Hasselblad HTS 1.5 User manual

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HTS 1.5
HTS 1.5

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Contents
Before you start
Introduction 1
Basic explanation of tilt 4
Basic explanation of shift 9
Getting started 14
Tilt – in practice 19
Shift – in practice 23
Creative opportunities 28
Appendix 32
General points 33
Scheimpug principle 34
Specications 36
FAQ 39
Terminology 40

Firmware & software status
To ensure the optimum from your HTS, the rmware in your
camera has to be “HTS aware”. Please ensure it is one of the
following versions (or later):
Model Camera Version Capture Unit Version
(.hbf) (.CIM)
H3DII-50 2.1.0 R332
H3DII, H3D, H2D 2.1.0 R248
H2F 1.1.0 N/A
H1D, H1, H2 9.5.0 R248
CF/CFH N/A R248
Please also check that your version of Phocus has the updated
digital lens corrections for use with the HTS adapter, namely the
following (or later versions):
• Phocus 1.1.3 Mac
• Phocus 1.0.2 Windows
Tilt movements status
For critical use when using the tilt movements, please proceed
as follows:
Move the lens upwards (or from the left to the right when
tilting sideways) into the zero position and then lock it,
checking that the camera grip display indicates 0°.
Before you start
IMPORTANT INFORMATION!
The latest version of Hasselblad’s camera rmware and Phocus software can be downloaded from:
http://www.hasselblad.com/service--support/technical-support/software-downloads.aspx

1
What is it ?
The HTS 1.5 is an accessory for H-system cameras that greatly
expands their usability both technically and creatively. It works
by allowing a lens to be moved in two different ways to meet
some challenges typically found in professional photography. It
is compact, simple to use and can prove to be an invaluable aid
in certain situations.
The HTS 1.5 adapter is mounted between the lens and the cam-
era body and, by way of the databus connections, automatically
conveys data to ensure the optimum in convenience and accu-
racy of exposure. This information is nally stored as metadata
with each le that can then be accessed in Phocus.
And it is in Phocus that DAC corrections automatically take into
account all tilt, shift and rotational movements as well as a
long list of specic lens data. This ability, unique to Hasselblad,
ensures the exceptional quality produced by the HTS 1.5.
What does it do?
The HTS 1.5 primarily solves problems but equally well pro-
motes creative opportunities to provide the photographer with
an almost invaluable tool.
Problem solving would be most obviously benecial in architec-
tural work, close-up product photography and certain kinds of
documentation, for example.
Creative opportunities would cover almost any area of photog-
raphy where a fresher approach is required regarding selective
focus and/or perspective manipulation.
How does it work?
It exploits established optical principles familiar to view camera us-
ers, namely ‘tilt’ and ‘shift’. These capabilities are further exploit-
ed by being able to rotate the whole unit. Only basic explanations
are included here as In-depth technical descriptions are beyond
the scope of this manual. A search on the Internet under headings
such as ‘camera movements’ and ‘Scheimpug Principle’, for
example, can provide much more insight into the concepts.
To be able to allow such movements using a lens from the stan-
dard range, an optical converter that increases lens coverage is
integrated into the design. In this way the adapter expands the
use of a number of lenses that many users already have thereby
avoiding the need for dedicated lenses.
Very simply put, tilting the lens moves the orientation of the
plane of sharp focus while shifting the lens moves the projected
image circle inside the camera.
What problems does it solve?
There are basically two areas that can be helped by tilt and
shift:
· Tilt is used when you want to change the orientation of the
plane of sharp focus.
· Shift is used to change the area selected for coverage of a
scene while retaining parallel lines in the image. It can also
used to create panoramas when used horizontally.
Although tilt is typically used in close-up product or landscape
photography and shift is typically used in architectural applica-
tions, it would be wrong to highlight these areas too much.
There are many situations where some tilt or some shift or
both would go a long way in producing a competitive edge on an
otherwise normal shot.
How is it creative?
The actions that produce practical solutions to problems create
effects that can also be classied as creative, dependent on
the intention. For example, it might be said that “stitching” (the
digital combining of several images) creatively exploits the ‘cor-
rect’ use of movements while selective de-focusing creatively
exploits the ‘incorrect’ use.
Hasselblad HTS 1.5

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Compatibility
The HTS 1.5 was specically designed for use with the HCD
4/28mm and HC 2.8/80mm lenses, and these should be seen
as the primary choice for maximum performance. However, the
HC 3.5/35mm, HC 3.5/50mm and HC 2.2/100mm lenses can
also be used with excellent results. The 13mm, 26mm and
52 mm extension tubes are also compatible with all of these
lenses.
The HC 3.2/150, HC 4/210 and HC 4.5/300 can also be used
but handling and performance are compromised.
Please note that the HTS 1.5 is not compatible with the
H1.7x converter, CF lens adapter, HC 3.5-4/50-110mm, HCD
4-5.6/35-90mm, or the HC 4/120mm Macro.
The autofocus and focus conrmation features on the camera
are also automatically de-activated for all lenses.
Tilt
Tilt changes the orientation of the
plane of sharp focus. This creates
the appearance of an ‘increase’ or
‘decrease’ in depth of field.
Shift
Shift allows perspective control
by preserving parallel lines in the
image. It also allows ‘stitched’
panoramas.
www.hasselblad.com
TILT AND SHIFT ADAPTER
MO V EMENTS - ROTATION
The HTS 1.5 adapter can be rotated 90 degrees
to the left or right to enable free placement of
sharpness plane and shift direction.
The integral converter in the HTS 1.5 alters the angle of view
(in effect, extending the focal length) of each lens and causes
some loss of speed. For example, a HC 2.8/80mm - HTS 1.5
combination will produce an image you might expect from a
4.5/128 mm lens on its own, as a rough guide. Please see
under Specications for full details.
For the HTS to function correctly, the rmware in the camera must be as follows:
H3DII-50 2.1.0 or later
H3DII / H3D / H2D 2.1.0 or later
H1 / H1D / H2 9.5.0 or later
H2F 1.1.0 or later
Rotation
Allows the whole unit,
at any tilt and shift set-
tings, to be rotated for
further control.
20º
total
180º
total
36mm
total

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TILT
– a basic explanation
A classic problem in close-up product
photography and similar areas, is the lack
of depth of eld.
Using tilt can solve many such problems
as well as offering creative solutions.

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With a basic understanding of the principles behind
tilt and shift, you will gain more confident control of
the HTS 1.5 and be able to exploit its potential to the
optimum.
The function of a camera lens is to project an image onto a sen-
sor. The sensor, being effectively two dimensional and lying in a
specic plane, can only record a two dimensional at plane, in
the same orientation, in the subject.
In practice we normally perceive some areas in front and behind
this at plane in the subject as “sharp” and this is termed the
depth of eld (which in its turn expands or contracts according
to aperture setting and subject distance).
Tilt
The lens is normally set perpendicular to the image plane and
therefore is effectively in parallel with the sensor as well. This
provides three planes to consider – the sensor, the lens and the
subject – all parallel. They are also interrelated, so moving one
will have an effect on the others. This is where tilt is introduced.
In the diagram below, the image plane, lens plane and subject
plane are parallel. This creates an area of acceptable sharp-
ness  the depth of eld. In this case, not all of the subject
lies within the boundaries of the depth of eld and those parts
therefore appear unsharp. By tilting the lens it is possible to
include more of the objects in the depth of eld without having
to use a smaller aperture.
Basic explanation of tilt
Tilt
Original scene
from camera
viewpoint In this case, the lens is
focused in front of the
yellow object.
At the given aperture
setting, the yellow object
is covered by the depth
of field, the red object
partly covered and the
blue object not covered
at all. The yellow object
will therefore be accept-
ably sharp, the red object
partly sharp and the blue
object unsharp.
Lens plane
Image (sensor) plane
Depth of field
Subject plane

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Camera angle and lens movement
Original scene
TILT
In this diagram, if distance C is now altered so that
the blue object is sharp, then distance D will be
altered accordingly. Likewise E and F.
Only millimeters of difference in distance are required
from lens to sensor to create great changes in subject
to lens focus distance and this is why tilt becomes a
possibility.
When tilting the lens, distance D is decreased, allow-
ing focus for the longer distance C. Similarly, F has
now increased allowing focus for the shorter distance
E. Consequently, the red object has the required sen-
sor to lens distance for correct focus and so has the
blue object, thereby allowing them to be both sharp at
the same focus setting without any need to alter the
aperture setting.
In this diagram, a focus setting has been made for
the yellow object at distance A. This in turn produces
a specific ‘lens to sensor’ distance B.
The relationship between these two distances is
reciprocal; alter one and you must alter the other to
maintain sharp focus.
Fig. 1
Fig. 2
Fig. 3
continued overleaf 
continued overleaf 
continued overleaf 

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Result
Inside the camera
Only the yellow objects are sharp
All the objects are now much sharper
B
A
C
C
E
E
D
F
Fig. 1 Fig. 1
Fig. 2 Fig. 2
Fig. 3 Fig. 3
F
D

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In this diagram, the lens is focused on the yellow ob-
jects. At the widest aperture only the yellow objects are
covered by the depth of field.
This situation illustrates that producing sharpness in
certain parts of the subject can produce unsharpness
in other parts of the image.
Note that the vertical objects show a varying amount
of sharpness according to height as well, not only dis-
tance from the camera as might normally be expected.
You should be aware of this possibility occurring. In
this particular case, if the yellow objects were one solid
object, it might hide the unsharp section of the blue
object to produce apparent sharpness over the whole
image.
Sharp
Sharp
Unsharp
Unsharp
Sharp
Unsharp
Unsharp
Fig. 4
Sharp
Unsharp
Sharp

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In this diagram, the lens is focused on the yellow
objects. At the widest aperture only the yellow
objects are covered by the depth of field.
When the lens is tilted, the plane of the depth of
field tilts. The left side of the blue object is now
sharp and the right side unsharp. The left yellow
object is unsharp while the right yellow object
remains sharp.
Note that in this case, as opposed to the previous
situation illustrated, the sharpness of each object
is not affected by its height.
Unsharp
Unsharp
Unsharp
Sharp
Unsharp Sharp
Sharp
Fig. 5

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SHIFT
– a basic explanation
A classic problem in architectural work
and similar is the preservation of parallel
elements in the subject when the camera
angle has to be moved.
Shift also allows the creation of ‘stitched’
panoramas.

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Shift
The image from the lens is focused and projected inside the
camera onto the sensor. Normally, this so called ‘image circle’
is just large enough to cover the sensor. However, the integral
converter in the HTS 1.5 enlarges the image circle. This allows
parts of the image to be projected outside of the sensor area.
These parts would not normally be recorded but would neverthe-
less remain accessible.
If the lens is shifted, the projected image will consequently
move, allowing the previously unrecorded parts of the image to
project onto the sensor and thereby be recorded.
Shifting the lens allows the camera (image plane and lens
plane) to remain parallel to the subject. This prevents any paral-
lels in the subject from converging as would normally be the
case if the camera was just pointed upwards.
View of inside the camera
(In reality the projected image would be
inverted)
The enlarged image circle is projected onto the
sensor (represented by the grey rectangle).
In this case, part of the image lies outside the
sensor.
Tilting the camera upwards to include the top
of the blue object would make the parallels in
the yellow objects converge.
Shift
Basic explanation of shift

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Camera is levelled and aimed
directly at subject.
No lens movement.
Camera is levelled and aimed directly at subject.
Lens shifted upwards.
Camera aimed up at subject. No lens movement.
Camera angle and lens movement
Original scene
SHIFT Fig. 6
Fig. 7
Fig. 8
continued overleaf 
continued overleaf 
continued overleaf 

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The enlarged image circle
is projected onto the sen-
sor (grey rectangle).
Part of the image lies
outside the sensor.
(In reality the projected
image would be inverted)
The top of the blue object
is now projected onto the
sensor but the verticals
have converged.
After returning the camera
to the level position and
shifting the lens upwards,
the projected inverted
image moves upwards, al-
lowing the top part of the
subject onto the sensor.
The verticals remain paral-
lel in the result.
Result
Inside the camera
Fig. 6 Fig. 6
Fig. 7 Fig. 7
Fig. 8 Fig. 8

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Getting Started
The HTS 1.5 is very simple to use. The
high level of integration within the system
makes it almost seamless in operation.

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User parts and components
1. Lens alignment index 7. Alignment index
2. Tilt lock 8. Shift scale
3. Tilt adjustment knob 9. Shift scale indicator
4. Shift lock 10. Tilt scale
5. Shift adjustment knob 11. Tilt scale indicator
6. Lens release button 12. Mount extender
Attaching and removing
The HTS 1.5 is attached to the camera in the same manner as
mounting a lens, matching the alignment index 9 with the index
on the camera body. The lens is mounted onto the adapter in
the same manner, matching the alignment index 1. The lens and
adapter can be mounted singly or combined. Removal is either
singly or combined using the lens lock (6) on the adapter and the
lens lock on the camera body in the conventional manner.
Attaching the HTS 1.5 displays a new screen on the camera
grip to indicate the HTS button. When pressed, it will bring up
the HTS screen on the display showing the movements’ data,
namely, shift in mm, tilt and rotation in degrees.
HTS 1.5 settings
Shift and tilt movements have click stops for zero settings and
are lockable. Rotation has clickstops for each 15º but can be
set at any angle up to 90º clockwise or 90º counter-clockwise.
The shift and tilt adjustment knobs are released by rotating the
Getting started
➡
1 2 3 4 5
6
10
11
12
7
8
9

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locks (2 and 4) in a counter-clockwise direction. The adjustment
knobs are then rotated in either direction until the desired posi-
tion is achieved and then secured in place by rotating the locks
in a clockwise direction.
The amount of shift and tilt adjustment can be read off the
scales (7 and 10) by the indicators or the camera grip display.
Note that settings made according to the clickstops or the
scales are very close but approximate. For example, when tilt
has been zeroed by the clickstop, the reading on the grip may
be displayed as 0.4°. Please note therefore:
For critical use, always check the settings on the camera grip display.
All movements data is automatically stored with each individual
le and can be later viewed in Phocus.
It is good practice to ensure that both shift and tilt have been
zeroed before you start work. There is no indication in the view-
nder display regarding the amount of movement set and it is
not always obvious just by looking at the image in the viewnd-
er. Also, check the orientation of the adapter, making sure it is
capable of tilting or shifting the lens in the desired directions. In
the case of architectural/documentary photography or similar it
would also be advisable to level the camera in all planes before
work begins.
Remember when using shift that the equipment in use will have an effect on
results. Smaller sensor models will allow more movement and lm magazines
(because the lm area is greater) will allow less less movement to exploit
before vignetting becomes noticeable.
A 90°clockwise rotation is not possible if a GIL (GPS accessory) unit is attached.
Camera settings
There is no need to make any specic camera settings. You
may, however, wish to make a new user prole for the sake of
convenience. For example, you might want to set the buttons at
the rear of the grip to Stop Down and Mirror Up for easier thumb
access (see following section for details). Autofocus and focus
aid are automatically inactivated.
Lens settings
Focus is manually controlled while shutter and aperture settings
are controlled in the conventional manner from the camera (or
Phocus, if tethered).
Exposure settings
For optimum accuracy, exposure should be measured with shift
and tilt set at 0mm and 0°. You will note that when movements
are more than 1mm or 1°, the exposure information is no longer
visible in the viewfinder. This information immediately returns,
however, when the movements are zeroed again.
The preferred method is therefore Manual or using Auto and
then locking the reading. Shift and tilt changes can be made
without altering the exposure settings again as the H3D II takes
such movements into account. If, however, lighting is altered,
then for accurate exposure readings, movements will have to be
set back to zero and a new reading taken.
Particular attention to consistent exposure settings should be
shown when using shift to 'stitch’ shots, in order to avoid post–
production problems.
Technically, any alteration of sensor to lens distance demands
a corresponding exposure compensation (as takes place during
tilting) but the camera assesses the data from the HTS 1.5 and
makes the necessary compensation automatically.
Mount extender
The mount extender is attached to the camera foot by inserting
the positioning pin on the extender into the recess in the quick
coupling plate on the camera and rotating the retaining screw
clockwise into place. The mount extender creates clearance
from the tripod/stand head to allow for free rotation of the unit.
Storage and transportation
It is recommended that you store the HTS with zero movements
in the supplied case. Avoid leaving the HTS for long periods with
extreme movement settings, particularly in very hot conditions,
for example, in a closed car in the sun. Occasionally check the
optics for dust or marks, treating the glass surfaces with the
customary precautions.