User manual HASSELBLAD CF DIGITAL CAMERA BACK RANGE

[. . . ] User Manual Hasselblad CF Digital Camera Back Range CONTENTS Int roduct ion 1 General over view Par ts, components and control panel Initial setup Shooting and storage modes Initial General Settings Over view of menu struc ture Setting the menu language Storage over view ­ working with media and batches Batches Navigating media and batches Creating new batches Using Instant Approval Architec ture Reading and changing approval status Browsing by approval status Deleting by approval status 3 6 8 10 11 14 15 17 5 2 6 3 18 18 18 20 21 22 22 23 MENU -- ISO, White balance, Media, Browse Menu system over view Navigating the menu system Language choice ISO White balance Media Browse MENU --Storage Delete Format Copy Batch Default Approval Level MENU --Settings User Inter face Camera Capture sequence Connec tivit y Setting exposure time/sequence Miscellaneous About Default 31 31 31 33 33 34 34 35 36 37 42 42 43 44 45 46 48 50 51 54 56 57 58 7 4 Over view of viewing, deleting and copying images 24 Basic image browsing 24 Choosing the current batch 24 Browsing by approval status 24 Zooming in and out 24 Zooming in for more detail 25 Thumbnail views 25 Preview modes 26 Histogram 27 Underexposure 27 Even exposure 27 Overexposure 27 Full - details 27 Batter y saver mode 28 Full -screen mode 28 Overexposure indicator 28 Deleting images 29 Transferring images 29 8 Multishot General 59 59 60 60 60 61 9 Flash/Strobe General T TL 10 Cleaning 11 Equipment care, ser vice, technical spec. General Technical specif ications 63 63 64 Inset photo on cover: © Francis Hills/www. figjamstudios. com. They are used for illustrative purposes only and are not intended to act as a representation of the image quality produced by a Hasselblad CF. © Jens Karlsson/Hasselblad and David Jeffery. 2 Welcome to Hasselblad! The Hasselblad CF line of digital backs offers 22 and 39 Mpix digital capture at a professional level for unbeatable results. [. . . ] The generic setups that ship with FlexColor are locked so that you can not accidentally modify, rename or delete them. If you want to modify a generic setup, then select the setup from the Setup pop-up menu, make modifications, then click on New to save your new setup with a new name. Software Reference - FlexColor 4. 0 for Camera Backs 32 The Setup Window General Tab General Tab The General tab of the Setup window affects the general behavior of the interface and identifies the setup file currently loaded. Mode Provides a pop-up menu for choosing the color space used when you save an image as a TIFF file. The following options are available: · RGB: stores final images as standard 8-bit RGB TIFF files. This preserves the · Grayscale: creates grayscale images, such as black and white full color resolution captured by the camera back, but creates larger files that many applications cannot read. Grayscale files are smaller than color files, so use this mode if your originals or final publications are in black and white. To obtain a grayscale result, FlexColor combines information from all three RGB color channels. To obtain a grayscale result, FlexColor combines information from all three RGB color channels. · Grayscale 16-bit: stores final images as 16-bit grayscale TIFF files. This Software Reference - FlexColor 4. 0 for Camera Backs The Setup Window General Tab 33 · Lineart: creates 1-bit images in which each pixel is either 100% black or 100% white. Use this mode if your originals are, for example, pen and ink drawings. To adjust the threshold at which the input will jump to either black or white, use the Gradations window. See "Setting the Threshold for Lineart Captures" on page 91 for more information. See "ColorSync or ICM Tab" on page 41 for more information about ICC profiles. · CMYK: creates print-ready color images. You must set up an ICC Type Use this pop-up menu to choose which type of capture to take. You have the following options: · Preview: makes a single capture and applies minimal processing. Use it to check your exposure and composition and to make initial neutralization settings. Preview captures are not saved and are not good enough for production because they are not fully rendered. · Single Shot: makes a single capture and applies full processing. If you are capturing images of people, animals, flowing water, or other moving objects, or if you are capturing from a hand-held camera, then you must use single-shot mode. Single shot images are fully rendered and processed so they take slightly longer than previews, but the results are of production quality. captured twice for extra sharpness) and then combines them into a single, high-resolution image. If you are capturing images of unmoving objects, such as room interiors, studio sets or product shots, then you can use multi-shot mode. 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. [. . . ] Scanning Resolution: To scan to a fixed fraction of the full resolution for each format, enter a percentage value here. Adapt to format: As an alternative to the controls above, you can instead set your scans to fit to a specific output size. To use this option, mark this check box and then specify your output size using the height and width fields provided next to the check box. Output PPI: Set this to the output resolution you would like to define for the file. [. . . ]