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USER MANUALS
HTS 1.5 – 3043400 – 2011 – v3
Item no.: 3043400
HTS 1.5
7/8
35
In focus
Depth of field spreads
out from the crossing
point
All three planes cross at
this point
In focus
Object partially out of
focus
Object out of focus
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TIL
T and sh
If
T ad
ap
Ter
Mo
vements - rotation
The
h
Ts
1.5 adapter can be rotated 90 degrees
to the left or right to enable free placement of
shar
pness plane and shift direction.
Here, the Scheimpflug principle has been applied to deter-
mine optimum angle of tilt.
A line is drawn in parallel with the image plane and an-
other drawn in parallel with the desired subject plane. An-
other line drawn from the crossing point shows the plane
that the lens should be tilted to align with.
Image plane
Lens plane
Subject plane
In focus
Retaining the same wide aperture setting, the result is now
very different.
The image plane and lens plane are not parallel and so
produce a subject plane that is not parallel. The yellow
objects are out of focus as they now are beyond the depth
of field that is in the same orientation as the subject plane.
The front of the red object is now completely in focus as
well as the green objects.
In reality, the depth of field spreads out from the crossing
point and in this case might cover the upper yellow object,
as illustrated here.
36
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TILT and shIfT adapTer
GeneraL Lens daTa:
focal length conversion factor
1.5x
aperture reduction
-1.3 stops
Width/height/depth
140 mm / 146 mm / 77 mm
Weight
750 g
Lens desIGn
6 elements in 5 groups
enTranCe pUpIL pOsITIOn
W. hCd 28mm:
175 mm
W. hC 35mm:
192 mm
W. hC 50 mm:
177 mm
W. hC 80mm:
119 mm
W. hC 100mm:
109 mm
In front of the image plane
(at infinity focus setting)
The entrance pupil position
is the correct position of the
axis of rotation when making a
panorama image by combining
individual images of a scene.
hCd28
hC 35
hC 50
hC 80
hC 100
Specifications
General Lens data:
Focal length conversion factor
1.5x
Aperture reduction
-1.3 stops
Width/Height/Depth
140 mm / 146 mm / 77 mm
Weight
750 g
Lens design
6 elements in 5 groups
Entrance pupil position
W. HCD 28mm: 175 mm
W. HC 35mm: 192 mm
W. HC 50 mm: 177 mm
W. HC 80mm: 119 mm
W. HC 100mm: 109 mm
In front of the image plane (at infinity focus setting).
The entrance pupil position is the correct position of the axis
of rotation when making a panorama image by combining indi-
vidual images of a scene.
37
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TILT and shIfT adapTer
CLOse fOCUs ranGe daTa
Lens
Minimum distance
Maximum image scale
Coverage
exp.reduction
hCd 4/28 mm
0.39 m
1:4.7
23 cm × 17 cm
0 eV
hC 3,5/35 mm
0.54 m
1:6.2
30 cm × 23 cm
0 eV
hC 3,5/50 mm
0.64 m
1:5.7
28 cm × 21 cm
0 eV
hC 2,8/80 mm
0.74 m
1:4.2
21 cm × 15 cm
0.3 eV
hC 2,2/100 mm
0.94 m
1:4.6
22 cm × 17 cm
0.5 eV
COMpaTIBILITY
The hTs 1.5 adapter is compatible with all h system cameras. support for digital image corrections only with hasselblad Cf
card based digital capture products. The hTs 1.5 adapter is optimally designed for the following lenses:
Lens
equivalent lens with the hTs 1.5
angle of view diag/hor/vert
hCd 4/28 mm
6,3/45 mm
71°/59°/45°
hC 3,5/35 mm
5,6/55 mm
59°/49°/37°
hC 3,5/50 mm
5,6/75 mm
44°/35°/27°
hC 2,8/80 mm
4,5/128 mm
27°/22°/16°
hC 2,2/100 mm
3,5/155 mm
23°/18°/14°
The hC150, hC210 and the hC300 will fit onto the adapter but handling and performance can be compromized.
The hTs 1.5 is
not compatible
with:
The h1,7X converter
The Cf lens adapter
hC 50-110 mm
hCd 35-90 mm
hC 120 mm
autofocus / focus confirmation (disabled)
Close focus range data
Compatibility
The HTS 1.5 adapter is compatible with all H System cameras. Support for digital image corrections only with Hasselblad CF card
based digital capture products. The HTS 1.5 adapter is optimally designed for the following lenses:
The HC150, HC210 and the HC300 will fit onto the adapter but handling and performance can be compromised.
The HTS 1.5 is
not compatible
with:
38
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TILT and shIfT adapTer
hC 35mm
@ infinity
hC 50mm
@ infinity
hC 80mm
@ 2m
hC 100mm
@ 2m
MTf perfOrManCe
10, 20 and 40 lp/mm
The diagram shows
lens perfomance over
the full enlarged image
circle.
Vertical dashed line
show the basic sensor
format (36×.48 mm).
dashed lines in the
diagrams shows the
tangetial performance.
0
20
40
60
80
100
0
10
20
30
40
f/5.6
0
20
40
60
80
100
0
10
20
30
40
f/11
MTF
(%
)
Image position (mm)
Image position (mm)
MTF
(%
)
0
20
40
60
80
100
0
10
20
30
40
f/5.6
0
20
40
60
80
100
0
10
20
30
40
f/11
MTF
(%
)
Image position (mm)
Image position (mm)
MTF
(%
)
0
20
40
60
80
100
0
10
20
30
40
f/4.5
0
20
40
60
80
100
0
10
20
30
40
f/11
MTF
(%
)
Image position (mm)
Image position (mm)
MTF
(%
)
0
20
40
60
80
100
0
10
20
30
40
f/11
MTF (%
)
Image position (mm)
0
20
40
60
80
100
0
10
20
30
40
f/6.3
Image position (mm)
MTF
(%
)
hCd 28mm
@ infinity
0
10
20
30
40
Image position (mm)
0
20
40
60
80
100
MTF
(%
)
f/11
0
10
20
30
40
Image position (mm)
0
20
40
60
80
100
MTF
(%
)
f/5.6
MTF performance
10, 20 and 40 lp/mm
The diagram shows lens performance over the
full enlarged image circle.
Vertical dashed lines show the basic sensor
format (36×.48 mm).
Dashed lines in the diagrams show the tangen-
tial performance.
39
I was shooting products close-up. The foreground object wasn’t
sharp so I tilted the lens as suggested. It became much sharper
but the top of it became unsharp! How can that be? What did I
do wrong?
Fig. 3 shows what probably happened. As you tilt the lens, the
plane of focus tilts too. In this case, as the angle did not com-
pletely coincide with the angle of the plane that the objects were
on, it covered the bottom of the object but not the top. One solu-
tion would have been to use a smaller aperture. You might also
have noticed that the object at the back might have been sharp
at the top but unsharp at the bottom, as in the diagram.
I was using selective focus but didn’t like the look of the out of
focus sections. Can I alter them in some way?
The out of focus areas are a result of several factors: the
aperture setting, the proximity of the subject, the nature of the
background, the bokeh of the lens, etc., some of which can be
changed. Try adding special effects filters too or a digital merg-
ing of straight and filtered shots.
I want to produce the maximum quality from one camera posi-
tion to make a huge enlargement. How can I do that?
Very much depending on subject matter, you could try making a
mosaic of overlapping images using shift vertically and horizon-
tally. This would involve changing the orientation of the camera
a little though and so would introduce some distortion issues
and consequently some blending issues in the final image. Nev-
ertheless, using shift should produce a marked improvement on
the standard method.
Some of my images have vignetted. Why is that?
Tilting and shifting to the limits puts demands on the lens and its
ability to cover evenly, in particular when combined. See the table
in this manual (under Creative Opportunities) for restrictions.
Objects in front of the lens (lens shade, filter, accessory holder
etc) can affect results. Even objects behind the lens, such as
when using extension tubes increases the chances of blocking
some of the light rays.
Using a camera with a smaller sensor or with a film magazine
will also have an effect because the capture area differs in size
and its placement within the image circle will be altered.
The simplest solution is to always make a final check with the
lens stopped down to the chosen aperture with all accessories
etc in place, before capture. When using a film magazine, you
also have the opportunity of using the Multi Control facility of
the camera body rear protection cover.
In a selective focus shot I found it difficult to control the
amount of out-of-focus areas over the whole of the image. Why
is that?
Look at Scheimpflug principle illustration to see whether the
depth of field was in fact expanding as the distance from the
camera increased. In these instances the depth is not parallel
as might be expected.
I’ve seen references to “rise and fall” and “swing” movements
regarding large format cameras. What are they and what do
they do?
Basically, ‘shift’ equates to ‘rise and fall’ and ‘tilt’ equates to
‘swing’ when these movements are rotated 90°.
Large format cameras are provided with these extra movements
partly to avoid having to mount such a large camera at 90°. The
HTS can be turned as a unit, thereby avoiding this particular
need. Furthermore, as the unit can be rotated freely, it provides
the opportunity to effectively combine movements. For example,
tilting the lens with a 45° rotation is, in effect, producing a
partial swing.
Can I use extension rings?
Yes. They are all compatible. Just remember to check against
vignetting.
FAQ
40
Perspective (apparent perspective)
The appearance of perspective in an image is the result of a
number of factors including angle of view, focal length of the
lens, proximity to the subject etc, and is sometimes termed
apparent because it only appears that way in the image in those
circumstances.
Depth of field
Simply put, depth of field describes the amount of the subject
that is perceived as acceptably sharp. It is measured from a
calculated distance in front and a calculated distance behind
the point of focus (subject plane). It essentially expands and
contracts according to the point of focus and aperture setting
when in parallel to the image plane. That is to say, the closer
the subject is to the camera, the less the depth of field will be
and the smaller the aperture, the greater the depth of field will
be and so on, with all possible combinations in between.
In addition, the ‘width’ of the depth of field expands the further
it is away from the camera. See fig. 4 where it is so narrow
that the top of the red object is not included and therefore not
perceived as sharp, despite it being so close. Note that tilting
the lens does
not
increase or decrease the depth of field, it only
alters its orientation and shape.
It should be strongly emphasized that in practical terms the
perception of what is termed “acceptably sharp” can vary a
good deal depending on magnification, resolution, media etc
and should by no means taken to be an absolute. Depth of field
should therefore be seen as a relative term and is best judged
subjectively when all variables are taken into consideration.
Depth of field tables should be interpreted with this information
in mind and seen as guides.
Image circle
All lenses project a circular image termed an “image circle”.
This has to be large enough to cover the whole of the sensor to
achieve a full image and avoid vignetting at the corners of the
sensor frame. The integral converter in the HTS 1.5 enlarges
the image circle enough to allow the lens to be shifted from its
central position while still projecting an image on the sensor.
Image plane / sensor plane / film plane / plane of focus
The plane of focus is the point in a camera where all the light
rays converge to create a sharp image. It is often referred to as
the film plane or more recently sensor plane.
Bokeh
Bokeh is the perceived quality of the out of focus areas in an
image, caused by the configuration of the elements in a lens.
Its appearance changes according to aperture setting, focus
setting and focal length. The bokeh could be particularly ap-
parent when using selective focusing with the HTS 1.5 and
contributes to the subjective quality of those areas.
Scheimpflug principle
This rule can be applied simply and rapidly to find a good start-
ing point for tilt calculations. It helps to optimise the situation
but it does not increase or decrease the depth of field. See
explanatory diagram in this manual.
Terminology
