and contain more detail than single-shot images. Multi-shot images will also stand up

to greater enlargement later in production.

Micro-shot

In this this mode the movements of the sensor can be controlled accurately down to 1/2

pixel movement increments. It quadruples the resolution of the image making a total of

16 captures. is creates high-resolution images of up to 528 MB. Micro-step images will

stand up to even greater enlargement than multi-shot images.

General

In both cases it is essential to ensure that there is no movement in either the camera or

the subject. Because of this, these methods are only suitable for tripod/camera stand use

for studio-like environments, technical shots, product shots, architectural subjects and

similar.

Instructions

Multi-shot and Micro-shot modes are instigated by way of FlexColor only. Please see the

FlexColor user manual for full intructions.

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Flash / Strobe

A CF digital back can be used together with

most studio or portable units.

When attached to a 503CW (or 503CWD), the

TTL function is also available.

Most ﬂash units are suitable for use with a CF digital back. However, for safety

reasons, care should be taken when using studio ﬂash units (strobe) and teth-

ered to a stationary computer.

Portable units

Attach the ﬂash sync cable to the lens (or camera body in the case of a Hasselblad 200

series model) and make the appropriate settings according to the unit.

is also applies when using studio units when:

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

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

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

If the CWD is tethered to a computer that is connected to a regular electricity supply

system as well as a studio ﬂash/strobe unit that is also connected to a regular electricity

supply system/generator system, then make the following connections instead:

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

to the ﬂash sync IN terminal on the back.

b) Connect the ﬂash sync output cable from the ﬂash sync OUT terminal on the back

to a regular ﬂash sync cable that is connected to the unit.

TTL function – 503CW /503CWD only

A TTL function is only available with the 503CW/D. e reﬂective characteristics of the

digital sensor are diﬀerent to ﬁlm surface characteristics for which the TTL function

was originally designed. However, by changing (in eﬀect, ‘tricking’) the setting, TTL

exposures can be made. Proceed as follows:

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Move the ISO selector on the 503CW/D so that is becomes approximately 1⅔ f/stop higher

than the ISO setting on a CF digital back. erefore, for example, when the back is set at

50ISO, the ‘ﬁlm speed setting’ on the camera should read 160ISO, and so on. Testing for

the most suitable compensation that suits you is recommended.

See appropriate manuals for connection details regarding the various units and

adapters.

ꢃꢇ

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Cleaning

Regularly check the surface of the sensor

ﬁlter for dust specks that might cause time-

consuming retouching afterwards.

Cleaning the CCD Infrared Filter

If you see dark or coloured spots or lines in your images, then you may need to clean the

outer surface of digital back’s infrared (IR) ﬁlter. In most cases, the careful use of com-

pressed air will be adequate, but sometimes small particles will get stuck to the surface

of the IR ﬁlter, requiring for a more thorough cleaning, involving either ﬂuid or wipes.

For a good safe cleaning, follow descriptions below.

 WARNING: never attempt to remove the glass ﬁlter from the front of the CCD—you

will probably ruin the CCD if you do so. If dust manages to get between the IR ﬁlter

and CCD, please contact your Hasselblad dealer for assistance.

Basic cleaning procedure

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

digital back housing.

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

3. The top of the digital back will be released (while it rests on the magazine retaining

hooks) and it can be swung away from the camera body.

4. Clean the outside surface of IR Filter by spraying it with clean compressed air. If this

is not enough, then use one of the procedures outlined below.

5. If you still see spots on your shot after you have cleaned the outside of the infrared

ﬁlter, then you may have dust on either on the back side of the IR ﬁlter or on the CCD

itself. This can only be removed at the Hasselblad factory. Contact your Hasselblad

dealer for assistance.

6. When reattaching the digital back to the camera, keep the magazine catch lock

depressed and the magazine catch to the right. Check that the back is ﬁrmly in place.

Cleaning using the HAMA Cleaning Fluid and tissues

Note! Hasselblad recommends HAMA Optic Cleaning Fluid 5902.

1. Carefully spray the ﬂuid onto the IR ﬁlter at a distance of 10-15 cm (4-5 inches), so

that the ﬂuid is applied onto the ﬁlter as a thin, even haze. 1-2 sprays are enough. If

you apply too little, the ﬂuid will start to dry up before you start wiping the ﬁlter. As

an alternative you can spray the ﬂuid onto the tissue ﬁrst, and then apply it to the

ﬁlter as you wipe it.

ꢄ0

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2. Fold the tissue several times to match the width of the IR ﬁlter—you might use two

or three tissues at a time if necessary (to give you a better grip). Be sure to fold the

paper so that the coated glossy side faces outwards—do not use the other side, as it

can do more harm than good!

3. Gently place the folded tissue onto the edge of the ﬁlter using two or three ﬁngers.

Be sure to wipe the entire surface evenly. Sweep the ﬁlter only once. Do not wipe the

same area twice with the same tissue as you might reapply dirt removed in the ﬁrst

sweep.

4. Finally check if the IR ﬁlter has been properly cleaned either by visual inspection or

by mounting the digital back to the camera and making a shot. If further cleaning is

needed, repeat cleaning procedure.

Cleaning with an E-Wipe

E-wipes are individually packed wet tissues.

1. Tear at the notch to break seal.

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

3. Fold the tissue to match the width of the IR ﬁlter.

4. Apply ﬁrm pressure using two or three ﬁngers at the edge of the wipe to ensure an

even, ﬁrm contact with ﬁlter surface. Wipe the surface in one unbroken motion.



Note! Do not use same side of the e-wipe twice as you will be likely to reapply any

particles removed in the ﬁrst sweep.

5. Finally check if the IR ﬁlter has been properly cleaned either by visual inspection or

by mounting the digital back to the camera and making a shot. If further cleaning is

needed, repeat cleaning procedure.

Cleaning the housings

If the back becomes dirty do not use any other solvents. Clean it with a soﬅ, clean cloth

lightly moistened with water only. Do not allow water to enter any sockets or open-

ings.

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Equipment care,

Service and Guarantee

EQUIPMENT CARE

in humid environments. Allow the equipment to acclimatize whenever pos-

sible before use. Try to ensure the storage conditions in such environments

are as dry as possible.

•

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

Do not place heavy objects on the equipment.

•

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

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

Do not use the battery except as speciﬁed.

Use only the battery type speciﬁed for use with the CF digital back.

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

camera bag is advised for transportation.

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

used for a long period.

•

Hasselblad equipment is much sought after and you should take obvious

steps to prevent theft. Never leave it visible in an unattended car, for exam-

ple. Separate and speciﬁc camera insurance cover should be considered by

professional users.

•

If you use a spare (standard or rechargeable) battery be particularly careful

when storing. There is a potential ﬁre risk if the contacts are short circuited

across a conductive object (such as keys in a pocket, for example).

SERVICE

Take particular care when working with strobe / studio ﬂash units to prevent

damage to equipment and personal injury.

Return your equipment to a service centre for occasional checking and

preventive maintenance to ensure optimal reliability.

•

Do not attempt to open the CF digital back.

GUARANTEE

Always replace the protective sensor ﬁlter cover when the digital back is not

mounted on a camera.

Provided that you bought your equipment from an authorized

Hasselblad outlet, it is covered by an international guarantee for one

year. The guarantee document and a registration card are supplied with

a CF digital back. Keep the guarantee document carefully, but ﬁll in the

registration card and return it to your Hasselblad distributor.

•

Do not touch the exposed sensor ﬁlter with your ﬁngers.

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

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

Keep the original shipping boxes for storage.

DISPOSAL

If you need to dispose of a CF digital back, Imagebank and/or batteries,

please do so in an environmentally friendly manner at the local waste

plant/ recycling centre or similar.

Keep your CF digital back and all other computer equipment away from

moisture. If your CF digital back becomes wet, disconnect from power and

allow it to dry before attempting to operate again.

•

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

Never try to remove the glass IR filter from the front of the sensor; this will

probably ruin the sensor. If dust manages to get between the sensor and IR

ﬁlter, please contact your Hasselblad dealer for assistance.

•

Avoid frequent and severe temperature changes and be particularly careful

ꢄꢀ

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Technical speciﬁcations — CF

22 Mpixels

39 Mpixels

22 Mpixels: (4080 x 5440 pixels)

36.7 x 49.0 mm

39 Mpixels: (5412 x 7212 pixels)

Sensor size

Sensor dimensions

Image size (8/16 bit RGB)

Shooting mode

22 Mpix: 8 bit TIFF: 66 MB /Raw 3FR 30MB on average 39 Mpix: 8 bit TIFF: 117 MB /Raw 3FR 50MB on average

Single shot

(Multi-shot with CF-39MS)

Yes

16 bit colour

ISO 50, 100, 200 and 400

32 seconds

ISO speed range

Longest shutter speed

Image storage

CF card type ll, new Imagebank

or tethered to Mac or PC

Over 1700 (22 Mpix) on an 80 GByte disk

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

Storage capacity

Battery type

Powered from the camera battery (Li-Ion).

250 captures in 4 hours.

Included, with:

IAA - Instant Approval Architecture

yes

H2 recognition

Acoustic feed back

Metadata classiﬁcation

at least 30 captures per minute

Colour display – OLED 2.2”

16 bit

at least 30 captures per minute (single shot)

Capture rate

Colour display

Colour deﬁnition

Color management

Hasselblad HB RGB

• full dynamics

• reproduction dynamics

Yes

Histogram /Acoustic feedback

File format

Lossless compressed Hasselblad 3F RAW

Mounted on CCD sensor

FlexColor (supplied)

IR ﬁlter

Software

Mac: OSX, PC: NT, 2000, XP

FireWire 800 (IEEE1394b)

0 – 45 ˚C / 32 – 113 ˚F

Platform support

Host connection type

Operating temperature

Camera support via i-Adapters

Hasselblad H system and V system, Rollei 600X and AF, Contax 645AF, Mamiya 645 Pro, 645 AFD,

RB and RZ67, Fuji GX6801/ll/lll. All view cameras via Hasselblad adapter. Horseman DigiFlex ll and

PrecisionWide 35 via Hasselblad adapter.

450 g (excluding battery and i-adapter)

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

600 g (excluding battery and i-adapter)

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

Weight

Dimensions

ꢄꢁ

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The information in this manual is furnished for informational use

only, is subject to change without notice, and should not be con-

strued as a commitment by Victor Hasselblad AB & Hasselblad A/S.

Not all the images in this manual were taken with a Hasselblad

H3D. They are used for illustrative purposes only and are not in-

tended to represent the image quality produced by a Hasselblad

H3D.

The text in this manual cannot be reprinted or reused without the

express permission of Victor Hasselblad AB & Hasselblad A/S.

The images in this manual cannot be reprinted or reused without

the express permission of the photographers who took them.

All text in this manual :

All images in this manual :

Victor Hasselblad AB & Hasselblad A/S assumes no responsibility

or liability for any errors or inaccuracies that may appear in this

manual.

Victor Hasselblad AB & Hasselblad A/S assumes no responsibility

or liability for loss or damage incurred during or as a result of using

Hasselblad software or products.

Hasselblad, Imacon, Ixpress and FlexColor are trademarks of Victor

Hasselblad AB & Hasselblad A/S. Adobe and Adobe Photoshop are

trademarks of Adobe Systems, Inc. Macintosh, Mac OS and FireWire

are registered trademarks of Apple Computer, Inc. InfoLithium is a

registered trademark of Sony Corporation.

Victor Hasselblad AB & Hasselblad A/S

ꢄꢂ

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Victor Hasselblad AB

Box ꢀꢀ0,

Hasselblad A/S

Hejrevej ꢁ0,

SE - ꢂ01 ꢀꢁ Göteborg,

Sweden

DK - ꢀꢂ00 Copenhagen,

Denmark

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